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Király's performance art was awarded public visibility during 1989, the year when ]. In June or July 1989,{{Sfn|-lyes|1989}} before the full transition to a market economy, Király designed a hat resembling the dome of the ] and photographed himself with a model wearing it in view of the building.<ref name="Vestoj" /> He was stopped and questioned by the ], but was not arrested as they were unsure how to interpret the message of the outfit and he was not violating any law.{{Sfn|Trufelman|2023|loc=13–15 minutes in}} "No one could tell what statement Király was exactly making," Trufelman said of the hat. "Was it a joke? Was it a political protest? Was it quite simply just a cool hat?"{{Sfn|Trufelman|2023|loc=15 minutes in}} By contrast, ''Reform'' magazine claimed that the hat had been designed as part of a publicity stunt for its independent journalism: "Although Tamás Király claims to be apolitical, he still designed a parliamentary fur hat for ''Reform''".{{Sfn|-lyes|1989}} Király's performance art was awarded public visibility during 1989, the year when ]. In June or July 1989,{{Sfn|-lyes|1989}} before the full transition to a market economy, Király designed a hat resembling the dome of the ] and photographed himself with a model wearing it in view of the building.<ref name="Vestoj" /> He was stopped and questioned by the ], but was not arrested as they were unsure how to interpret the message of the outfit and he was not violating any law.{{Sfn|Trufelman|2023|loc=13–15 minutes in}} "No one could tell what statement Király was exactly making," Trufelman said of the hat. "Was it a joke? Was it a political protest? Was it quite simply just a cool hat?"{{Sfn|Trufelman|2023|loc=15 minutes in}} By contrast, ''Reform'' magazine claimed that the hat had been designed as part of a publicity stunt for its independent journalism: "Although Tamás Király claims to be apolitical, he still designed a parliamentary fur hat for ''Reform''".{{Sfn|-lyes|1989}}


The regime change presented Király with other travel opportunities. In June 1990, his show "Animal's Dreams" (part of a trilogy) was presented as an opening act for a ] at ] of ].{{Sfn|Herskovits|1990|p=30}} Between 1989 and 1992, he presented no catwalk shows in his native country; from as early as 1987, he had refused to sell his creations through any boutique business.<ref name="gábor"/> His focus was on art events and stable exhibits. In December 1990, at NA-NE Gallery on Pest's Lónyay Street, he exhibited work from the previous decade alongside architects and designers—including ], Giorgio Soss, and János Czalbert-Halasi.{{Sfn|Szegő|1990|p=66}} He had opened his own workshop in ], and, as Szerényi notes, used it as a "base from which corridors lead to the wider world."{{Sfn|Szerényi|1990}} He had by then embarked on a series of collaborations with "hundreds of actors", as well as his own artist friends—{{Ill|János Gasner|hu|Gasner János}}, {{Ill|Péter Sziámi Müller|hu|Müller Péter Sziámi}}, ], and the members of {{Ill|Balkán Tourist|hu|Balkán Tourist}}.{{Sfn|Szerényi|1990}} Throughout the 1990s, he rejected travel offers, preferring instead to stay in Budapest and pursue smaller, less commercialized projects.{{Sfn|Trufelman|2023|loc=33 minutes in}} The regime change presented Király with other travel opportunities. In June 1990, his show "Animal's Dreams" (part of a trilogy) was presented as an opening act for a ] at ] of ].{{Sfn|Herskovits|1990|p=30}} Between 1989 and 1992, he presented no catwalk shows in his native country; from as early as 1987, he had refused to sell his creations through any boutique business.<ref name="gábor"/> His focus was on art events and stable exhibits. In December 1990, at NA-NE Gallery on Pest's Lónyay Street, he exhibited work from the previous decade alongside architects and designers—including ], Giorgio Soss, and János Czalbert-Halasi.{{Sfn|Szegő|1990|p=66}}{{Sfn|Vadas|1990}} Art historian József Vadas reported on the exhibition's "big surprise"—namely, that all members of the group, including Király, were taking direct inspiration from ] and other currents of the early-20th-century ].{{Sfn|Vadas|1990}}


During early 1992, Király, alongside Marianna Pádé and István Ocztos, submitted a project to have ] transformed into fashion runway for that year's ].<ref>{{Cite news|date=1992-03-29|last=Érsek|first=Zoltán M.|title=Füstmentes napon. Buli az alagútban |trans-title=On a smoke-free day. Party in the tunnel |newspaper=Vasárnapi Hírek |p=10}}</ref> According to legend, American avant-garde guru ] promised to contribute a poem for the event, if it ever came through (which it did not).<ref name="k.sz."/> At that stage, the artistic relevancy of Király and his NA-NE group was seen as threatened by author György Szegő: "The question now is what will happen after the political opposition of the avant-garde is no longer needed. Or is it?"{{Sfn|Szegő|1990|p=66}} One of Király's exhibits, showcased in 1992–1993 at ], was panned by Acsay: " are only shocking, interesting and strange if someone happens to call them clothes. Without this intentionally false label, the effect is considerably smaller and, what's more, highly doubtful. Tamás Király is much less convincing as a designer than as a visual designer and choreographer."{{sfn|Acsay|1993}} He still enjoyed success, and in 1998 his town of Gyöngyös made him president of the local fashion show (he awarded top prize to a designer who had reused a car tarpaulin).<ref name="vigasságok"/> Király had opened his own workshop in ], and, as Szerényi notes, used it as a "base from which corridors lead to the wider world."{{Sfn|Szerényi|1990}} He had by then embarked on a series of collaborations with "hundreds of actors", as well as his own artist friends—{{Ill|János Gasner|hu|Gasner János}}, {{Ill|Péter Sziámi Müller|hu|Müller Péter Sziámi}}, ], and the members of {{Ill|Balkán Tourist|hu|Balkán Tourist}}.{{Sfn|Szerényi|1990}} Throughout the 1990s, he rejected travel offers, preferring instead to stay in Budapest and pursue smaller, less commercialized projects.{{Sfn|Trufelman|2023|loc=33 minutes in}} During early 1992, Király, alongside Marianna Pádé and István Ocztos, submitted a project to have ] transformed into fashion runway for that year's ].<ref>{{Cite news|date=1992-03-29|last=Érsek|first=Zoltán M.|title=Füstmentes napon. Buli az alagútban |trans-title=On a smoke-free day. Party in the tunnel |newspaper=Vasárnapi Hírek |p=10}}</ref> According to legend, American avant-garde guru ] promised to contribute a poem for the event, if it ever came through (which it did not).<ref name="k.sz."/> At that stage, the artistic relevancy of Király and his NA-NE group was seen as threatened by author György Szegő: "The question now is what will happen after the political opposition of the avant-garde is no longer needed. Or is it?"{{Sfn|Szegő|1990|p=66}} One of Király's exhibits, showcased in 1992–1993 at ], was panned by Acsay: " are only shocking, interesting and strange if someone happens to call them clothes. Without this intentionally false label, the effect is considerably smaller and, what's more, highly doubtful. Tamás Király is much less convincing as a designer than as a visual designer and choreographer."{{sfn|Acsay|1993}} He still enjoyed success, and in 1998 his town of Gyöngyös made him president of the local fashion show (he awarded top prize to a designer who had reused a car tarpaulin).<ref name="vigasságok"/>


In the 2000s, Király returned with costumes for hair shows in London and elsewhere.{{Sfn|Zoób|2005|p=64}}{{Sfn|Trufelman|2023|loc=34 minutes in}} In August 2001, he and fellow designer Krisztián Prokob produced a show for the ] on ].{{sfn|Jávorszky|2012|p=151}} In May 2005, Király arranged for one of his fashion shows to be hosted by Mátra Cultural Center in Gyöngyös. Critic József Keresztesi gave it a positive review, arguing that Király's feat was outstanding in itself: "anyone who spent his childhood in a small town is aware of the risk of returning." The costumes presented were "pictures, very consciously selected, to intense musical accompaniment."<ref>{{Cite news|date=2005-05-20|last=Keresztesi |first=József |title=Vissza a városba |trans-title=Back in town |newspaper=]|p=21}}</ref> That same year, fellow designer Kati Zoób referred to Király as "perhaps the greatest talent in domestic fashion design", noting that he still would not "sell clothes". He reportedly made most of his income from his costume design and from selling tickets to a worldwide audience of "Király fans".{{Sfn|Zoób|2005|p=64}} In 2007, critic Zoltán Hegyi made a similar observation: " the Hungarian underground fashion designer. The mainstream would take him, but he wants no part of it."{{Sfn|Hegyi|2007}} In the 2000s, Király returned with costumes for hair shows in London and elsewhere.{{Sfn|Zoób|2005|p=64}}{{Sfn|Trufelman|2023|loc=34 minutes in}} In August 2001, he and fellow designer Krisztián Prokob produced a show for the ] on ].{{sfn|Jávorszky|2012|p=151}} In May 2005, Király arranged for one of his fashion shows to be hosted by Mátra Cultural Center in Gyöngyös. Critic József Keresztesi gave it a positive review, arguing that Király's feat was outstanding in itself: "anyone who spent his childhood in a small town is aware of the risk of returning." The costumes presented were "pictures, very consciously selected, to intense musical accompaniment."<ref>{{Cite news|date=2005-05-20|last=Keresztesi |first=József |title=Vissza a városba |trans-title=Back in town |newspaper=]|p=21}}</ref> That same year, fellow designer Kati Zoób referred to Király as "perhaps the greatest talent in domestic fashion design", noting that he still would not "sell clothes". He reportedly made most of his income from his costume design and from selling tickets to a worldwide audience of "Király fans".{{Sfn|Zoób|2005|p=64}} In 2007, critic Zoltán Hegyi made a similar observation: " the Hungarian underground fashion designer. The mainstream would take him, but he wants no part of it."{{Sfn|Hegyi|2007}}

Revision as of 07:35, 6 August 2023

The native form of this personal name is Király Tamás. This article uses Western name order when mentioning individuals. Hungarian fashion designer (1952–2013)

Tamás Király
Király in 1987
Born(1952-09-13)September 13, 1952
Gyöngyös, Hungarian People's Republic
DiedApril 7, 2013(2013-04-07) (aged 60)
Budapest, Hungary
Cause of deathStrangulation
Occupation(s)Fashion designer, costume designer, performance artist
StyleAvant-garde, queer art

Tamás Király (toh-MAHSH keer-EYE; September 13, 1952 – April 7, 2013) was a Hungarian underground avant-garde fashion designer active beginning in the 1980s. Though not expressly political, his work sometimes flaunted the artistic conventions permitted by the communist regime; authorities tolerated his shows, which came with performance art elements, but did not promote them. In many cases, Király used found materials, took clues from queer art, and employed geometric forms in a "decadent" manner. He relied on self-promotion, establishing an unconventional store in Budapest and living in poverty. Throughout his life, he was opposed to selling his creations as wearable clothes.

Király achieved international fame after he participated in the 1988 Dressater fashion show in West Berlin, as the only designer from the Eastern Bloc. This allowed him to live from his shows in post-communist Hungary, though he was remained focused on his studio in Józsefváros and showcased his work in provincial Hungarian towns. He was murdered in 2013 by a man with whom he was possibly having a sexual encounter. Academics have posthumously given additional attention to his work, much of which is preserved by the Museum of Applied Arts.

Biography

Early life and debut years

Király was born on September 13, 1952, and grew up in the town of Gyöngyös, in what was then the Hungarian People's Republic. It was reportedly here that he had his first experiences as a public performer. He also traveled to neighboring Vámosgyörk, where, as he recalled in 1998, he "got my ears pierced. This was not an everyday thing at that time." In May 1971, as a student at Berze Nagy János High School, he was granted a second prize ("bronze certificate") at an art festival organized by the Hungarian Young Communist League. He moved to Budapest, where, after receiving encouragements from costume-maker Gizella "Gizi" Koppány, he began to study design. For a time, he was employed as a display window designer. His first film credits were as Koppány's assistant costume designer in Narcissus and Psyche, released in 1981 by Gábor Bódy. It "started him on the path toward clothing design."

Király's career as an independent fashion designer coincided with Hungary's experiment in "Goulash Communism"—integrating free-market elements to the socialist command economy and loosening political censorship restrictions. As noted in 1993 by critic Judit Acsay, Király had repeatedly explained that, "despite all appearances, his art is not about the clothes." He instead referred to his garments as "clothing sculptures". These were constructed out of found material, including fishing rope and kitchen supplies; his muse Judit Gyüre, who also worked on the dressmaking process: "I didn't just have to sew, I had to connect a wide variety of materials: plastic with metal, textile with dry bread. This unleashed enormous creativity in me, since Tamás only informed me of what he wanted, but we enjoyed artistic freedom all the way from there." Also a model, she recalls "standing in Tamás's bathtub covered in plaster from head to toe, waiting for him to bind me".

Journalist and radio producer Avery Trufelman has described Király's style as "outlandish," "decadent," and "campy." He initially sold his creations out of New Art Studio, an underground boutique in central Budapest, whose main founder was his mentor, Koppány. Though "his store did not have a sales counter, and customers were received at extreme opening hours", it was a major success, with queues of customers meandering around the street-corner. Király also flaunted convention by using live models in the display window. Beginning in 1981, he organized "fashion walks" on Váci Street, an upscale fashion district in central Pest, in which his friends would dress up in outre outfits without permits, including trash bags and bank notes. His first fashion show was at the Fiatal Művészek Klubja (FMK; "Club for Young Artists") in 1983. Király often showcased his works at the Petőfi Csarnok, a large community center with a concert hall. The runway shows he held there, which he called "fashion performances," incorporated elements of contemporary dance and performance art. He also collaborated with theater groups starting in the 1980s, most famously designing white- and cream-colored costumes evoking the phantasmagoric atmosphere of A Midsummer Night's Dream for a reinterpretation by the Baltazar Theatre, a company of intellectually disabled actors.

Király sitting with some of his designs, 1988

After a "chance encounter" during one his frequent travels in West Berlin, Király was co-opted as a costume designer for Az Emberevő szerelme ("A Man-eater's Love"), a 1984 film produced by Mafilm and ZDF. In a 2020 piece, artist Eszter Ágnes Szabó drew attention to this cultural product as being quintessentially "camp", and thus naturally suited to Király's "entire creative career". In 1988, Király presented at the Dressater fashion show in West Berlin as the only designer from an Eastern Bloc country, having been recruited by Vivienne Westwood. According to Reform, his approach in preparation for that event was: "Be so challenging that they go out and kill for you". He called his collection, which featured black velvet dresses stretched into geometric shapes, "Open Doors," a subtle jab at the Soviet authorities who had granted him permission to attend in an attempt to demonstrate their openness. It was extremely well-received, bringing him fame in the Western world. In 1990, fellow artist Gábor Szerényi reported his "patriotic pride" at seeing Király featured and advertised "in capital letters" by Vogue México.

Curator Gyula Musckovics characterized Király's work as anti-political, existing in a parallel realm not directly in opposition to the political one. He was tolerated by authorities despite flouting norms of socialist fashion good taste of the era. Several employed communist iconography, including a 1987 dress that folded out to resemble the Red Star. Szabó sees his usage of electric blue in Az Emberevő szerelme as one of the "almost mandatory references" to David Bowie, who had a cult status in the Hungarian underground, adding: "Bowie embodied almost everything that was opposed to the Hungarian official culture of the time".

Király lacked the credentials to be officially registered as an artist, complicating his career. For one of his fashion shows, he used a rejection letter from the Hungarian Arts Fund as the poster. Király was poor during the 1980s, scraping by through commissioned work and borrowing money from friends; however, he held many parties. His works were infused with queer aesthetics; though Király was married with children, he may have been pansexual. Friends described him as kind and sociable; his surname, which translates to "king", resulted in his cult following, consolidated in or around 1986, being labeled as "royalism" (királyizmus). His devotees greeted him with a related pun: Éljen a Király! ("Long live the King!").

1989 and after

Király with a model wearing a hat resembling the dome of the Hungarian Parliament Building in 1989

Király's performance art was awarded public visibility during 1989, the year when communism ended in Hungary. In June or July 1989, before the full transition to a market economy, Király designed a hat resembling the dome of the Hungarian Parliament Building and photographed himself with a model wearing it in view of the building. He was stopped and questioned by the national police, but was not arrested as they were unsure how to interpret the message of the outfit and he was not violating any law. "No one could tell what statement Király was exactly making," Trufelman said of the hat. "Was it a joke? Was it a political protest? Was it quite simply just a cool hat?" By contrast, Reform magazine claimed that the hat had been designed as part of a publicity stunt for its independent journalism: "Although Tamás Király claims to be apolitical, he still designed a parliamentary fur hat for Reform".

The regime change presented Király with other travel opportunities. In June 1990, his show "Animal's Dreams" (part of a trilogy) was presented as an opening act for a Hungarian rock show at Melkweg of Amsterdam. Between 1989 and 1992, he presented no catwalk shows in his native country; from as early as 1987, he had refused to sell his creations through any boutique business. His focus was on art events and stable exhibits. In December 1990, at NA-NE Gallery on Pest's Lónyay Street, he exhibited work from the previous decade alongside architects and designers—including Gábor Bachman, Giorgio Soss, and János Czalbert-Halasi. Art historian József Vadas reported on the exhibition's "big surprise"—namely, that all members of the group, including Király, were taking direct inspiration from Cubo-Futurism and other currents of the early-20th-century Russian avant-garde.

Király had opened his own workshop in Józsefváros, and, as Szerényi notes, used it as a "base from which corridors lead to the wider world." He had by then embarked on a series of collaborations with "hundreds of actors", as well as his own artist friends—János Gasner [hu], Péter Sziámi Müller [hu], János Vető, and the members of Balkán Tourist [hu]. Throughout the 1990s, he rejected travel offers, preferring instead to stay in Budapest and pursue smaller, less commercialized projects. During early 1992, Király, alongside Marianna Pádé and István Ocztos, submitted a project to have Chain Bridge tunnel transformed into fashion runway for that year's World No Tobacco Day. According to legend, American avant-garde guru Allen Ginsberg promised to contribute a poem for the event, if it ever came through (which it did not). At that stage, the artistic relevancy of Király and his NA-NE group was seen as threatened by author György Szegő: "The question now is what will happen after the political opposition of the avant-garde is no longer needed. Or is it?" One of Király's exhibits, showcased in 1992–1993 at Székesfehérvár, was panned by Acsay: " are only shocking, interesting and strange if someone happens to call them clothes. Without this intentionally false label, the effect is considerably smaller and, what's more, highly doubtful. Tamás Király is much less convincing as a designer than as a visual designer and choreographer." He still enjoyed success, and in 1998 his town of Gyöngyös made him president of the local fashion show (he awarded top prize to a designer who had reused a car tarpaulin).

In the 2000s, Király returned with costumes for hair shows in London and elsewhere. In August 2001, he and fellow designer Krisztián Prokob produced a show for the Sziget Festival on Hajógyári Island. In May 2005, Király arranged for one of his fashion shows to be hosted by Mátra Cultural Center in Gyöngyös. Critic József Keresztesi gave it a positive review, arguing that Király's feat was outstanding in itself: "anyone who spent his childhood in a small town is aware of the risk of returning." The costumes presented were "pictures, very consciously selected, to intense musical accompaniment." That same year, fellow designer Kati Zoób referred to Király as "perhaps the greatest talent in domestic fashion design", noting that he still would not "sell clothes". He reportedly made most of his income from his costume design and from selling tickets to a worldwide audience of "Király fans". In 2007, critic Zoltán Hegyi made a similar observation: " the Hungarian underground fashion designer. The mainstream would take him, but he wants no part of it."

Death and legacy

Király was murdered on April 7, 2013, after an argument broke out between him and a man with whom he was possibly having a sexual encounter. According to initial reports, the man strangled him with a pair of suspenders and then robbed his home. In February 2014, shortly before sentencing, the murder weapon was revealed to have been a silk scarf, with authorities choosing not to disclose the motive; one report, ultimately sourced to RTL, alleged that the murderer had been diagnosed a schizophrenic. Court records identified him as "József L.", who "lives by loitering and sometimes prostitutes himself". He allegedly "testified that the fashion designer, upon learning that he was homeless, had invited him to sleep at his place."

As Trufelman notes, public perception of Király's works was negatively influenced by a hostile 2013 documentary that aired on TV2 and portrayed him as insane, and by coverage of his death that emphasized its scandalous aspects. The academic world took greater interest in his works after a 2014 exhibition at the art gallery Tranzit.hu, which was followed by a 2019 retrospective at the Ludwig Museum [hu] in Budapest. In July of that year, a "mini-exhibit", focusing on Király's private life, was opened at Pizzica Pizza restaurant in Terézváros. Its organizers were the designers son, Iliasz, alongside writer György Kozma and radio personality Tivadar Krausz. Trufelman profiled Király in a 2023 episode of her podcast about fashion, Articles of Interest, examining him as an example of fashion transcending capitalism. According to Trufelman, the difficulty of classifying Király's work, as well as lingering censorship of Hungarian arts institutions, has hampered efforts to preserve his legacy. His surviving designs are kept by the Museum of Applied Arts in Budapest, as part of its collections, though many were reportedly stored in poor condition as of 2023.

References

  1. ^ Bódi, Lóránt (28 November 2017). "Király, Tamás". COURAGE Registry. Retrieved 1 August 2023.
  2. ^ Hegyi 2007.
  3. ^ Tari (22 June 1998). "Jövő századbeli vigasságok" [Fun from the next century]. Heves Megyei Hírlap. p. 2.
  4. "Diáknapok 1971. Újabb hevesi sikerek" [Student Days 1971. Another great success]. Népújság. Az MSZMP Heves Megyei Bizottsága és a Megyei Tanács Napilapja. 26 May 1971. p. 1.
  5. ^ Szabó 2020, p. 61.
  6. ^ Trufelman 2023, 18 minutes in.
  7. Trufelman 2023, 10–11 minutes in.
  8. ^ Acsay 1993.
  9. ^ Domoszlai-Lantner, Doris; Egri, Petra (7 January 2020). "Tamás Király: Hungary's King of Fashion". Vestoj. Retrieved 1 August 2023.
  10. ^ -lyes 1989.
  11. K. A. (11 June 2016). "Nő a pult mögött" [Woman behind the counter]. Vasárnapi Hírek. p. 19.
  12. Trufelman 2023, 1 minute in.
  13. ^ Zoób 2005, p. 64.
  14. Trufelman 2023, 2 minutes in.
  15. Trufelman 2023, 19 minutes in.
  16. Trufelman 2023, 20 minutes in.
  17. Kádár 1984.
  18. Trufelman 2023, 28 minutes in.
  19. Trufelman 2023, 30 minutes in.
  20. Trufelman 2023, 31–32 minutes in.
  21. ^ Szerényi 1990.
  22. ^ Trufelman 2023, 15 minutes in.
  23. Trufelman 2023, 13 minutes in.
  24. Szabó 2020, pp. 61–62.
  25. Trufelman 2023, 22 minutes in.
  26. Trufelman 2023, 24 minutes in.
  27. Trufelman 2023, 35 minutes in.
  28. ^ Gábor, Gina (20 October 1992). "A Király régi és új ruhái. 'Csak azt csinálom, amit szeretek'" [The King's old and new clothes. 'I only do what I love']. Fejér Megyei Hírlap. p. 5.
  29. ^ K.Sz. (8 July 2019). "Éljen a Király!" [Long live the King!]. Népszava. p. 12.
  30. Trufelman 2023, 13–15 minutes in.
  31. Herskovits 1990, p. 30.
  32. ^ Szegő 1990, p. 66.
  33. ^ Vadas 1990. sfn error: no target: CITEREFVadas1990 (help)
  34. Trufelman 2023, 33 minutes in.
  35. Érsek, Zoltán M. (29 March 1992). "Füstmentes napon. Buli az alagútban" [On a smoke-free day. Party in the tunnel]. Vasárnapi Hírek. p. 10.
  36. Trufelman 2023, 34 minutes in.
  37. Jávorszky 2012, p. 151.
  38. Keresztesi, József (20 May 2005). "Vissza a városba" [Back in town]. Magyar Hírlap. p. 21.
  39. ^ Huszár, Krisztina (1 April 2014). "Nadrágtartóval fojtották meg a magyar divattervezőt" [Hungarian fashion designer strangled with a trouser hanger]. 24.hu [hu] (in Hungarian). Central Médiacsoport Zrt. [hu]. Retrieved 1 August 2023.
  40. Trufelman 2023, 36 minutes in.
  41. "Király Tamás gyilkosa skizofrén" [Tamás Király's killer is schizophrenic]. Népszava. 27 February 2014. p. 16.
  42. "Előzetesben Király Tamás gyilkosa" [Hearing held for Tamás Király's murderer]. Tolnai Népújság. 13 April 2013. p. 1.
  43. Trufelman 2023.
  44. Trufelman 2023, 39 minutes in.
  45. Trufelman 2023, 40 minutes in.

Bibliography

  • -lyes (1989). "Szeretemelháríló ruhaköltemény" [A love-repellent clothes' poem]. Reform. II (27): 43.
  • Acsay, Judit (1993). "Rongyos bál. Király Tamás ruhái a székesfehérvári Csók István képtárban" [A ragtag ball. Tamás Király's clothes in the István Csók gallery in Székesfehérvár]. Kritika (2): 45.
  • Hegyi, Zoltán (2007). "Stílus. A király" [Style. The king]. Magyar Nemzet Képeslap. LXX (267): 19.
  • Herskovits, Iván (1990). "Megmérettetés Hollandiában" [Competition in the Netherlands]. Magyar Ifjúság. XXXI (29): 30–31.
  • Jávorszky, Béla Szilárd (2012). Sziget 1993–2012. 20 év hév [Sziget 1993–2012. 20 years of heat]. Kossuth Kiadó. ISBN 978-963-09-7093-8.
  • Kádár, Kata (1984). "Filmforgatáson. Az Emberevő szerelme" [On a film set. A Man-eater's Love]. Film Színház Muzsika. XXVIII (43): 14.
  • Szabó, Eszter Ágnes (2020). "Blue Blue Electric Blue... Ziggy Stardust felemelkedése és..." ['Blue Blue Electric Blue...' The rise of Ziggy Stardust and...]. Tiszatáj. LXXIV (7–8): 49–62.
  • Szegő, György (1990). "Panoráma. NA-NE Galéria" [Panorama. NA-NE Gallery]. Új Művészet (3): 66–67.
  • Szerényi, Gábor (1990). "Király divat király" [Király the fashion king]. Ifjúsági Magazin (4): 50.
  • Trufelman, Avery (5 July 2023). "Fashion Without Capitalism". Articles of Interest (Podcast). Retrieved 31 July 2023.
  • Zoób, Kati (2005). "Nem tudni, kiből lesz vevő" [Buyer unknown]. Figyelő. XLIX (50): 64–65.
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