Indholdsfortegnelse for Autumn/Winter 2021 i AnOther Magazine

We live and learn. It’s not only impossible but inconceivable to disregard the events of the past 18 months – shifts in the minutiae of the everyday accompanied by societal structures reassessed, re-evaluated and even torn down to be rebuilt. We have lived through, and continue to live through, moments of profound change. And fashion, always a mirror of the world, reflects that. While considering this issue of AnOther Magazine, we thought of different ideas that felt tied to the moment. The most pertinent seemed to be ‘hindsight’ – namely, the knowledge to be drawn from a situation after its occurrence, the reasoning why, and the importance not just of lived experience but learnt experience. Such lessons are applicable not only to the fashion industry but also a wider cultural…

We are living in a new era of Paris Hilton. Last year, the original, pastel-pink influencer and heiress embarked on a campaign to protect a new generation of students from the institutionalised abuse she says she suffered while attending a Utah boarding school for ‘troubled teens’. She then took a chameleonic turn in Lanvin’s Spring/Summer 2021 campaign, and now she has turned her hand to digital art, creating a series of mesmerising, colour-drenched NFTs (an acronym that stands for non-fungible tokens – unique, collectible digital assets) that depict life in the virtual space of her metaverse. Created in collaboration with rising Los Angeles-based artist Blake Kathryn, Hilton’s works feature subjects – herself, her bedroom, a beloved pet – that are transported into candyfloss-like clouds. Meanwhile she is also the star…

The DIY spirit has always burned bright in the Walsallraised, London-based musician, filmmaker and producer Wesley Joseph. The 25-year-old started out as a founding member of the radical rap and production collective OG Horse in his hometown before heading to London to study film in 2016, all while crafting music in a makeshift home studio. With sinewy, elastic beats that hop between genres and sensual lyricism, his self-produced debut album, Ultramarine, dives deep into romance and infatuations, nostalgia, loss and thrill. While his selfdirected visuals flirt with neo-noir and the surreal, Joseph’s sound oscillates between R&B and future funk, delivering vocals with the ice-cold flow of André 3000 and the textured aesthetics of Jai Paul. It’s in this bombastic affinity between screen and sound that the artist’s worldexpanding storytelling comes…

Manolo Blahnik celebrates the 50th anniversary of his business this year. The most feted shoe designer of our time, his work has been exhibited in major international museums and purchased by discerning women for half a century. After growing up in Santa Cruz de la Palma in the Canary Islands, he studied law and literature in Geneva, before moving to Paris in 1968 and then to London, intending to pursue a career in set design. In New York in 1969, he met Diana Vreeland and showed her his portfolio – she told him to make shoes, which he did. Vreeland went on to wear paper-flat pumps that he designed especially for her for most of her life. Between then and now, Blahnik has made shoes for everyone from Ossie Clark…

The jewellery designer Rosh Mahtani has strong feelings about the nuances of translation. Over Zoom, with piles of chunky gold chain bracelets jangling, she reels off the first terzina of Dante Alighieri’s Commedia – The Divine Comedy – in Italian, before sharing her own interpretation of the text. She knows the quote by rote: “In the middle of the journey of life, I found myself in a dark wood where the right path was obscured.” It’s her own interpretation, sort of – a mishmash of all her favourite variations. “Some people translate it as, ‘the correct way was unclear’. I’m like, ‘No, it needs to be obscure. It says oscura.’” Obscure, meaning unclear but also dark or dim, is preferable to Mahtani for its complexity. The finer details are important…

Channelling the energy of the Tokyo underground, Yoon Ahn’s Ambush collection echoes a multitude of subcultures, creating a new wardrobe that encompasses elegance, luxury and rebellion All clothing and accessories from the AMBUSH Autumn/Winter 2021 collection Hair: Ryan Mitchell at Streeters using DYSON. Make-up: Laura Dominique at Streeters using Autumn/Winter 2021 Tone on Tone, Sublimage Le Baume and La Creme Corps et Decollete by CHANEL. Models: Dries Haseldonckx at Tomorrow Is Another Day, Fien Maes at Rebel Management and Clorey at Menace Models. Casting: Noah Shelley at Streeters. Set design: Julia Dias at The Wall Group. Photographic assistant: Jimmy Mould. Styling assistant: Fergus O. Hair assistant: Kirsten Bassett. Make-up assistant: Katrina McLeod. Set-design assistants: Sam Edyn and Kettivy Hor…

All clothing and accessories from the CHANEL Autumn/Winter 2021 collection Hair and make-up: Ana Buvinic at Basics Berlin. Model: Fiona Reventlow-Grinling. Casting: Mollie Dendle at Mini Title. Photographic assistants: Chaemus Leonard Mac, Esme Thompson-Turcotte and Laura Zepp. Styling assistant: Jil Gielessen. Production: Philip Bode and Yfke Ossentjuk at RCP Berlin. Production assistant: Hermann Sobe. Post-production: MCD Creative…

High-neck elastic viscose body with cut-out waist and embroidered tulle underwear by GUCCI. Scrunched PVC trousers by VAQUERA. Bonnet and necklace (worn as a belt) as before. And velvet platform Mary Janes by MARC JACOBS Hair: David Harborow at Streeters. Make-up: Thom Walker at Art and Commerce using CHANEL. Model: Meadow Walker at DNA Models. Casting: Ben Grimes at Webber. Set design: Louis Simonon at The Magnet Agency. Manicure: Saffron Goddard at Saint Luke using Le Vernis in Ballerina and La Crème Main by CHANEL. Photographic assistant: Pierre Lequeux. Styling assistants: Giulia Bandioli, Emma Bundy, Kristina Agynayeva and Imaan Sayed. Set-design assistants: Macy Trieu Dingle and Tomomi Kishimoto. Production: Ayesha Arefin at Together and Susannah Phillips at Truro Productions. Post-production: Lever Post. Location: Eaton House Studio…

Vest as before. Laminated jersey shorts by SAINT LAURENT BY ANTHONY VACCARELLO. Faux-fur coat and laminated jersey shorts by SAINT LAURENT BY ANTHONY VACCARELLO. Earrings as before Hair: Nikki Nelms at Ice Studios using MAUI MOISTURE. Make-up: Nina Park at Kalpana using YSL BEAUTY. Manicure: Aki Hirayama at Tracey Mattingly using YSL BEAUTY. Set design: Maxim Jezek at Walter Schupfer. Digital tech: Jarrod Turner. Lighting: Ari Sadok. Photographic assistants: KT Tucker and Rob Orlowski. Styling assistant: Taryn Bensky. Set-design assistants: Odin J Grina and Natalia Janul. Executive producer: Shea Spencer at Artists Commissions. Production: Jemma Hinkly at Artist Commissions and Alana Amram at Hen’s Tooth Productions. Production assistant: Donovan Powell. Post-production: Two Three Two No one can resist the allure of Zoë Kravitz. Not the waifish model-cum-waitress serving us at…

“The show in the mountains was personal - exactly that,” Miuccia Prada says. Entitled Brave Hearts, it was filmed in March 2021, with Europe in the throes of the third wave of the pandemic. With references to both Tyrolean and Highland dress, Miu Miu’s Autumn/Winter collection also draws on the dress codes adopted by its designer as a young woman. Those were unconventional. “I had so much fun in the mountains, skiing in a skirt,” she remembers. “I skied in a bikini too. I did it back then. It was perfectly normal. And the mountains are my favourite place in the world. I am in love with the mountains. I enjoy them at any moment, under every circumstance. I don’t know why.” Prada’s clothing designs have always been drawn from…

CHARLES JEFFREY “There’s no denying that Vivienne and Andreas have paved the way for me and my work. I feel like I’m from the same planet as them and have my own little island on it. Matty, too. It’s like we are sending smoke signals to each other and sending ships across the sea, with good tidings.” MATTY BOVAN “Growing up I saw the world a bit differently, and I believe Vivienne did too. She doesn’t believe in conformity, and she and Andreas like to push the idea of what is acceptable. That is a great, great thing to do and why their work speaks to so many people worldwide. Vivienne has taught me to truly believe in myself and to gain knowledge of how and where things are made.…

# 1017 ALYX 9SM alyxstudio.com 4 Moncler Hyke moncler.com A Acne Studios acnestudios.com Adidas adidas.co.uk Alexander McQueen alexandermcqueen.com Alighieri alighieri.co.uk Alina Ispas instagram.com/alinaispas Ambush ambushdesign.com Andreas Kronthaler for Vivienne Westwood viviennewestwood.com Asai asaitakeaway.com Atlein atlein.com Atsuko Kudo atsukokudo.com B Balenciaga Couture couture.balenciaga.com Berluti berluti.com Bianca Saunders biancasaunders.com Blumarine blumarine.com Bottega Veneta bottegaveneta.com Burberry burberry.com Burlington burlington.de C Cartier cartier.com Cave Things cavethings.com Cecily Ophelia cecilyophelia.com Chanel chanel.com Charles Jeffrey Loverboy loverboy.net Charvet charvet.com Chato Lufsen chatolufsen.shop Chie Kaya instagram.com/kayachieee Chopova Lowena chopovalowena.com Cinabre cinabre-paris.com Clément Picot instagram.com/clementpicot Comme des Garçons Homme Plus doverstreetmarket.com Commission commission.nyc Cormio cormio.com Costume Studio costumestudio.co.uk Courrèges courreges.com D David Weksler davidweksler.com De Pino instagram.com/_de_pino Dilara Findikoglu dilarafindikoglu.com Dior dior.com Dries Van Noten driesvannoten.com Dsquared2 dsquared2.com Dunhill dunhill.com E ERL erl.store Eleanor Butler-Jones eleanorbutlerjones.com Elissa Poppy…

Momo Taro, 1977-1978 Storm King Art Center, New Windsor, New York, USA Granite Akari Light Sculptures, 1951-1988 Paper, bamboo and metal Noguchi Coffee Table (IN-50), 1944 Wood and glass Floor Frame, 1962 White House Rose Garden, Washington DC, USA Bronze Black Sun, 1969 Volunteer Park, Seattle, Washington, USA Granite Horace E Dodge and Son Memorial Fountain, 1981 Philip A Hart Plaza, Detroit, Michigan, USA Stainless steel, granite and water Philip A Hart Plaza, Detroit, Michigan, USA 1971-79 Bolt of Lightning … Memorial to Ben Franklin, 1933-84 Monument Plaza, Philadelphia, Pennsylvania, USA Stainless steel Challenger Memorial, 1985-87 Bayfront Park, Miami, Florida, USA Steel and paint What Is Sculpture? US Pavilion, Venice Biennale, Venice, Italy, 1986 Play Mountain (model), 1933 Plaster Contoured Playground (model), 1941 Plaster Riverside Park Playground (model), 1963 Plaster…

Brazilian artist Paula Garcia explores ideas of resistance in her work, building her creative process through rupture, denial and uncertainty. In the following essay she discusses Noise Body, a performance during which she is locked into a suit of magnetised armour and covered in heavy metal objects, before a group of collaborators throw handfuls of large nails at her. The jagged sound of metal colliding with her armour ricochets around the gallery space until Garcia can no longer stand under the weight of material. In her subsequent work, Crumbling Body, the artist again harnessed magnetic forces, which act for her as an analogy of the invisible forces – social, political, psychological – that control us, as well as a way of exploring both the limits and the strengths of the…

The body can be used as a powerful tool. I use it to conceive sociopolitical genealogies and statements; it is the medium through which I visualise ‘body politics’ as it has been established in today’s society. Through my practice I observe how state institutions enforce abstract power interests over the individual by way of accessing our biologies. My works are site-specific performances that seek to leave traces of temporality throughout mythological or historical events. In the case of a performance artist, the human need for legacy could be considered the implicit knowledge that is transferred from body to body and operated beside any form of tangible material boundedness. Ultimately, the shared experience of the performance act is all that remains. For the 175-hour performance I presented at the first Bangkok…

Turkish artist Halil Atasever grounds his practice in reflections of the human condition. Using familiar objects such as fabrics, prayer rugs or clothes, he seeks to establish a clear visual language that reveals multiple layers of meaning during his performances. Here he describes his work Slaughterhouse, a confrontation with white-collar identity and its promise to provide protection and prosperity while increasingly tying employees down. Cross-legged on the floor of a cavernous gallery space in Istanbul, Atasever quietly unpicked the seams of dozens of white shirts, laying each piece of fabric on the floor until they created a vast, imprisoning mosaic. The meditative performance was part of Akış/Flux, a collaboration between Sakıp Sabancı Museum, Akbank Sanat and Marina Abramović Institute. “Every day was a new therapy session in which I constantly…

AVENA GALLAGHER styles ZOË KRAVITZ p284 What did you and Collier Schorr want to capture in the shoot with Zoë? We wanted to capture a very ‘raw’ image of her… something intimate, but more than that – something unproduced somehow. What piece of advice would you give your younger self? I would tell teen me to throw out any expectations that were imposed upon me. I tried too hard to meet the expectations of the adults in my life to a point where their expectations usurped my own hopes and it got really confusing. I had no compass. I would advise myself to follow every inner attraction or intuition and let that lead. LYNETTE NYLANDER interviews ZOË KRAVITZ p284 Describe Zoë in one word. Alluring. What was the most memorable…

“I first discovered Lynette Yiadom-Boakye when I was applying to the Royal College of Art. My sister and I came across an exhibition of hers at the Serpentine Gallery and I remember thinking, ‘Wow, this is the best thing I’ve ever seen in my life.’ I immediately went home to study her work and fell in love with it even more. I was most interested in the idea of creating a character by combining different forms of imaginary people – which is something I like doing in my own work. I’m fascinated by the way multiple people are able to identify with the figures in her art. She paints her fictitious subjects with certain movements and gestures, and you can imagine that person’s scars. It’s so interesting – I often…

“Brazilian music has always been very important to me – there’s so much expression in the melodies and Brazilian singers have incredible, distinct vocal tones. When I was younger I read a Quincy Jones quote that described Simone as one of the world’s greatest singers, and I had to find out who she was and why her voice was so special. When I was growing up, my voice didn’t really fit with other people’s around me, and listening to Simone gave me confidence in that. There’s one song of hers called Jura Secreta, which is just her and an electric piano. I was sold from then on – I love production but vocals are really what move me, and her voice is the emotional anchor of the song. Whenever I…

“With freediving you take one breath and swim down to the depths of the ocean. I’ve been doing it for a little over a year and it’s really influenced my relationship with my body and my mortality. There’s a place in Koh Tao, Thailand, called New Heaven Dive School that teaches ocean conservation and a course linking yoga with freediving. It’s quite primordial and scary to begin with, but when you bring it back to yoga practices it’s all about the breath. My teacher talks about freediving as a wedge with a threshold - a boundary you don’t cross, like running out of air and passing out. But metaphorically, in life there are boundaries and the wedge opens more space for you to exist without crossing that boundary. It’s not…

“Plantasia was written by Mort Garson in the Seventies. I believe the album was made for plants, to help them grow. I remember being in Los Angeles a couple of years back with a friend who was like, ‘Let me play you a record you’re gonna love.’ I swear I was blown away. It was a mind-blowing experience for me. Plantasia oozes sugariness. I don’t know much about Mort Garson but listening to this record gives me a very vivid picture of him, even if it’s just my projection of what he would have been like. In my mind he’s a very kind figure, someone who probably acts quite childlike sometimes and is very playful. That’s a quality that I really look up to when it comes to making music.…

Gilding the lily: celebrating a half-century of creativity, Manolo Blahnik devises an all-gold capsule collection reimagining a cache of his classic silhouettes All footwear from the MANOLO BLAHNIK 50th anniversary capsule collection Model: Anissa Ennouhi at See Models. Set design: David de Quevedo at Cadence Image. Photographic assistant: Maxime Bony. Styling assistant: Sara Maria Perilli. Production: Amy Siddons at Visual Artist and Wendy Truong at Producing Love. Post-production: Maison Moiré. Shot on location at Paul Bert Serpette antiques market, Paris MARTE AT A GAS STATION DOCUMENTED BY JOEL MEYEROWITZ, CASTIGLIONE D’ORCIA, TUSCANY APRIL 2021 TWILIGHT DOCUMENTED BY JOEL MEYEROWITZ, BIBBIANO, BUONCONVENTO, TUSCANY APRIL 2021 TEXTURED WALL DOCUMENTED BY JOEL MEYEROWITZ, BONNIEUX, PROVENCE APRIL 2021…

Introduced 26 years ago, the Lady Dior bag is an emblem composed of emblems – quilted with cannage patterns taken from the Napoleon III-style chairs of Christian Dior’s own salon and hung with charms shaped in the maison’s neoclassical logotype. It has been reinvented by Maria Grazia Chiuri for the 21st century – a timeless icon, now newly timely Janet is wearing a wool and silk dress, cannage leather Lady Dior bags, printed silk scarves (wrapped around the handles), woven cotton bracelets, wool socks and D-Chess heart-motif neoprene trainers by DIOR This page: Michelle is wearing a wool and silk dress, cannage leather Lady Dior bags, printed silk scarves (wrapped around the handles), woven cotton bracelets, wool socks and quilted nylon trainers by DIOR. Opposite: Janet is wearing a wool…

Blurring day and night, formal and casual, men’s and women’s, Dami Kwon and Jessica Jung’s Weiidone explores the contradictions and juxtapositions inherent in the way we dress All clothing and accessories from the WE11DONE Autumn/Winter 2021 collection…

Hair: Ramona Eschbach at Total. Models: Abdou Diop at Rock Men and Mouhameth N’diaye at Hakim Model Management. Casting: Piotr Chamier at Streeters. Photographic assistants: Django Tetteroo and Salome Perroton. Styling assistants: Andra-Amelia Buhai, Cosima Menier and Agustin Chuliver Perez. Grooming assistant: Isabelle Lefebvre. Casting assistant: Benedikt Hetz. Production: Mini Title. Producer: Thomas Darnal…

Travis Scott is difficult to pin down – literally, for an interview or a photographic shoot, but also ideologically. He eschews and evades easy categorisation. Sure, he’s a musician – he has one of the highest profiles of a new generation of rap artists. Yet to see Scott as just that is to miss the point: whether creating a McDonald’s meal - he is the first celebrity to have one named after him since Michael Jordan in 1992 – performing a virtual concert on gaming platform Fortnite, or remaking himself as a modern media mogul, Scott embodies creativity in the 21st century. While somehow juggling an aura of mystery with a stratospheric level of fame, he matches a hazy, autotune-inflected musical output that defines the sound of modern hip-hop with…

Hair: Anthony Turner at Streeters. Make-up: Lynsey Alexander at Streeters. Models: Daan Duez at Rebel Management and Lulu Tenney at Ford Models. Casting: Michelle Lee Casting. Manicure: Lotje Vleugels. Digital tech: Henri Coutant. Lighting: Romain Dubus. Photographic assistant: Samir Dari. Styling assistants: Niccolo Torelli, Louise Pollet and Jasmien Van Loo. Hair assistant: Harriet Beidleman. Make-up assistant: Raffaele Romagnoli. Producer to Willy Vanderperre: Lieze Rubbrecht. Production: Mindbox. Producer: Isabelle Verreyke. On-set producer: Lise Luyckx. Production manager: Roel Van Tittelboom. Production assistants: Charlotte Dupont and Marteen Rose. Post-production: Triplelutz Paris “It’s like pornography.” Alessandro Michele uses typically atypical terminology to describe his latest Gucci collection. In an ongoing challenge to traditional seasonal nomenclature, he has called it Aria, the operatic term denoting a self-contained piece for a solo voice. Which is ironic,…

Hair: Soichi Inagaki at Art Partner. Make-up: Anne Sophie Costa at Streeters using MAC. Hair colourist for Louise Robert: Tasha Spencer at Bleach London. Models: Louise Robert at Viva London and Zinnia Kumar at The Society Management. Casting: Noah Shelley at Streeters. Digital tech: Christopher Blythe at Lightmill. Photographic assistant: Pierre Lequeux. Styling assistant: George Pistachio…

The multifarious work of Isamu Noguchi has travelled the globe, redefining the boundaries of sculpture both during his lifetime and beyond. In celebration of his creativity and to coincide with a new retrospective at London’s Barbican, the acclaimed New York-based novelist Katie Kitamura conjures a dozen illuminating fragments inspired by the visionary Japanese-American artist’s life and work. Her writing is presented alongside photography capturing fresh perspectives of the artist’s works housed at the Noguchi Museum in Queens, New York, which is dedicated to preserving his legacy. 1 Momo Taro sits atop a hill at the Storm King Art Center in upstate New York. A sculpture in nine parts, it is set low to the ground and centres on a large split boulder. One side is hollowed out into a sizeable…

Legacy is a big word for an artist. Part inheritance and part archive. Especially for a performance artist. How can I possibly convey the mindset, the values, the process behind good performance art? Performance art is experiential. It is in the ‘here’ and the ‘now’. You have to be present. You need to be present. How do we reanimate the documented but un-documentable? How do we share something that existed – but is no more? How do you archive emotions? Perhaps we cannot. At least not in the classic sense. What we cannot do on paper, film or any known modality, or any that will be invented in the future, we can do through other people. Artists and participants. Through their hearts, minds and memory. Performance is participatory. There is…

“We’ll defend ourselves with truths ancestral strengths changing moons” we will defend We’ll defend ourselveswith our fistsour nailsour teethour vocal cordsour vaginasour uterusesour ovaries. We’ll defend ourselves with truthsancestral strengthschanging moons. We’ll defend ourselves with poemsweavingsdrawingsvoice. We’ll defend ourselves, eachand every one of usbecause together we’re oneand without even one of uswe won’t be all of us. We’ll defend ourselves, all of usbefore we all falland not a single one of usremains. Vamos a defendernos entre todasy cada unaporque todas somos unay sin unano somos todas. Vamos a defendernos entre todasantes de que todas caigany de nosotrasno quede ninguna. hundred seeds For every cornfield you burnwe’ll plant a hundred seeds For every foetus you killwe’ll raise a hundred children For every woman you rapewe’ll come a hundred times For every…

Calçados de Monstro (Monster Shoes) The improvisation involved in creating an outfit for a party was the start of Estileras – the point where self-expression meets reality. The impulse of translating the excitement and anticipation of a night out revealed a pattern of deconstruction of clothing, a glimpse of a practice where the aesthetics are defined by defiance. By finding new ways to wear old clothes, playing with already-made stitches and using our limited mastery of sewing (safety pins everywhere), fashion conventions can be twisted. We found that performance was the perfect space for sharing our process while also embracing the risk of reality, letting errors into our not-so-final works. For Calçados de Monstro (Monster Shoes) we created a live web series of the same name where the premise was…

Slaughterhouse was a 22-day long performance: the main act was to unstitch 52 men’s white shirts with a seam ripper six hours a day in front of a dark blue wall. It was a fascinating opportunity to perform a long-durational piece curated by MAI in Sakip Sabanci Museum. And a tiring experience as a whole. Waiting for the driver to give me a lift to the museum, watching the streets sliding by, passing the Bosphorus Bridge and finally reaching the museum in the middle of the pandemic. Changing clothes, going to the toilet one last time and starting to unstitch. Six hours a day, the same action, over and over again. Arriving back home at about 7pm. Eating healthily with my elderly diabetic mom and watching TV. MasterChef Turkey is…

“There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time. This expression is unique, and if you block it, it will never exist through any other medium, and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is…

“To me, anarchy means to be mentally free. Important is not the right word – this is the basic principle of my life. I’ve rebelled against almost everything. I first encountered the anarchy symbol in music and movies – as a kid, I loved media with strong characteristics. I felt digging into those arts was anarchic and liberating. People who seek spiritual liberation are anarchists. This philosophy is deeply rooted within me, so it’s difficult for me to explain in words. It is not about my design in particular, it is more about my perspective of the world and how I come up with designs. Something invisible. Recently I applied a circle-A, the anarchy symbol and an iconic emblem of punk culture, to the back of a simple chair [as…

“The Womb [2019] by Tala Madani is a very short piece of video art – 3 minutes, 26 seconds. I first saw it at Madani’s mind-blowing show Shit Moms, at David Kordansky Gallery in Los Angeles in the fall of 2019, when we had no idea of the 2020 awaiting us around the bend. Even then, I had the strong feeling that The Womb was a necessary – urgent, even – preparation: for the foetus, most obviously, who here gets a crash course on the history of the world, with all its absurdity, technology and violence – but also for the mother, who houses the projection, and the viewer, who is made aware of her own entrapment in the nightmare of history. Like much of Madani’s work, the triumph of…

“We’re in a moment of profound change and that has called for us to rethink the role of artists. I’m interested in artists who are taking social concerns and thinking them through creatively. Like Linda Goode Bryant, who thinks about space with real-life consequences and created an urban farm initiative. She uses farming like a painter uses a brush. Or the photographer Tyler Mitchell, who imagines a new type of figure. Or Amy Sherald, who asks what a new American image might look like in her paintings. Then you have Mark Bradford, who is exploring how to rebound as a community. And Kehinde Wiley, who is translating his painting practice into a space that allows younger artists to have the opportunities that he’s had. These are artists who are not…

“There is this documentary that I love, from 2012 – The Sound of Belgium, about the Belgian clubs that had a huge influence on music between 1985 and 1995. It became mainstream, the Benelux techno sound, the new beats. I really lived it. What I love is that it shows lots of passionate people and how they made this new sound – disco arrived, then punk. In the documentary, you see how it develops, this music with a cold wave, punk attitude but with a disco sound. The bass was more rounded, more heavy. The first club dedicated to this was called Boccaccio – it was like a temple. It was mirrored, like Studio 54, but playing this dark, heavy sound inside. All this, in the Belgian countryside – my…

“The WilliWear universe was very free, and free from the confines of the fashion industry – both how it was then and still is now. In Willi Smith, I see someone who was creating what they wanted to create, despite the invisible obstacles – or visible obstacles – you hit as a Black queer person. I relate to his being in the fashion sphere and not giving a shit about the establishment. When he was designing his studios with rule-breaking architectural practice Site, Willi said that he wanted his spaces to be the exact opposite of what a Ralph Lauren studio looked like. That’s how I feel about where Oswalde sits in the design world. I think Smith was one of the forefathers of fashion culture as we know it…

When Telfar Clemens went to sign the contract for his new home in Bedford-Stuyvesant, Brooklyn, he spotted a woman walking into the house next door carrying a box-shaped, medium-sized orange shopping tote with double shoulder straps, top handles and an embossed TC logo. She looked at him, pointed at the bag and realised her new neighbour was the designer behind her Bushwick Birkin, a nickname coined by multimedia artist Xya Rachel for the faux-leather Bloomingdale’s-inspired shopping bag. “It’s everywhere, I see it on people all day,” says Clemens. “Whenever we meet someone with it, we’re immediately connected because they get us,” adds Babak Radboy, the artistic director of Clemens’s label Telfar. “That’s what makes our customers so special.” Radboy has known Clemens, now 36, since the two were teenagers. “We…

Pragmatic yet dramatic, Moncler’s latest collaboration brings together the signature volumes and technical prowess of the beloved Italian luxury brand with the finely honed purity of Japanese minimalists Hyke All clothing and accessories from the 4 MONCLER HYKE Autumn/Winter 2021 collection Hair: Kiyoko Odo at Bryant Artists using AMIKA. Make-up: Laura Dominique at Streeters using MAC. Model: Georgia Palmer at IMG. Casting: Noah Shelley at Streeters. Digital tech: Tim Grant. Photographic assistants: Edward Boumier, Sebastian McCluskey and Hayleigh Longman. Styling assistant: Charlotte Harney. Hair assistant: Kyosuke Tanzawa. Production: Thea Charlesworth at TheArcade Production. Production assistants: Ash Thomas at TheArcade Production and Poppy Thorpe at Webber…

Hair: Chi Wong at MA and Talent using ORIBE. Make-up: Siobhan Furlong at LGA Management using MAC. Model: Jip Boxstart at Matt Models. Body model: Lilith Newson. Casting: Gabrielle Lawrence at People-file. Set design: Staci-Lee Hindley. Photographic assistant Bradley Polkinghorne. Styling assistant: Julia Veitch. Production: Mini Title…

“Fear.” The designer Demna Gvasalia is talking about the emotions, namely his own, triggered by the daunting task of presenting his first couture collection. It’s May 2021 - the show is in July. “This is a little bit like a therapy session,” he’ll later add, laughing. His feelings are heightened because this couture collection is not just for himself, but for the august, austere house of Balenciaga, where couture - arguably - was raised from applied to pure art at the hands of its founder, Cristóbal Balenciaga, a legend in his own lifetime, deified since. He retired in 1968 and died in 1972. Couture bearing the label Balenciaga has never been designed by anyone other than him - until now. “This is the house where couture for me is kind…

Before she began her career in fashion, half a century ago now, Vivienne Westwood trained as a primary school teacher. It’s a mindset that has informed her work from the outset – occasionally, she still describes herself as a teacher, and has always created clothes that reflect that – to communicate a theory, to educate. Great teachers inspire: through her unparalleled creativity Westwood has tutored entire generations. For more than a decade her focus has been to draw attention to the plight of the planet through her clothes, of course, and also powerful graphics that trace back to her work in the 1970s. Her latest is a pack of playing cards that lays out a strategy to save the world. Across these pages, pieces by Westwood and her former pupil…

Quinn is wearing a mixed wool jumper with front seam by RAF SIMONS. Long velvet dress by OFF-WHITE C/O VIRGIL ABLOH Quinn is wearing an oversized printed nylon down jacket by KENZO. Laced polyester padded coat by OTTOLINGER. Off-the-shoulder satin dress by FENDI. Hooded leather gilet by GIVENCHY. Skirt, trousers and Mary Janes as before. Mohair bonnet by MIU MIU. And stylist’s own socks…

Over his six-decade career, the artist Isamu Noguchi’s body of work expressed his deep humanist values and democratic belief that art should be accessible to all. He created sculptures, but also sunken gardens, costumes and props for George Balanchine, sets for Martha Graham and mass- produced goods from Bakelite baby monitors to lamps and modernist coffee tables. Born in LA in 1904, Noguchi moved to Japan with his American mother aged two, living there until he moved to school in Indiana at 13. Those formative years shaped a peripatetic artist: he would later complete an apprenticeship in Paris with Constantin Brâncuși in 1927, spend time in Mexico with Frida Kahlo, be voluntarily interned in a camp in Arizona during the second world war and go on to keep studios in…