Don't Look Back In Anger: Hedi Slimane For Celine at The Wiltern Theater In Los Angeles

text by Oliver Kupper

At Celine’s Women Winter 2023 collection presentation, we learned that Iggy Pop is still the second coming—even at seventy-five. And also, Hedi Slimane is one of the most important couturiers of our generation. He is fashion’s enigmatic zelig, always in the right place and always at the right time. Last night it was the Wiltern Theater in Los Angeles, an Art Deco landmark cladded in blue-green glazed architectural terra-cotta tiles on the corner of Wilshire and Western that was built in 1931 for vaudeville. The most Instagrammable moment in this shangri-la’s recent memory was an ode to a pre-Instagram era—the “Age of Indieness.” Celine’s runway show at the iconic theater, which was advertised with a blitzkrieg media buy across the city, on billboards and bus stops, opened with a larger than life Celine logo, decked out in disco lights that unfolded from the rafters, and a pulsating 20-minute original recomposition of the White Stripes’ iconic 2000 track, “Hello Operator.” After the finale, and a brief intermission, there were performances by The Strokes and Interpol—with an explosive opening act from Iggy Pop and some of his most iconic songs. He spit, he touched himself, his skin golden and wrinkled from Floridian rays and a lifetime of abusing his body on stage. The collection itself hit all of Slimane's familiar notes and silhouettes with variations on a theme: slim pants, tailored blazers, military jackets, glimmering gowns and hand-embroidery—his sartorial rebellion against the status quo, a love letter to rock n’ roll and the glamor of nightlife. If these notes sound familiar it is because Slimane is a fervent believer in repetition’s power to cement a designer’s modus operandi. In a recent conversation with Lizzy Goodman (author of Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011), Slimane says, “...Repetition and consistency, quoting yourself, is key to creating the condition of the crystallization of a style and the longevity of it.” He continues, “The vocabulary may change with the time, but the syntax, the style, stays unchanged.” It may mystify some why Slimane continues to romanticize and harken back to this post-911 era of war and bloodshed in the Middle East and a burgeoning fiscal collapse. But a disillusioned pining for a confused golden age is not what Slimane is after—he is constantly searching for that clarion call for belonging. Last night at the Wiltern was proof-positive that music can be that call, and that musical movements of bygone eras were a result of this desire for communion. The question shouldn’t be why look back? The question should be why not look back. Fashion is constantly referencing itself. If done right, it can be timeless and beautiful—electrical even. Slimane quotes Carl Jung and his ideas around synchronicity for his timeliness—his collaborations with David Bowie, Mick Jagger and countless young, burgeoning musicians. His stark black and white images captured their regal visages with a crisp, eternal quality. Slimane tells Goodman, “I was surfing a wave without knowing where it would take me.” The wave eventually took him to Los Angeles at the height of Southern California’s indie scene, which grew around the time of the 2008 financial crisis. In 2016, a debilitating case of tinnitus forced him out of Los Angeles and to the more peaceful climes of Southern France. But with his most recent collection for Celine, Slimane is still blurring the line between the stage and real life, and he is still looking back, but never in anger. On the attitudes that defined the turn of the 21st century, Slimane says, “...Twenty years after, we can see it as a statement on disguise, a manifesto on the value of chaotic insouciance and stylish nonchalance.” He calls the amalgamation of fashion and live performance a “liturgical ritual.” At the Wiltern, all of this and his brilliance was on display.

Maison Valentino Unveils A New Concept For Worldwide Stores

The venerable Maison Valentino unveils a new concept for its stores worldwide, presenting an evolution of the brand towards an increasingly human-centric approach through a more intimate retail dimension. A gradual redesign of its global locations, the project stems within the Maison itself and strengthens the brand’s focus on client experience through a contemporary design language. On the cusp of tradition and innovation, the concept represents Valentino’s identity as a Maison de Couture, with an interior design that speaks of the brand’s artisanal approach and aesthetic. The interiors allude to 1930s Art Déco motifs and a bold 1970s aesthetic, which merge into a contemporary language expressed through an eclectic material palette and details inspired by Roman buildings. The color tones of the textile walls are a nod to the tailoring busts belonging to the world of Couture. The new concept pervades the architecture of the stores, with ceramic tiles covering the façade, and floors defined by iconic geometric motifs rendered in Botticino and Sahara Noir marbles. Elements in onyx and wood contribute to the sense of warmth, elegance and discreet luxury. Special areas will be reserved for private appointments, to enhance the feeling of intimacy and exclusivity within a carefully curated setting. The new store concept will be rolled out globally.

The Second Skin By Alexander Morgan & Donovan McClenton

vintage catsuit: stylist’s own, jacket and sunglasses: Alexander McQueen, jewelry: Proenza Schouler

photography by Alexander Morgan
styling by Donovan McClenton
makeup by Ryo Kuramoto
hair by Andrita Renee
nails by Dan Renée
photography assistance by Kalelle Conklin & Chase Elliott
casting direction by MC Barnes
model Anika Elle Hartje

top: Skims
skirt: Fendi
jewelry: Proenza Schouler

leather dress & jewelry: Proenza Schouler



jacket and bra: stylist’s own
pants: Harley Davidson
jewelry: Proenza Schouler

leather jacket: Junya Watanabe
leather skirt: Alaia
jewelry: Proenza Schouler

top: stylist’s own
leather leggings: Rag and Bone
sunglasses: Alexander McQueen
jewelry: Proenza Schouler

jacket and sunglasses: Alexander McQueen

leather dress & jewelry: Proenza Schouler

Pouá By Thomas Hauser & Hakan Solak

 

Tanktop: Axel Arigato

 

photography by Thomas Hauser
styling by Hakan Solak
makeup by Melanie Hoppe
hair by Kosuke Ikeuchi
models Arya B from Mirrrs Models & Cora from Girls Club

jacket & skirt: A Better Mistake
tights & socks: Falke
gloves & shoes: stylist’s own
earrings: Gucci @ Vestiaire Collective

jacket & skirt: A Better Mistake
stockings: Falke
boots: Versace @ Vestiaire Collective
gloves: stylist’s own

coat: A Better Mistake
stockings & socks: Falke
shoes: stylist’s own

tanktop: Axel Arigato
skirt: A Better Mistake
stockings: Falke
shoes: Versace @ Vestiaire Collective

shirt: Our Legacy
raincoat, longsleeve used as skirt, tie & shoes: stylist’s own
tights & socks: Falke

jacket & skirt: A Better Mistake
tights & socks: Falke
gloves & shoes: stylist’s own
earrings: Gucci @ Vestiaire Collective

Jacket: A Better Mistake

Color My Life With The Chaos Of Trouble By Jana Gerberding and Mine Uludag

photography by Jana Gerberding
styling by Mine Uludag
casting by Eli Xavier
modeled by Winter, Aime, Bethlehem, Lici, Xen Hur, Dhyhani, and Sophia

Life today offers almost infinite possibilities juxtaposed by maximum confrontation with internal pressures, domestic threats, and global uncertainties. We participate in social movements that are meant to liberate us from oppression and share them on the same social platforms that torment us with an incessant evaluation of our appearance and identity. What exactly do you have to prove today as a young woman? What is socially expected? What does femininity even mean? Is there a new femininity? Does gender play a role at all? Isn‘t it just about individuality and belonging?

Making choices and gaining confidence is for many young people an inner conflict between knowing who they want to be and who they really are.

Our heroines in these portraits embody different possibilities of the feminine. A portrayal that describes the role of the body, identity, the power of self-confidence, and individuality.

This is a portrait of a growing female generation who is not afraid.

LEFT Dyhani is wearing full look Celine.
RIGHT Sophia is wearing panties by Prada, bra by Dior, and stockings by Hermès.

Bethlehem is wearing dress by Arturo Obegero.

LEFT Dyhani is wearing leather coat by Max Mara and sunglasses by Celine.
RIGHT full look Celine

Winter is wearing white blouse by Jil Sander and black skirt by Dries Van Noten.

Aime is wearing skirt and jewelry by Versace and cropped zip top by Alexander McQueen.

LEFT Sophia is wearing bra by Versace, hoodie by Sankuanz, skirt by Louis Vuitton.
RIGHT Xen is wearing top and skirt by Ottolinger.

LEFT Bethlehem is wearing corsage by Alexander McQueen.
RIGHT Bethlehem is wearing dress by Arturo Obegero and boots by Dries Van Noten

LEFT Xen is wearing dress by Missoni.
RIGHT Sophia is wearing bra and shoes by Versace, hoody by Sankuanz, and skirt by Louis Vuitton.

Aime is wearing skirt, boots and balaklava by Max Mara, long sleeve shirt by Lacoste, and leather jacket by Louis Vuitton.

LEFT Xen is wearing dress and heels by Missoni.
RIGHT Lici is wearing long sleeve shirt by Balenciaga, skirt by Loewe, stockings by Hermès, and boots by Dries Van Noten.

INSTA FAMOUS By Diego Cruz & Zion Dezm

 

Lisa is wearing earring 1CONCEPT, top MIU MIU, skirt and thong VALERIEVI, tights TYTM8.

 


creative direction, art direction and casting: Diego Cruz & Zion Dezm
photography by Diego Cruz
styling by Zion Dezm, assisted by Andrea Brown
makeup by David Gillers, assisted by Mialuca Backus
hair by Moe, assisted by Jennifer Chan
Models: Lisa from PRM Model Agency
Arual & Olivia from Milk Management
Bertie from Anti Agency


Arual is wearing earrings 1CONCEPT, necklace and skirt MIU MIU, top NII HAI.

Lisa is wearing earring HEAVEN BY MARC JACOBS, top DOLCE & GABBANA.

Lisa is wearing bag HEAVEN BY MARC JACOBS, earring 1CONCEPT, ring and jumpsuit VALERIEVI.

Bertie is wearing shoes MIU MIU.

Olivia is wearing top R & M LEATHERS, dress PRADA, bag GIVENCHY.

Lisa is wearing earring 1CONCEPT, top DOLCE & GABBANA, thong NII HAI, skirt HEAVEN by MARC JACOBS, trousers PACO RABBANE, shoes GIVENCHY.

Bertie is wearing dress CHARLES JEFFREY.

left to right: Olivia is wearing necklace and earrings ALESSANDRA RICH, top JORDANLUCA, tights MM6, shoes MIU MIU.
Arual is wearing earring 1CONCEPT, dress CHRISTOPHER KANE, tights R & M LEATHERS, shoes NII HAI.
Lisa is wearing earring 1 CONCEPT, top and tights DOLCE & GABANNA, dress PACO RABANNE, shoes PRADA.


A Better Mistake SS23 Debuts @ Milan Fashion Week

 
 

photographs by Spyros Rennt

Taking part for the first time at Milan Fashion Week, A Better Mistake presents a preview of their genderless Spring/Summer ’23 collection and their latest series of see-now-buy-now drops, which include “Influx”, a collaboration with visual artist Kushlet, “Aoi”, and the freshly launched “Persona.”

A Better Mistake “Eternal” explores the intersection of digital and physical worlds, and seeks to define the value of the digital as a whole within the installation “Alter Dimensions.”

For Spring/Summer ‘23 “Eternal”, the brand’s iconic Touch Me intarsia garments, made of high-end Italian viscose and techno yarn, appear in a new acid green variant. The silk twinset is crafted in an exclusive, thick silk fabric, in a diagonal structure. The “Eternal” print, created by NY-based artist Running File, appears across a variety of items: the quilted “Eternal” jacket with engineered print placement in the front and the back, the silk shirt with additional “Chromo” print on the chest, and the technical dress in a tight & short silhouette. The “Eternal” denim look is made of hand-sprayed organic cotton.

The “Hero” print from the collaboration with Running File is applied to hoodies and T-shirts, as well as a twinset of shirt and shorts in an ultra light fabric. The print quite literally sets the tone for the whole collection, merging the blues, lilac, and shades of purple in other looks. The “Gate” graphic was created by Milan-based artist Ultra Creature and morphs into the Modular earrings.

The brand’s best-selling pajama look now comes in two different fabrics — a striped gray and blue viscose version, and a monochromatic lilac jacquard in “Chromo” monogram — half matte, half satin.

Last but not least, a special collaboration with The End is Near, called “God’s Mistake” is presented, composed of two incredible handmade pieces, a custom-made dress and a sci-fi face mask.

Spring/Summer ‘23 marks the introduction of the “Artist Collection” conceived for collaborations on show pieces, which is kicked off with a true highlight — an acid yellow tailored look that features a “Chromo” transfer to the sleeve, and is finished by hand in aerosol shades of gray and black.
The presentation, in collaboration with queer creatives from Berlin, brings the German capital’s underground mindset to Milan. It takes place at A Better Mistake’s headquarters, a transdisciplinary creative space located on Via Fusetti 8, on the Naviglio Grande, one of the city’s most evocative and vibrant areas.

The collection is not presented on your regular model type. It comes to life on dancers and performance artists from a wide variety of backgrounds. Rather than a simple showcase of clothes, the presentation aims to express and embody its values with an unbridled, artful approach. Dancers hailing from Milano’s major international theater La Scala share the stage with the voguing and rave scenes in a firework of identities.

 
 

The installation “Alter Dimensions” completes the performance through sound. Two Berlin-based DJs, Alva and Raven, manifest the concept of warped dimensions as they perform in a futuristic and sound proof glass pod. “Alter Dimensions” explores and develops the different forms of artificial space, ranging between digital, physical and the metaverse. What is actually real, what isn’t? The interaction between the installation and the performers is integral to the presentation. A transdisciplinary approach forms the core of A Better Mistake, along with the creation of safe spaces where people are free to experiment, experience, and express.

The experimental spectacle is documented by the analog lens of internationally-renowned, Berlin-based photographer Spyros Rennt and distilled into a movie, as envisioned by A Better Mistake’s Creative Director Madame_Inc, and movie director Byron Rosero.

Brother's Breeze & Sister's Ease

Marlene
dress: Nimph 
Mathilda
full look: Filippa K.
bag: Lou de Betoly
Arthur
shirt: We Are Dagger
necklace: Tine Kozjak Paris


photography & art direction by Emma Ball-Greene
photography assistance by Bohdan Yermak
art direction & styling by Camille Naomi Franke
fashion assistance by Antonio Chiocca
hair by Wataru Suzuki using “Less is More Organic Haircare”
makeup by Victoria Reuter using Mac Cosmetics
makeup assistance by Eleonore Ising
set design by Stefanie Grau
casting by Lilly Meuser @ Neu_Casting

Beck
vest: Magliano
trousers: Arket
belt: Off-White
Mathilda
full look: Filippa K
bag: Lou de Betoly
Ohm
suit: Paul Smith
blouse: Prada archive
tie: models own 

Sarah 
dress: Rui
pants: Old Celine via Vestiaire Collective @reference studios
Masa
dress: Pucci
Richard
trousers: Hugo Boss
belt: stylist’s Own

dress: Rui
pants: Old Celine via Vestiaire Collective @reference studios

fake fur top: Filippa K.

dress: Katharina Dubbick

Ohm
cardigan: Filippa K.
jeans: Our Legacy 
Mathilda
dress: archive 
shoes: Balenciaga
turtle neck: Filippa K.
Arthur 
blue jumpsuit: Paul Smith
shoes: Puma

top: Calvin Klein

top: Rui

top: Rui

Masa
dress: Pucci
Mathilda
suit: Prada archive

Sarah
pink suede blouse: Magliano
Mathilda
pink ciao bella shirt: stylist’s own 
Beck
shirt: Magliano
trousers: Arket
shoes: Scarosso

Marlene
dress: Nimph 
Arthur
shirt: We Are Dagger

Hyperstitious Garments: A Treatise On Sartorial Immortality

 

earring: Tétier Bijoux

 

photography by Verity Smiley Jones
styling by Lea Wilbrand
art direction by Katharina Uhe
makeup by Alice Dodds
hair by Moe Mukai
casting by Oliwia Jancerowicz
set design by Jonquil Lawrence
production by Alina Kolomiichenko
modeling by Aworo Mayowa & India Grove @ Wilhelmina Models London
art by Elena Hoskyns-Abrahall, Lucy Page, Janina Frye & Sophie Cunningham
text by Julia Deutsch

photography assistance by Grete Tuberik
styling assistance by Katie Bishop
production assistance & on set production by Sarah De Larue

full look: MONCLER

earrings: Panconesi x KNWLS
necklace: Matilda Little Jewellery
vest: Mainline:RUS/Fr.CA/DE

earrings: Laruicci
top: Mainline:RUS/Fr.CA/DE
trousers: Mainline:RUS/Fr.CA/DE
shoes: IOANNES
rings: Matilda Little Jewellery

earrings: Panconesi
top: Mainline:RUS/Fr.CA/DE

artwork: Lucy Page

artwork: Janina Frye

dress: Dipetsa
armcuff: Laruicci

full look: MONCLER

dress: Olivier Theyskens

artwork: El Hoskyns-Abrahal




earrings: Tétier Bijoux

earrings: Panconesi, Matilda Little Jewellery
longsleeve: Pronounce

earrings: Tétier Bijoux
sunglasses: Gentle Monster x Coperni
dress: Goomheo

earrings: Panconesi, Matilda Little Jewellery

artwork: Sophie Cunningham

earrings: Panconesi
vest: Mainline:RUS/Fr.CA/DE
skirt: MYNOK
shoes: IOANNES
belt: Mainline:RUS/Fr.CA/DE

sunglasses: Gentle Monster x Marine Serre
dress: Laruicci
dress: MYNOK
boots: Nii HAi
bag: Sophia Webster

earrings: Panconesi, Matilda Little Jewellery
longsleeve: Pronounce

earrings: Tétier Bijoux
jumper: John Lawrence Sullivan
skirt: DIESEL
bag: DIESEL
shoes: Nii HAi

dress: Luis de Javier

What would happen if a black cat crossed your path? Would your superstitious mind calculate the time that you have left before bad fortune derails your life? Or would you walk away untouched by the symbolic doom, rather, dreaming about a salary raise that’s due, or a possible new sofa that you saw on Architectural Digest? Black cats, spilt salt, and their metaphysical implications might be ideas that never come to fruition. The impending salary raise, though, may already be around the corner. It’s manifesting itself in this very moment — that is what hyperstition does for you.

Hyperstition does not only affect individuals but also organizations and whole systems (comprised of individuals, naturally). Capitalist economics are especially sensitive to this modus operandi. It seems that the most cut-throat, radical players manifest wealth with ease. Their confidence is the magic ingredient in a recipe accompanied by rational thought and acute action that act together to shape our future. This, however, stands in stark contrast with the dominant Western belief system of Judeo-Christian morality, which is predicated on obligation and duty. Capitalism sells us the future, or at least produces the very future it has presented, for example, in the form of garments. Frederic Jameson states in his writings on postmodernism and the cultural logic of late capitalism that “it is easier to imagine the end of the world than the end of capitalism. We can now revise that and witness the attempt to imagine capitalism by way of imagining the end of the world.”

Imagining the future today, we see dystopian visions. They come in many forms and shapes but many would claim that envisioning utopia is inappropriate in times of doom. Not flying cars or nutritious meals in capsules, but rather, the colors of purgatory and the depths of the abyss. Are we collectively manifesting this through recursive thoughts? What we leave behind in an apocalypse are the products we used, garments we wore, and the knowledge we documented. William S. Burroughs argued that “You were not there for the beginning. You will not be there for the end. Your knowledge of what is going on can only be superficial and relative.” Time as a concept implies that we are always at the beginning and always at the end, every second that is. Therefore, the present is not only informed by the past but also by the future. The future hunts humanity in a sense, as Nick Land puts it: “The future is a better key to the present than the past.” But then, what is real in this moment besides the knowing that we must move forward?

The apprehension of the real is conceptually organized. This editorial we call “Hyperstitious Garments” derives from the question: What happens if clothes contain an emotional and affective capacity of their own? By relaying the perspective away from death, decay and documentation — garments have the ability to outlive the human body as the host and thereby change and overcome temporalities. Clothes are imbued with their own agency, therefore they emotionally unfold over time, and possibly live an infinite life. Also, the objects shown are not dependent on a body but exist untethered. Visual spatiality is created through the play with proportions, figurative and organic shapes — e.g. a static torso that wears a moving garment, or hair that behaves like sculpture. But the hyperstitious discourse does not end there, it also lives in how this very shoot was conceived, brought to fruition through production and is now accessible online through domain. It manifests itself as often as it is approached (clicked) and unfolds in front of our very eyes to be explored…

Elena Hoskyns-Abrahall (b. 1998, Edinburgh, Scotland) is a non-binary artist who lives and works in London. Elena's practice spans a wide variety of ideas and methods, however, they work predominantly in sculpture and performance, looking at themes relating to gender, identity politics and queer theory. Looking at the world through the lens of abjection, Elena uses this as a tool for exploring their human experience. Whether it be through objects or performance, the bodily and the repulsive become excellent tools for exploring the dysphoric nature of the human condition.

Janina Frye (b. 1987, Neuwied, Germany) lives and works in Amsterdam and Leiden. Frye studied at AKV St. Joost in 's-Hertogenbosch in the Netherlands and the Royal College of Art in London. In 2020, she was a participant at the EKWC (European Ceramic Workshop Center) in Oisterwijk, NL. Her work has been exhibited at Arti et Amicitae, Amsterdam, among others; First Site, Colchester; Old Operation Theater Museum, London; Onomatopee, Eindhoven; P/////ACT, Amsterdam; Stedelijk Museum, 's-Hertogenbosch; Saatchi Gallery, London and South London Gallery, London. On the 17th of September, her upcoming solo show is opening at Kunstverein Friedrichshafen, Germany. Janina Frye’s sculptures and installations present a concept of the human – a transformative system with connections, overlaps, and entanglements linking the body to the outside world. Through the lens of new materialistic and systemic theories and personal observations, she posits that the human skin is not a border, but an interface with the outside world. Moreover, Frye is interested in 'the invisible,' where immaterial and imaginary entities, fictions, phantoms, and emergent processes influence our bodily cognitions and perceptions.

Sophie Cunningham (b. 1992, West Midlands, UK) is a London-based artist. Her work is an exploration of the irrational psychology behind the expediency and disposability of Western shopping habits. She creates sculptural arrangements using fast-fashion ordered online, which last the duration of the retailer's return policy. When the sculpture ends, she sends the clothes back with a photographic reminder of the sculpture placed in the return parcel to push her artwork directly into the supply-chain. She tries to communicate with the brands with an ‘irrational’ consumer response to start a dialogue. Often, works are not acknowledged by brands – for instance, in her video work ‘Papier-mâché Boots’ she swaps returned products for Papier-mâché versions and still receives a full refund. These absurd activities aim to raise questions about the impact of over-consumption. Recent exhibitions and talks include her ‘Systems at the Seams’ showcase at Goldsmiths MFA Fine Art Degree Show (2022) and being a guest speaker for the V&A Museum series ‘Live Conversations: Designed to Make a Difference’ (2021).

Lucy Page (b. 1995, London, England) studied Fine Art & History of Art at Goldsmiths University, and she is now developing her own sculpture practice from her studio in London. Lucy is interested in the ways that we inhabit the domestic space, from small daily gestures and routines to the motion of our bodies within this environment. Her work is bodily, exploring our use of this space. Lucy’s work centers around freezing movement and moments into tactile objects, bringing them into the home and transforming the domestic into purposeful design. In this way, the sculptor’s work bridges the gap between design and function; either meant to be kept as a piece of art, used to hold other objects, or sit on the wall. Lucy makes every piece by hand, using traditional casting and mold-making techniques. The process is very physical and each piece is unique. She works with a range of materials to create different designs including food, body parts, and clay.

Watch CELINE 15 "DYSFUNCTIONAL BAUHAUS" Men's SS23

CELINE 15
Palais De Tokyo
Paris, France
June 26th, 2022
DYSFUNCTIONAL BAUHAUS

Artworks by David Weiss, Alyss Estay, and Renata Petersen


Original soundtrack for Celine
“Design” Performed, written, and Arranged by Gustaf and produced by Chris Coady
Commissioned and co-produced by Hedi Slimane

Casting, Styling, and Set Design by Hedi Slimane

Hair Stylist
Esther Langham

Hair Colorist
Alex Brownsell

Makeup
Aaron De Mey

CATALOGUE OF DISGUISE Presents Their New Collection & Fashion Film @ TRAUMA BAR UND KINO In Berlin

art direction, styling and fashion by Tanja Bombach
photography by Laura Schaeffer 
makeup by Viktoria Reuter
hair by Kosuke Ikeuchi
nails by Camilla Volbert
modeled by Peer Liening-Ewert, June, Susanne Engbo Andersen, Yi-Wei Tien, Alistair Wroe

On Wednesday, June 22, CATALOGUE OF DISGUISE will be premiering ALOW, a 28-minute film that captures the pervasive anxiety, loss of control, and trepidation lurking under the surface of three separate escapist encounters. It is an underground tale of slow horror.

Collections made for the film by Laura Gerte, Don Aretino and Tanja Bombach blend with choreography by Phoenix Chase-Meares and Jos McKain developed with ten dancers.

The exclusive screening will be hosted by CATALOGUE OF DISGUISE at TRAUMA BAR UND KINO, where the film was shot.

During the event, there will be an immersive sound installation inspired by the film and after the screening a DJ-set by the sound artist Simone Antonioni, who scored the film. The soundtrack will be released under the independent Berlin-based record label Verlag later this year including a remix by ZIúR.

Date: June 22
RSVP via CATALOGUE OF DISGUISE

Antler: A Fashion Editorial By Jaara Lange & Camille Pailler

photography by Jaara Lange
art direction and styling by Camille Pailler
styling assistance by Katya Makhno
makeup by Leana Ardeleanu
hair by Reiya Yamaoka
modeling by Gigi @ Let It Go

AUTRE: Where does your inspiration come from?

JAARA LANGE: Looking back, my art was born from a deep need to escape a world that was not safe for me. So, I created a world for myself accordingly. Even today, I am inspired by daydreams, science fiction, and fairy tales. I created my own world where I could exist, which was beautiful and dark at the same time. I think this deep experience still inspires me today.

 
 

AUTRE: What drew you to Gigi as a muse?

LANGE: Gigi is a powerhouse and role model for me at the same time. I don't know anyone who enters the room with such presence — that fascinates me a lot. In her I see strength, beauty, and above all, resilience. We are all very grateful for what she does for the Berlin trans community and as sisters we support each other.

 
 
 
 

AUTRE: Why is nature such a dominant subject in your photography practice?

LANGE: Nature has always fascinated me. It represents a place of refuge for me. Out in the green, I have always felt freer — nature is a space without condemnation or connotation. It forms a complete projection surface for me with its wealth of forms, surface structures, and change. It is the perfect stage for me. Today, I only need to embed my protagonists in nature as a stage, wait for the right light and the spectacle is complete. I find this fascinating every time anew, because it is also so simple.

 

Process: Twelve Artists Reinterpret Looks From Alexander McQueen's Pre-Autumn/Winter 2022 Collection

To illustrate the fact that creativity emerges from countless perspectives, Alexander McQueen invites a group of twelve artists to express their individual working practices inspired by the Autumn/Winter 2022 women’s pre-collection. Each artist has chosen a look from the collection and responded to it through their preferred medium, engaging in a creative dialogue with the house. All have been given complete creative freedom resulting in a rich conversation between their work and the selected looks. ‌ The artworks are conceived to be displayed alongside the McQueen pieces they relate to in a temporary installation at 27 Old Bond Street, the house’s London flagship, designed to showcase the individual approaches and the ways in which artworks and looks interact. ‌ The artists are: Ann Cathrin November Høibo Beverly Semmes Bingyi Cristina de Middel Guinevere van Seenus Hope Gangloff Marcia Kure Jackie Nickerson Jennie Jieun Lee Judas Companion Marcela Correa Marcia Michael ‌ “I wanted to engage in a new creative dialogue with the collection this season and see how the artists interpreted the work that we created in the studio. It’s been very interesting to see how creativity has sprung from so many different perspectives, and the outcomes that have been varied and beautiful. We wanted the artists to have total freedom to respond to the looks, creating bold and thought-provoking conversations with their works. I hope that viewers will be as inspired as we have all been by witnessing these creative processes.” – Sarah Burton, Creative Director. Click here to discover more.

Katy Shayne Shoots Stephen Jones New Millinery Collection for H. Lorenzo

hat/ stephen jones "beaulieu" hat
top/ maryam nassir zadeh ss22
"faustina" top
bottoms/ simone rocha briefs
jewelry/ 23carat

hat/ stephen jones "hossegor" hat
top/ maryam nassir zadeh ss22
"faustina" top
bottoms/ simone rocha briefs
jewelry/ 23carat

stephen jones "trouville" hat
jewelry/ 23carat

hat/ stephen jones #agnes" hat
top/ bottoms simone rocha
bottoms/ simone rocha briefs
jewelry/23carat

hat/ stephen jones "renee" hat
bottoms/ simone rocha briefs
jewelry/ 23carat

model/ sara cath
direction_ photography/ katy shayne
assist/ alew m
tortoise/ grandpa special thanks jayme kavanaugh

DISCOVER MORE AT H. LORENZO

Read Our Interview Of Sintra Martins The Precocious Saint Of Parsons →

A model in a beaded dress of primary colors lays on a bed with blue eyeshadow on and stares into the camera.

Sintra Martins may be from Los Angeles, but her designs are quintessentially New York and they are taking the city by storm. The recent Parsons graduate interned for Thom Browne and Wiederhoeft before launching Saint Sintra in 2020, presenting her first collection at NYFW in 2021, and her sophomore FW22 collection was just presented at NYFW earlier this year. In the last two years, her sculptural designs have walked the line between costume and ready-to-wear with S-curved horsehair filaments, sheer maxi skirts, colored feathers, English shetland tweeds, sparkles and bows, and so much more. Not only has she established herself as a master of disparate materials who takes inspiration from far and wide, but her designs have become instant favorites to everyone from Olivia Rodrigo, to Sydney Sweeney, Willow, Cali Uchis, and Kim Petras. We asked Martins to style model Memphis Murphy for a special editorial and sat down to ask the emerging designer a few questions about her process. Read more.

Burberry and Creative Director Riccardo Tisci Host An Event In Los Angeles to Celebrate The Lola Bag

Burberry and Chief Creative Officer, Riccardo Tisci hosted an event in Los Angeles to celebrate the Lola bag. The Lola bag is a staple for the house, a soft silhouette punctuated with the Thomas Burberry Monogram, a celebration of the house’s founder. At the heart of every Lola lies an attitude – strong, sexy, smart and present. A multifaceted energy that amplifies inherent confidence. photos courtesy of Burberry

Watch PLAYSCAPE: Woolmark Finalists' Collection Reveal Film Directed By FKA Twigs

FKA twigs’ collective ‘Avant Garden’ launches its new era in film for the 2022 International Woolmark Prize in special partnership with the Isamu Noguchi Foundation and Garden Museum. Inspired by the famed landscape artist and architect’s vision of play as a creative catalyst, PLAYSCAPE merges influence from fashion, art, dance, and music. 

Choreographed by classically trained dancer Juliano Nunes, the film opens with an empty gallery of Noguchi’s play sculptures, which becomes populated by a diverse ensemble cast of characters. In the second part, the cast enters an imaginary landscape, where a ballet sensibility is combined with elements drawn from hip hop, modernism, contemporary dance and punk aesthetics. With creative direction by Zak Group, the short film showcases the merino wool looks from the International Woolmark Prize finalists Ahluwalia, EGONLAB, Jordan Dalah, MMUSOMAXWELL, Peter Do, RUI, and Saul Nash.

Director: FKA twigs⁠
Creative Direction: Zak Group⁠
Choreographer: Juliano Nunes⁠
Production Company: Object & Animal⁠
Producer: Jen Gelin⁠
DOP: Rina Yang⁠
Stylist: Matthew Josephs⁠
Still Photographer: Jules Moskovtchenko⁠
Edit: Dave Davis & Trim Editing⁠
Colourist: Luke Morrison⁠
Post: Electric Theatre Collective
Casting: HUXLEY⁠
Featuring: kiddysmile, Princess Julia, Kai Isaiah Jamal, Alex Thirkle, Dmitri Gruzdev, Ève-Marie Dalcourt, Hannah Raynor, Meschach Henry, Salomé Pressac, Tania Dimbelolo, and maycie⁠

The Finalists

Ahluwalia

EGONLAB

Jordan Dalah

MMUSOMAXWELL

Peter Do

RUI

Saul Nash