Innehållsförteckning för Spring 2021 från Dazed & Confused

As Dazed kicks off its 30th year, this issue marks the closing of a chapter and the start of a new era. We’re welcoming Ib Kamara as our new editorin-chief and Lynette Nylander as executive editorial director. It’s been a true honour to edit the magazine since 2015 – through wild rides, late nights in the office and 5am texts from cover stars (love you, Frank) – collaborating with a creative family like no other. What’s so special about a magazine like Dazed is that it’s always in flux, passing through so many different hands and lenses. It’s bigger than any one individual, it’s the spirit of the moment. With that said, I want to honour the team at the heart of that, who’ve made the magazine what it is…

In a YouTube video from late October 2020, a 15-year-old rapper called glaive frolics in the woods dressed as a raccoon. He peeks over at a log cabin, where he and a small cohort of other teenage woodland creatures, including fellow artist ericdoa, begin raiding the bins. “I’m so pissed, I’m angry as fuck / I wanna kill myself, but you’re calling my bluff,” glaive sings in an unaffected tone over a chirpy chiptune beat. Listened to more than 1.5 million times, it has a pounding, pixellated style that is both insanely catchy and unsettling. It’s what you would imagine 2020 to sound like if you plugged it into a sound deck and simultaneously smashed it against the wall. Despite only making music since the beginning of the pandemic, the…

Róisín Tapponi Founder of Habibi Collective Reman Sadani Artist and filmmaker “Seeing the hard work happening on a grassroots level gives me a lot of hope. No one is waiting to be given access to the industry and I think the recent migration of screenings and artwork to the digital space presented many questions on the role of institutions and gatekeepers in the (industry). I found it interesting to see galleries holding screenings online to maintain some online presence during lockdown. I asked myself a lot whether we need these institutions at all. I believe no film is ever complete. They’re all experiments and many are invitations to remember and to take a look at the present and the future. So I hope that we come together in some form…

For those of a certain age and inclination, that iconic phrase – sing-songed by the equally quintessential Kristen Bell – represents a weekly escapist retreat into the fictional lives of the young, rich and scandalous of Manhattan’s Upper East Side. Based on the Cecily von Ziegesar novel series, Gossip Girl debuted in September 2007, just before the economy collapsed and Barack Obama won the presidential election – respectively, the ruinous and uplifting milestones that kicked off a rollercoaster of a decade for millennials. In its six seasons, the infamous teen drama thrilled and frustrated a generation. It was aspirational in style and taste: characters like Serena van der Woodsen and Blair Waldorf became style icons who helped move serious units of alice bands for New York-based designers and beyond. Gossip…

@BlairWaldorfs + @2000snowbunny both ask: “Who was your favourite character from the original Gossip Girl?” All girls, at once: Lily. Whitney Peak: Dude, yes. Lily’s badass. Evan Mock: I like Dan. Girls: Aww. @BlairWaldorfs: “Which of you is most likely to be Gossip Girl, according to her way of being?” Emily Alyn Lind: Probably Whitney. WP: But I feel like I wouldn’t. Jordan Alexander: Not like you’re mean – but, like, you know everything. EM: Everything. EAL: If we need information on anything, we’re like, ‘Whitney, can you figure it out?’ @BlairWaldorfs: “Have you been inspired by any of the old Gossip Girl characters in developing your own?” WP: I would say so, for sure. But I can’t say who because that could give it away... There’s nobody specific, it’s just kind of…

Hair Amidat Giwa at Bryant Artists, make-up Siobhan Furlong at LGA Management using M.A.C, models Aweng Chuol at Models 1, Janet Jumbo at IMG, set design Julia Dias at The Wall Group, photographic assistants Ed Barrett-Bourmier, Pedro Faria, Ashleigh Ramel, Abena Appiah, styling assistants Andra-Amelia Buhai, Katie Dulieu, hair assistant Avrelle Delisser, make-up assistant Sunao Takahashi, set design assistant Kettivy Hor, production Gracie Yabsley at LG Studio, production assistants Chloe Anderson, Sachin Gogna, casting Noah Shelley at Streeters…

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“Being good in business,” Andy Warhol once insisted, “is the most fascinating kind of art. Making money is art and working is art and good business is the best art.” Nearly three and a half decades after Andy Warhol’s death, there are Warhol fridge magnets and Warhol cushion covers, calendars and baseball caps and shower curtains, colouring books and Converse trainers, the result of his belief in commerce as another form of legitimate practice being that not one of these items would feel as if it betrayed his status as a modern artist: purity, as far as Warhol was concerned, was overrated. (Sexually, he did at times adopt the pose of an ascetic; fiscally, he was undoubtedly, delightedly a slut.) That he died before the democratisation of the internet has…

Thuso Mbedu has no words when asked to describe what it felt like to be cast by Barry Jenkins: over Zoom, she makes the kind of indecipherable gestures and exclamations that register as an implosion. Sporting a braid-out in two bunches and a black ‘MLK’ basketball t-shirt, the South African actress’s Martin Luther King Day is just kicking off in LA while mine is drawing to a close half a world away. She made the move Stateside last year, after wrapping on the Moonlight director’s forthcoming adaptation of Colson Whitehead’s novel The Underground Railroad – an American-lead debut that feels as urgent as it does reflective. The story of Cora Randall is one of stark contrast to Mbedu’s own sunny demeanour. It’s at once a heart-wrenchingly thorough account of slavery…

Spotted on the steps of The Met: a stylish new posse, taking over the spot where a beloved and notorious crew once stood – remember Lonely Boy, Queens B, S, N, and the Motherchucker? Of course you do – their names still turn heads (and tales) at Constance Billard School for Girls and St Jude’s School for Boys. But New York City never looks back for long, and a new private-school generation is snatching the wheel – and our curiosity. So who are these fabulous four? We hear they’re playing it close to the vest for now – smart! In these parts, word gets out fast. Lucky for us, we have a very close source. Rumour has it they’re Zoya Lott, Audrey Hope, Julien Calloway and Akeno ‘Aki’ Menzies. Aside…

There were problems with being the daughter of a former it girl. First of all, the designation, which, as her mother grew older, warped slightly across the society pages, affecting her mood. Most people remembered her mother’s modelling stints, brushes with caddish playboys, yachting off Santorini. The requisite sex-tape sloppiness, a public overdose. She was a swan, and even now, S would not relinquish her swan-like ways. The trajectory was not new: this was a grouping of un-distinctive attributes of the ones who came before her, and those who, inevitably, came after. Though what constituted fame in this era had flattened and grown one-dimensional, S was lucky not to be a relic. At the moment she was not quite at the level of doyenne; she was a presence, she was…

midwxst “If quarantine hadn’t happened, I truly believe hyperpop wouldn’t have been created or as big as it is now. We all got in our bags and were pushing out great music,” says 17-year-old Edgar Sarratt III, AKA midwxst, of the internet-born music phenomenon that’s somewhere between glitch pop and post-emo. “I made more songs than I ever did – (quarantine) was a blessing and curse.” As a kid, Sarratt hopped between states and countries before his family settled in Indiana, the state that inspired the name of his musical alias. Now he makes soothing, emo-tinged rap both on his own and as part of a network of collectives. “Everyone in helix tears and NOVAGANG (the two groups midwxst is involved with) has different styles, sounds, aesthetics and lives, but…

With supreme clarity, June Jordan passes up notions of “so-called magnificence” in her poem “On a New Year’s Eve”, turning her focus away from infinity and towards incremental possibilities. She writes: it is this timethat matters it is this historyI care about the one we make togetherawkwardinconsistentas a lame cat on the looseor quick as kids freed by the bell This poem, specifically, calls to mind the work of Garrett Bradley, 35, the director behind the award-winning documentary Time, about the toll of incarceration on a Louisiana family battling the American prison system. In it, she extracts from Jordan’s lineage the tenor and pure style of what it looks like and sounds like to pay attention. To train one’s eye on what is being concealed, with full intent, and to…

Hair Simone Mason, make-up Thom Walker at Art + Commerce using Les Fleurs de Chanel and Chanel Le Lift Lotion, model Maggie Maurer at IMG, set design Afra Zamara at East, technical director Josef Beyer, photographic assistant Rhys Gray, styling assistant Andra-Amelia Buhai, make-up assistants Manabu Nobuoka, Kimie Yashiro, set design assistants Bianca Trombi, Lea K Emmery, casting Noah Shelley at Streeters…

“I could sit here and tell you that I rap because of Young Thug or whoever,” says Lancey Foux, flicking his lighter and leaning momentarily out of frame to inhale smoke. “But I really rap because of the African artists (I grew up listening to). Their flows and cadences are beyond all of this melodic rap. The dressing and the clothes, being a sex symbol… they were doing that.” Talking from a dimly lit bedroom ahead of a long night in the studio, the rapper regales me with stories of how his father – who owned a dry cleaners in Newham, the east London borough he grew up in – would moonlight as a DJ. Foux would help his dad ahead of sets and listen intently to his selections, fascinated…

As Lolita and Humbert drive past a horrible accident, which has left a shoe lying in the ditch beside a blood-spattered car, the nymphet remarks, “That was the exact type of moccasin I was trying to describe to that jerk in the store.” This is the exact type of black comedy that Cecily von Ziegesar, the author of the bestselling Gossip Girl novels for teenage girls, excels in. Von Ziegesar writes in the language of contemporary youth – things are cool or hot or they so totally suck. But the language is a decoy. The heartlessness of youth is von Ziegesar’s double-edged theme, the object of her mockery – and sympathy. She understands that children are a pleasure-seeking species, and that adolescence is a delicious last gasp (the light is…

It’s the day after Indya Moore’s 26th birthday and they are sitting on a sofa in their New York apartment, in a grey t-shirt and a pair of tartan pyjama bottoms, talking about how their work is going. “It’s heavy but beautiful,” they say with a smile. “Just like my heart.” For many, the Bronx-born actor will be known for their portrayal – heavy, beautiful – of Angel Evangelista in POSE, Ryan Murphy’s hit drama series about Harlem’s underground ball culture in the 1980s and early 1990s. Two series in with a third on the way, the show spotlights the legends, icons and house mothers of this movement, but also the lived experience of Black and Latinx LGBTQ+ communities as they navigate the white patriarchy of the world they live…

Hair Chi Wong at M+A using Oribe, make-up Janeen Witherspoon at Bryant Artists using NARS, model Alice Cooper at Select, photographic assistants Barney Couch, Barney Curran, styling assistants Florence Ashe-Belton, Emma Karjalainei casting Piotr Chamier…

Hair Simone Mason, make-up Thom Walker at Art + Commerce using Chanel Rouge Allure Laque and Chanel Le Lift Lotion, models Mayor at Elite, Faith at Premier, set design Sean Thomson at The Magnet Agency, photographic assistants Thomas Carla, Meshach Falconer-Roberts, styling assistants Andra-Amelia Buhai, Katie Dulieu, hair assistants Stacey Copeland, Ruth, make-up assistant Manabu Nobuoka, set design assistant Mitchell Franklin, casting Noah Shelley at Streeters…