{"title":"Fashion","description":"","products":[{"product_id":"copy-of-nate-lippens-my-dead-book-a-novel","title":"Derek McCormack, Judy Blame's Obituary: Writings on Fashion and Death","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eDerek McCormack is the author of fashion-inflected novels that cast luminaries such as Elsa Schiaparelli and Balenciaga as characters. This collection brings together for the first time McCormack's fashion journalism. He writes about and interviews fashion figures that fascinate him, tracing the ways they inspire and inhabit his novels. The result is a sort of memoir in essays: as he writes, \"My tribute to [Judy] Blame is about him and about me—there are lots of my own tales woven in with the topics I touch on. The writing here is a sort of autobiography, a life seen through a scrim, or a life as a scrim—my moire mémoire.\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e contains twenty years' worth of reminiscences, reviews of fashion shows and books, interviews with writers about fashion, and interviews with fashion designers about writing. He talks to Nicolas Ghesquière about perfume, and to Edmund White about which perfume he wore as a young fag in New York City. He inspects the clothes that Kathy Acker left behind when she died, and he summons the spirit of Margiela in a literary seance. He traces the history of sequins, then recounts the cursed story of Vera West, the costume designer who dressed the Bride of Frankenstein. These pieces were all previously published, some in Artforum, some in The Believer, and some in underground publications like Werewolf Express—what binds them together is a sense that though fashion victimizes us, this victimization is sometimes a sort of salvation.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAbout the author\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eDerek McCormack is a Canadian writer. His most recent novels are \u003cem\u003eThe Well-Dressed Wound \u003c\/em\u003eand \u003cem\u003eCastle Faggot\u003c\/em\u003e, both published by Semiotext(e). Of \u003cem\u003eCastle Faggot\u003c\/em\u003e, Dennis Cooper said: \"It is really just one of the best books ever, and maybe the greatest novel ever written.\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003ePraise for \u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e:\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e‘Derek McCormack, Canada's most famous author as yet unsullied by Nobel Prize or television adaptation, hides in plain sight as a fashion journalist. Parallel to his writing incantatory, scatological fiction, he has reviewed collections and interviewed the great and good of “la mode”. His divagations are often darkly hilarious and always exquisitely tailored. The sublime and the ridiculous coexist in his prose, as they do in life. Fashion victims, ignore his insights at your peril.' — William E. Jones\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e'Derek McCormack is one of my first and most enduring literary heroes. He only writes about what he loves, and has the lover’s rare gift of giving every stray object a proper home. You couldn’t mistake his aesthetic for anyone else’s—even if you were standing as far away as the moon.' \u003c\/span\u003e— Sheila Heti\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e'I am charmed, amused and somewhat obsessed by ‘\u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e’. Derek McCormack observes fashion and art and all its quirks with a sense of factual fabularity and camp mundanity. Stories captured like falling stars and written down like fan facts.’ \u003c\/span\u003e— Princess Julia\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422002364751,"sku":"PK0065","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202306661.jpg?v=1695888217"},{"product_id":"viscosetrans","title":"Viscose Issue 4 TRANS","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis special issue of \u003cem\u003eViscose\u003c\/em\u003e critically explores the numerous relationships between transness and fashion. The issue sets out to ask two ambivalent questions: what is a fashion theory of transness, and what might a trans theory of fashion be? Co-edited with scholars Alex Esculapio and Che Gossett, \u003cem\u003eViscose 04\u003c\/em\u003e productively confronts fashion studies with trans aesthetics and trans studies, and attempts to excavate the largely invisible archives of trans history that form the underside of fashion itself.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eThe issue, co-published with Leslie Lohman Museum in New York, features new contributions by a global cast of trans and queer writers, artists, and creatives, responding to the porous notion of “trans cultural production” as a genre full of potentiality. The issue features a wealth of archival and contemporary moments of trans fashion production spanning 50 years. The cover, designed by NYC-based designer and bookmaker Rissa Hochberger, celebrates histories of independent queer publishing, and doubles as a detachable poster.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Viscose","offers":[{"title":"Default Title","offer_id":47424555581775,"sku":"PK0137","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230817.jpg?v=1696000969"},{"product_id":"beauty-papers-issue-9","title":"Beauty Papers Issue #9","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePlease note that this issue has multiple cover variations. We will be unable to select specific covers and you may not receive the one pictured. It's lucky dip.\u003c\/p\u003e\n\u003cp\u003eBeauty Papers Issue 9. With: Maggi Hambling, Jackie Nickerson, Glen Luchford, Yadim, Nick Sethi, Zanele Muholi, Sunil Gupta, Harley Weir, Dominick Sheldon, Lea Colombo, Lucy Bridge, Piczo, Bibi Borthwick, Simon Emmett, Paul Kooiker.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Beauty Papers","offers":[{"title":"Default Title","offer_id":47451541111119,"sku":"PK0022","price":19.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0022_Beauty_Papers9.jpg?v=1695738801"},{"product_id":"copy-of-beauty-papers-issue-10","title":"Beauty Papers Issue #10","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePlease note that this issue has multiple cover variations. We will be unable to select specific covers and you may not receive the one pictured. It's lucky dip.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA cathartic explosion of personal reflections on the beauty of delete and the culture of beauty X X X X X\u003c\/p\u003e\n\u003cp\u003eBikramjit Bose, Lucy Bridge, Blaire Catherine, Jake Chapman, Laurence Ellis, Jermaine Francis, Cho Gi-Seok, Gilbert \u0026amp; George, Inge Grognard, Oliver Hadlee Pearch, Sohrab Hura, Kalpesh Lathigra, Rafal Milach and The Archive of Public Protests (A-P-P), Haley Morris-Cafiero, Shirin Neshat, Jackie Nickerson, Way Perry, Lucia Pieroni, Vanessa Reid, Richard Riakporhe, Pa Salieu, Collier Schorr, Casper Sejersen, Ronald Stoops, Anthony Turner, Drew Vickers, Harley Weir.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Beauty Papers","offers":[{"title":"Default Title","offer_id":47451549040975,"sku":"PK0023","price":19.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0023_Beauty_Papers10.jpg?v=1695738952"},{"product_id":"ursula-rodel-ever-fallen-in-love","title":"Ursula Rodel, Ever Fallen In Love","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrsula Rodel is one of the most famous and influential fashion pioneers in Switzerland. In her work, fashion, design and art merged into a life full of extremes. From a country girl, she developed into a New Wave icon and later into an internationally sought-after costume designer. She founded her own fashion label THEMA SELECTION and outfitted film stars such as Catherine Deneuve. Despite her steep professional rise, Ursula Rodel remained true to herself throughout her life. Her biography is unconventional and glamorous.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eTo accompany the exhibition at the Landesmuseum in Zurich (until March 31st 2024), which was able to acquire the fashion designer's estate, Sturm \u0026amp; Drang publishes the accompanying book of photographs from her extensive archive. Using Polaroids with portraits of herself and her muses, postcards, notebooks and contact sheets, the narrative delves deep into the 1970s and 80's. Into a world of upheaval, of contrasts, of the fashionable avant-garde and of strong, independent women. Into the world of Ursula Rodel.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Sturm and Drang","offers":[{"title":"Default Title","offer_id":47482209206607,"sku":"PK0353","price":49.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230846.jpg?v=1696005208"},{"product_id":"copy-of-beauty-papers-issue-11","title":"Beauty Papers Issue #11","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePlease note that this issue has multiple cover variations. We will be unable to select specific covers and you may not receive the one pictured. It's lucky dip.\u003c\/p\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003eTHE TRIP ISSUE \u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eTrip — Issue 11 trips out on talent from the fashion, beauty and art world presenting a wave of colour and beauty that takes you into the uncharted territories of the wild of the imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Beauty Papers","offers":[{"title":"Default Title","offer_id":47596922896719,"sku":"PK0386","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231343.jpg?v=1698252094"},{"product_id":"combo","title":"Combo Magazine, Issue 003 - Maps to The Next World","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUK\u003c\/strong\u003e\u003c\/p\u003e\nA surrealist atlas, roaming through the mysterious \u0026amp; wonderfully bizarre. Bestial daydreams and grotesqueness, exploratory gazes into the unknown, to better visualize the scenes of this theater which is the world. There are no borders, only places where things meet...editor-in-chief: Louise Follainartistic director and graphic designer: Léa Bigotcontributors: Eloïse Labarbe Lafon, Dudi Hasson, Denis Boulze, Iekeliene Stange, Heather Kemesky, Miranda Kilbey, Langley Fox, Sulian Ros, Marie Jacotey, Alix Bortoli, Pauline Suzor, Celia Moutawahid, Clara Dayet, Cara Cano, Jan Melka, Gal Schinder , Polina Novikova, Florent Vindimian, Gillian Zinser, Marina Damjanovic, Charlotte Robin, Marie Gibert, Lobke Leijser and more...\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eConceived as an archive of our collective dreams, COMBO was born in 2020 out of the wish to portray the rebirth of our points of view during these awing moments. \u003c\/div\u003e\n\u003cdiv\u003eBy imagining alternative futures, COMBO wishes to share hopes and dreams of togetherness through visual arts, photography and poetry.Inviting us to explore inner and outer realities, this collective diary reveals throughout each page a constellation of analogies and boundless connections, mixing artworks together to create unexpected content.Ultimately, COMBO wishes to give us time to wonder, wander and encourage us to dream, create and re-enchant ourselves through a more up-to-date than ever holistic approach.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"enter\"\u003e\u003c\/div\u003e\n\u003cdiv title=\"Page 1\" data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e24 x 31 cm\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePaperback\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e2023\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Combo","offers":[{"title":"Default Title","offer_id":47801520423247,"sku":"PK0430","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230045.jpg?v=1700234745"},{"product_id":"somesuch-stories-issue-07-bone","title":"Somesuch Stories, Issue 07 BONE","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUK\/EU\/USA\/ASIA\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eThemed BONE – Somesuch Stories latest annual journal sees the organic substance that forms our skeletons, and is symbolic of both life and death, explored by some of the most exciting names working in literature, art, poetry, and photography today.\u003cbr\u003eIssue 7’s cover features a still from Lydia Garnett’s new muscle queer portrait series: “Guns Out”. And further contributions across visual and written art forms have been specially created by:\u003cbr\u003eJinwoo Chong | Julianknxx | Dior J Stephens | K Patrick | Moïra Fowley | Denisse Ariana Pérez | Rosalind Jana | Vincent Haycock | Jackson Whitefield | Priya Guns | Eli Goldstone | Kaliane Bradley | Sheida Soleimani | Kimberly Campanello | Jessica Andrews | Razelle | Jenkin van Zyl \u0026amp; Brittany Newell\u003c\/p\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e23.5 x 17 cm\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e232 pages\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e2023\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"SOMESUCH EDITIONS","offers":[{"title":"Default Title","offer_id":47851443323215,"sku":"PK0459","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202300561.jpg?v=1700235875"},{"product_id":"nice-outfit-issue-2","title":"Nice Outfit, Issue 2","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cstrong\u003eUK\/EU\/US\/ASIA\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eNice Outfit is an exhibition catalogue and theoretical journal. Issue 2 archives Knock Knock an exhibition of fashion and textiles curated by Felix Choong at Season Gallery in London, December 2022. The show took Peter Galassi’s seminal exhibition Pleasures and Terrors of Domestic Comfort held at MoMA, New York in 1991 as its starting point that used photography to explore the home, its affluent surfaces and the undertones of disquiet and tension as its starting point and localised its own exploration through garments. The exhibition themes become the framework for the accompanying written commissions. \u003cbr\u003e\u003cbr\u003ePhilippa Snow explores Andrej Zulawski’s Possession and Ari Aster’s Hereditary naturalistic depictions of marital conflict in the home and the ensuing hysteria when these are pushed to the precipice of no return. \u003cspan color=\"#241f21\" data-mce-fragment=\"1\"\u003eExperimental fiction is penned by Charlie Fox and Ethan Price. Fox’s from the perspective of a girl’s dress, and Price’s where a love and loathing for England motivates a girl’s hedonism, delusion and decline in her seaside bedsit. \u003c\/span\u003eLiara Roux reflects on her experiences as a sex worker in the upper echelons of society, creating comfort by emulating her client’s mothers. Asa Seresin explores the biblical act of cutting up clothes from antiquity into the present day rendering pain in three dimensions. The artist Sin Wai Kin provides preliminary writing and materials to their art practice whose knack for world-building uses speculative fiction to dissolve reality and fantasy. \u003cspan color=\"#241f21\" data-mce-fragment=\"1\"\u003eElise By Olsen reflects on the opening of the International Library of Fashion Research in Oslo and her relationship with seed donor and long-term mentor Steven Mark Klein, alongside scans of designer’s domestic spaces and branded interior accessories from the library’s permanent collection. \u003c\/span\u003eArtworks by Julien Ceccaldi, which grace the front and back covers are profiled whose vision of the world is one of hyperbole, pumped-up or withered down, where every character is at the edge of (unrequited) love and utter breakdown. Zach Langley Chi Chi has provided excerpts from his diary that revel in the sublime anguish of love and lust. Lastly, an interview with auctioneer and vintage fashion, fine antique costume and textiles specialist Kerry Taylor discussing the emotional history of clothing and estate sales.\u003cbr\u003e\u003cbr\u003e150 pages\u003cbr\u003e24.5 x 17cm \u003cbr\u003ePaperback\u003cbr\u003e2023\u003cbr\u003eISBN: 9781739978815\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Nice Outfit","offers":[{"title":"Default Title","offer_id":47947809751375,"sku":"PK0445","price":18.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202302611.jpg?v=1701696377"},{"product_id":"copy-of-viscose-issue-5-retail","title":"Viscose Issue 5 RETAIL","description":"\u003cp\u003eISSUE 5: RETAIL\u003c\/p\u003e\n\u003cdiv\u003eWITH GUEST CO-EDITOR: CAMILA PALOMINO (US)\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eWITH CONTRIBUTIONS BY: DENNIS BRZEK, ANASTASIA HOWE BUKOWSKI, MICHAEL BULLOCK, FELIX BURRICHTER, CANAL STREET RESEARCH ASSOCIATION, NOAH DILLON, HARUN FAROCKI, ANNA FRANCESCHINI, IGNACIO GATICA, CHRISTIAN HINCAPIÉ, JUJE HSIUNG, JESSICA KWOK, RHONDA LIEBERMAN, MATTHEW LINDE, MARGE MONKO, CHEUK NG, LUIS ORTEGA, CAMILA PALOMINO, ANDREAS PETROSSIANTS, LEAH PIRES, INTERNATIONAL LIBRARY FOR FASHION RESEARCH, VÉSMA KONTERE MCQUILLAN (INTERNATIONAL LIBRARY FOR FASHION RESEARCH), ROSE SALANE, ALICE SARMIENTO, MUSEUM OF MODERN SHOPPING, JEPPE UGELVIG, SEAN VEGEZZI, POST VSOP, EVIE WARD, LEAH WEIRER PUBLISHED IN COLLABORATION WITH STOREFRONT FOR ART AND ARCHITECTURE (NYC) AND INTERNATIONAL LIBRARY FOR FASHION RESEARCH (OSLO)\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe fifth issue of Viscose explores fashion’s multifaceted retail spaces and cultures. With the evolution of shopping in the 20th and 21st centuries as its focus, the issue looks at the shop as a central nexus where communities and identities are continuously produced and re-imagined through commerce. With a special attention to the role of fashion retail within urban spatial politics, we seek out histories of projects—often developed with or by artists—that have embraced the shop as a medium of both possibility and contestation.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eRetail is a central site of fashion production. It is in the store, mall, and e-shop that fashion products reveal the extent of the libidinal capitalist economy—a desire that has been theorized for centuries as commodity fetishism, a magical power relegated to objects as they enter circuits of exchange. As such, the shop is a stage for fashion’s oldest rituals, one that has become synonymous with capitalist modernity. Over the last century, shopping spaces have accelerated and mutated, into malls and department stores, re-imagining new types of public spaces structured by increasingly sublime architectures of consumption. As a public activity that demands (and thus commands) physical space, shopping continues to produce social relations that are deeply political in nature: gender, class, gentrification, surveillance, and police power are all ambiently produced and reproduced within retail spaces. As spaces dedicated to the reproduction of capital, retail necessitates systems, both formal and informal, of loss prevention and security that are embedded in physical infrastructure and embodied within consumers. As such, retail can be understood as sites of political contestation, transgression, and resistance, however quotidian or slight they may seem.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eWe are studying retail in the aftermath of various proclaimed crises and revolutions—store death, retail apocalypse, digitization. Yet through these times, brick-and-mortar fashion consumption has not died but instead morphed in both appearance and function, serving today as sophisticated branding spaces in an aggressive experience economy. Retail, as we see it and know it in our contemporary moment, manically negotiates the ever-shifting relationship between contrasting spaces—urban, rural, virtual, invisible—and often prototypes infrastructures that are then adopted elsewhere in society.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eWelcome to Viscose 05. We are grateful for the support of our co-publishers, particularly Storefront for Architecture and Between Bridges, without whom this issue would not have been possible.\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Viscose","offers":[{"title":"Default Title","offer_id":48055106437455,"sku":"PK0370","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301081_13012292-57f1-408a-b0a2-5b13805aced7.jpg?v=1702560638"},{"product_id":"daisy-davidson-hysteric-rooms","title":"Daisy Davidson, Hysteric Rooms","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDaisy Davidson documents alternative fashion and culture past and present on their Instagram.\u003c\/p\u003e\n\u003cdiv\u003eHysteric Rooms is a follow up to Daisy's ongoing series Hysteric Snaps which documents youth street fashion in London. The series progresses to the subjects within their rooms. From hyper-cutesy anime mess to \u003cmeta charset=\"utf-8\"\u003ePaul Dano shrines, Daisy captures each person's unique space as well as their personal fashion style.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e“I have always loved to look at old photos on Flickr of people’s bedrooms, from goths to old-school anime fans. Each person’s room – regardless of the subculture they’re in – there’s always some little detail in personal space that make it uniquely that person’s. This is something I’m super aware of, a bedroom really is such a special place and to be allowed to photograph people in such a space is something I’m so humbled by.” \u003cmeta charset=\"utf-8\"\u003e– Daisy Davidson interviewed by Sola Adeaga, Dazed Digital\u003c\/div\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":48156805300559,"sku":"PK0369","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202305271.jpg?v=1705084220"},{"product_id":"simona-bortis-schultz-to-hold-your-heart-in-your-teeth-women-s-work-the-visual-language-of-the-romanian-blouse","title":"Simona Bortis-Schultz, To Hold Your Heart in Your Teeth, Women’s Work The Visual Language of the Romanian Blouse","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eTo Hold Your Heart In Your Teeth\u003c\/em\u003e is a Romanian proverb that means to brave forward despite fear. 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Weaving personal narrative with this historical research, Simona Bortiș-Schultz, author and designer of this book, is a New York-based child of this immigration. \u003cem\u003eTo Hold Your Heart In Your Teeth\u003c\/em\u003e is an homage as it stands in solidarity with generations of resilient women, writing out the design qualities of this feminine fortitude, and the charm of the garment they made to survive.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48200185348431,"sku":"PK0638","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023054311.jpg?v=1705514608"},{"product_id":"you-gotta-keep-your","title":"Dal Chodha, You gotta keep your head straight about clothes","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'As a student at Central Saint Martins in the early aughts, spending money on fashion books was something I couldn’t—and didn’t think—to do. That was until 2010, when I spent an afternoon in Paris with the designer Christophe Lemaire who introduced me to \u003cem\u003eCheap Chic\u003c\/em\u003e.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cp\u003e\u003cspan\u003ePart fan letter, part essay, \u003c\/span\u003e\u003cem\u003eYou gotta keep your head straight about clothes\u003c\/em\u003e\u003cspan\u003e is an appreciation of the first consumer guidebook to thrift store shopping, published in New York in 1975. This is my tribute to its authors Carol Troy and Caterine Milinaire.'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eDal Chodha is a writer and editor based in London who also teaches at Central Saint Martins. 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With both physical festival events and ‘print-only exhibitions’ for those further afield, The Paper serves as a kind of documentation; a reference point for this moment in jewellery.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Munich experience is all about the people and conversations between friends and colleagues alike. 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The magazine looks at different ways in which this knowledge could be unlocked, rediscovered and empowered.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eResearch subjects behind this issue represent large fields of study in both theoretical and artistic practices. The magazine, therefore, seeks to create connections between craftspeople – artists, image-makers, and word ‘craftitioners’ – scholars and philosophers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA total of four chapters constitute the \u003cem\u003ePlaceholder Issue:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChapter 1. \u003cem\u003eBody as an Intermediary Object\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eChapter 2. \u003cem\u003eCritical Multiplicity\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eChapter 3. \u003cem\u003e‘Do you mind if I braid while we talk?’\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eChapter 4. \u003cem\u003eBecoming-With\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn a multidisciplinary dialogue, our team and each contributing artist work on the smallest details, weaving imagery into typography, giving this issue a new feel that ‘place-holds’ for the future.\u003c\/p\u003e","brand":"Current Obsession","offers":[{"title":"Default Title","offer_id":48627644596559,"sku":"PK0814","price":60.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/co6.jpg?v=1712330052"},{"product_id":"current-obsession-8-chapter-i-body-as-an-intermediary-object","title":"Current Obsession #8, Chapter I: Body as an Intermediary Object","description":"\u003cp\u003eChapter I: Body as an Intermediary Object\u003c\/p\u003e\n\u003cp\u003eHow could an intermediary between a viewer and a source of information – for instance, a historic artefact – help us unlock the meaning encoded within it, inaccessible to those unfamiliar to the medium? If a familiar body could be considered as such an intermediary, what could it mean in terms of understanding other cultures, decolonising knowledge about objects, but also, what role could it play in the future of making new work?\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eContributors: \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eeva susova, Amanda Elida Varhaugvik, melê yamomo\u003c\/span\u003e\u003c\/p\u003e","brand":"Current Obsession","offers":[{"title":"Default Title","offer_id":48627728122191,"sku":"PK0816","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/co1.jpg?v=1712329947"},{"product_id":"current-obsession-8-chapter-ii-critical-multiplicity","title":"Current Obsession #8, Chapter II: Critical Multiplicity","description":"\u003cp\u003eChapter II: Critical Multiplicity\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e‘How to ‘multiply’ an object by shifting perspectives?’\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAs signifiers, objects of jewellery and adornment point simultaneously in opposite directions, consistently ‘performing’ between the worlds of a wearer and the onlooker. 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Here too, clothing is not used to claim a higher social status through the accumulation of logos, but to stage an eccentric code, which draws on all kinds of wardrobe to achieve flamboyance. Clothes are an outlet for their need for extravagance, a palliative for a complex entry into what is so strangely called working life. Although the group is a priori heterogeneous, differences are abolished: neither gender, nor religion, nor skin color, nor social background seem to have any place in the equation, and it's hard to say why.\u003c\/p\u003e\n\u003cp\u003eI chose to follow them, to discover Roubaix through their eyes. 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From the pens of fashion journalists and art critics to the conceptual wordplay of designers, the issue delves into the aesthetic and critical effects of “writing fashion” in and outside of fashion industries.\u003c\/p\u003e\n\u003cp\u003eThe fashion writer is a confidant, a storyteller, a forecaster, a mythmaker; they are evocative and poetic, forming words that shape, and in turn are shaped by, the latest fashions. From the salon shows to the pages of fashion magazines, their “expressions may be as ephemeral as the fashions they describe,” as Dorothy Hughes noted already in 1935. Early fashion writing played a key role in the transformation of clothes into fashion each season, and in igniting the machine of fashion itself. The historical roots of fashion writing— which was, at least in an industry context, a distinctly female practice— are grounded in the modernization and seasonalization of industrial fashion. And even today, in an age described by many as image-driven, this remains true: across various media platforms, language not only surrounds fashion but also continuously contributes to its creation.\u003c\/p\u003e\n\u003cp\u003eThe succinct, ephemeral poetry of the fashion writer still plays—nearly a century since Hughes’ observation—a transformative role in the seasonal turnover of fashion, but its role in the fashion industry remains seriously overlooked. Fashion invests substantially in seasonally refreshing the visual messaging accompanying its physical commodities, but language plays a similarly important support in this artful game of marketing. In this industrial context spanning from press releases to magazine production, writing is devoted to fashion promotion, prioritizing its fundamental traits of novelty, urgency, and semiotic complexity. In this context, fashion writing is a process of mystification, capable of revealing things that the image cannot. The material conditions of fashion writing—of being for fashion—generates a unique set of poetics and syntax. Fashion writing, or “written fashion,” as Roland Barthes asserts, is a form of signification that is simultaneously real and imaginary, connected to the real garment that it signifies, but largely unencumbered by its materiality. Given the constraints of economic, cultural, and political factors on fashion writing, it is perhaps more interesting to ask, what is fashion writing really encumbered by, and what would it mean to “unencumber” it?\u003c\/p\u003e\n\u003cp\u003eSince Baudelaire, art critics have turned to fashion as source material for their practice, casting fashion in the role of art’s capitalist conspirator, temporal truth-sayer, or feminine alter-ego. This erratic history is one filled with both fraught politics (rooted in a gendered division of labor) as well as critical possibility: art writing gestures to a style of intellectualism and independence from industry that is largely foreign in fashion. Viscose Journal has, since its founding, aimed to detach fashion criticism from industrial frameworks that has historically premised it. At the same time, informed by a materialist politics of fashion labor, we wish to seriously level the largely female writing of commercial fashion publications with the masculine philosophical inquiries of fashion.\u003c\/p\u003e\n\u003cp\u003eWhile “fashion writing” denotes a thematic category within the wider field of writing, our theme of “writing fashion” prompts an exploration of fashion writing as a mode of fashion production and critique. This issue aims to explore writing as a tool for shaping fashion and broaden its perspectives by presenting a survey of experimental, fictocritical, and poetic approaches to writing fashion. In this expanded field of writing, “fashion” unfolds as a ubiquitous and epistemologically complex phenomena of everyday life pertinent to all.\u003c\/p\u003e\n\u003cp\u003eAccompanied by the exhibition “Writing Fashion“ at and published by the International Library for Fashion Research in Oslo, Norway, staged in June 2024, Viscose Journal 06 strives to be a thought-provoking journey into the captivating intersection of fashion and language. We are grateful to the library’s fantastic team and collaborators for their ongoing support and collaboration.\u003c\/p\u003e\n\u003cp\u003ewith works by: Osman Ahmed, Alba Aragón, Katherine Bernard, Ricarda Bigolin, Eileen Chang, Dal Chodha, Eduardo Costa, Jose Unzueta Criale, Femke De Vries, Becket Flannery, Kennedy Fraser, Laura Gardner, Patrick Greaney, Bruce Hainley, Elizabeth Hawes, Nakako Hayashi, Devin Hentz, Elaine Wing-Ah Ho, Juje Hsiung, Olivia Kan-Sperling, Jamaica Kinkaid, Chantal Kirby, Jeremy Lewis, Davora Lindner, Hanne Lippard, Shanzhai Lyric, Shizuang Magazine, Celine Mathieu, Derek Mccormack, H.B. 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Furthermore, interviews with Golnar Kat-Rahmani, Mirko Borsche, Jochen Smuda and Martin Fussenegger (Ucon Acrobatics), as well as Jean-Baptiste Levée, provide valuable insights into the intersection of typography and fashion. 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OFFLINE?","description":"\u003cp\u003eMaison Margiela Artisanal 2024 collection by John Galliano photographed by Paolo Roversi\u003c\/p\u003e\n\u003cp\u003ePublished by Luncheon Editions, 2024 \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Luncheon","offers":[{"title":"Default Title","offer_id":53709612745039,"sku":"PK1422","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20232986.jpg?v=1732203385"},{"product_id":"viscose-issue-7-scent-copy","title":"Viscose Issue 7: SCENT","description":"\u003cp\u003eThe seventh issue of Viscose explores fashion's enduring bond with scent and perfume. To be sure, fashion smells. Olfactory sensations have leaked from industries of style since its inception: scent, the stuff of ancient history and myth, has been traded as precious commodities alongside textiles and garments since the world’s earliest trade routes (if for a range of social, religious, and political purposes). But the connection between scent and clothing is more profound than their commodity status. For if fashion can be understood as a “social technology” that represents self and body as culturally produced concepts, then olfaction is indeed fashion in the purest sense of the word— a supplementary limb, or a garment, as it were. Smell is a critical dimension of social appropriateness (which is how Arjun Appadurai once defined fashion), beginning, of course, with cleanliness. Smell is brutally implicated in the production of gender, ethnicity, race, and class, linking many of our social anxieties and aspirations to concrete chemical compounds that are still mostly unnamed.\u003c\/p\u003e\n\u003cp\u003eThis is the paradox of scent: much like fashion, olfaction is a technology of supplementing the body but the difference is that this extension happens in the realm of the atmospheric— a realm that eludes the classic semiotic register in which we tend to discuss not only fashion but socially legible bodies. The atmospheric is where semiotics dematerializes, literally evaporates— and thus also where standard writing ends. To understand and write about scent is enormously difficult: this is no doubt what galvanizes the genre of scent writing so profoundly.\u003c\/p\u003e\n\u003cp\u003eViscose 07 examines scent through a variety of lenses, observing its historical and contemporary role in fashion culture. The issue seeks out histories of projects— mainly developed with or by artists and designers—who have embraced and involved smell as a medium of possibility and knowledge production, gesturing to histories of manufacturing, trade, branding, and commerce, but also sexuality, desire, identity, and memory. With respect to the abstract knowledge of scent, we are in pursuit of accounts ranging from literature to philosophy that attempt to synthesize, much like perfume itself, the sensorial, capitalist, artistic, and scientific forces that make up scent in our modern world.\u003c\/p\u003e\n\u003cp\u003eWe are thankful for the support and collaboration of the Korean Pavilion at the 2024 Venice Biennale, with whom this issue is realized with. Thank you to artist Koo Jeong A and the curators Jacob Fabricius and Seolhui Lee, as well as the sponsors. \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Viscose","offers":[{"title":"Default Title","offer_id":53709763445071,"sku":"PK1341","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20233035.jpg?v=1732203716"},{"product_id":"novembre-issue-16-copy-1","title":"Novembre, Issue 16","description":"\u003cp class=\"introduction\"\u003eWe’re thrilled to announce the upcoming release of Novembre issue 16, our way to capture the exhilarating pulse of contemporary life, since 2009.\u003c\/p\u003e\n\u003cp class=\"introduction\"\u003eCollaborating with over 175 creatives, this edition delves again into the dynamic forces shaping our ever-evolving creative world.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Novembre","offers":[{"title":"Default Title","offer_id":53920740344143,"sku":"PK1156","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202300683.jpg?v=1734101424"},{"product_id":"takashi-homma-no-50-my-nice-t-shirts-1","title":"Takashi Homma, No.50 My Nice T-Shirts","description":"\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"p-rich_text_section\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"textLayer\"\u003e\n\u003cspan dir=\"ltr\" role=\"presentation\"\u003eA reflection on a series of t-shirt\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eworks produced throughout\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eTakashi Homma’s career,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003edocumented for the medium of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eRisograph and translated into zine\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eformat. Homma’s conversational\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eapproach to process is expanded\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ethrough the interspersion of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003esocial media screenshots.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eThroughout the zine, The viewer\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003efinds themselves on a dialogical\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ejourney through the process of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eseeing, meeting the distant eyes of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ea model, the smile of a baby, or the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003elens of a camera.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eTakashi Homma\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003e \u003c\/span\u003eis a Japanese\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ephotographer, born and based in\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eTokyo. His work is recognised for its\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003etender, considered portrayal of identity\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eand culture in Suburban Tokyo.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eHomma left Nihon university of Art \u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ein 1984 to work as a photographer\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eat a Japanese advertising agency,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ebefore moving to London in 1991 to\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ework as the in-house photographer\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eat iD magazine. Homma’s career\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003ehas seen him tirelessly document the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003emany visual facets of Tokyo over the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003elast 40 years, developing an honest\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eand arresting sense of distance and\u003c\/span\u003e\u003cbr role=\"presentation\"\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eisolation, that does not necessarily\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eprovoke alienation, but a sense of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eunderstanding, reflection and dialogue.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"textLayer\"\u003e\n\u003cspan dir=\"ltr\" role=\"presentation\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"textLayer\"\u003e\u003cspan dir=\"ltr\" role=\"presentation\"\u003eThe zine is available in Blue or Pink, both colours contain the same images and artworks. \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd 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Title","offer_id":54128575381839,"sku":"PK1472","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301303.jpg?v=1735902992"},{"product_id":"sharna-osborne-and-sinead-odwyer-no-47-supervisor-aw24","title":"Sharna Osborne and Sinéad O'Dwyer, No.47 Supervisor AW24","description":"\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"p-workspace__primary_view_body\"\u003e\n\u003cdiv class=\"p-message_pane p-message_pane--classic-nav p-message_pane--scrollbar-float-adjustment p-message_pane--with-bookmarks-bar p-message_pane--with-bookmarks-bar-open\" data-qa=\"message_pane\"\u003e\n\u003cdiv\u003e\n\u003cdiv role=\"presentation\"\u003e\n\u003cdiv role=\"presentation\" class=\"c-virtual_list c-virtual_list--scrollbar c-message_list c-message_list--floating c-scrollbar c-scrollbar--fade\"\u003e\n\u003cdiv data-qa=\"slack_kit_scrollbar\" role=\"presentation\" class=\"c-scrollbar__hider\"\u003e\n\u003cdiv role=\"presentation\" class=\"c-scrollbar__child\"\u003e\n\u003cdiv data-qa=\"slack_kit_list\" class=\"c-virtual_list__scroll_container\" role=\"list\" aria-label=\"hato-zines (channel)\"\u003e\n\u003cdiv aria-setsize=\"-1\" class=\"c-virtual_list__item\" role=\"listitem\" id=\"1719489706.909859\" data-qa=\"virtual-list-item\" data-item-key=\"1719489706.909859\" tabindex=\"0\"\u003e\n\u003cdiv role=\"presentation\" class=\"c-message_kit__background p-message_pane_message__message c-message_kit__message p-message_pane_message__message--last\" data-qa=\"message_container\" data-qa-unprocessed=\"false\" data-qa-placeholder=\"false\"\u003e\n\u003cdiv role=\"document\" aria-roledescription=\"message\" class=\"c-message_kit__hover\" data-qa-hover=\"true\"\u003e\n\u003cdiv class=\"c-message_kit__actions c-message_kit__actions--above\"\u003e\n\u003cdiv class=\"c-message_kit__gutter\"\u003e\n\u003cdiv role=\"presentation\" class=\"c-message_kit__gutter__right\" data-qa=\"message_content\"\u003e\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\"\u003e\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\"\u003e\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\"\u003e\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\"\u003e\n\u003cdiv class=\"p-rich_text_section\"\u003ePhotographer Sharna Osborne documents the form and fantasy of Sinéad O'Dwyer's AW24 collection, 'Supervisor,' in our latest zine. Osborne's signature lo-fi images, created with a VHS camera and manipulated digitally, bring back an element of 90s culture and aesthetic to O'Dwyer's contemporary and subversive designs. This is the first time Osborne's work has been explored through the medium of Riso.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"workspace__primary_view_footer p-workspace__primary_view_footer--float\"\u003e\n\u003cdiv class=\"p-message_pane_input\" data-qa=\"message_input_container\"\u003e\n\u003cdiv class=\"p-message_pane_input_inner\"\u003e\n\u003cdiv class=\"p-message_pane_input_inner_main\"\u003e\n\u003cdiv class=\"p-workspace__input p-message_input_unstyled p-message_input_unstyled--attachments-visible\" role=\"group\" aria-label=\"composer\"\u003e\n\u003cdiv class=\"p-message_input__input_container_unstyled c-wysiwyg_container c-wysiwyg_container--theme_light c-wysiwyg_container--with_footer c-wysiwyg_container--theme_light_bordered c-wysiwyg_container--double_decker c-basic_container c-basic_container--size_medium\"\u003e\n\u003cdiv class=\"c-basic_container__body\"\u003e\n\u003cdiv role=\"toolbar\" aria-orientation=\"horizontal\" aria-label=\"Formatting\" class=\"c-wysiwyg_container__formatting\" data-qa=\"wysiwyg-container_formatting-enabled\"\u003e\n\u003cdiv class=\"p-texty_sticky_formatting_bar\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"p-composer__body p-composer__body--visible p-composer__body--unstyled\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eFeaturing: Farah, Ariish Wol, Charlie Reynolds, Maja Sieron, Josefine J Jensen, Alex Charles, Luca Biggs, Maty Drazek, Florentia, Kate Stanforth, Eva Oh\u003c\/p\u003e\n\u003cp\u003eStyling: Ai Kamoshita\u003cbr\u003eCasting: Emma Matell\u003cbr\u003eMakeup: Dan Delgado\u003cbr\u003eHair: Anna Cofone\u003cbr\u003eNails: Nanaka from Haco +\u003cbr\u003eIllustration: Christa Jarrold\u003cspan\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003ePublished by Hato Press, London\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br 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Who or what? Set against the cool minimalism of so much contemporary fashion photography, Gorse’s work feels like the spontaneous outpouring of a carnivalesque collective unconscious – exuberant, unrestrained, excessive.\u003cbr\u003e\u003cbr\u003eGorse’s work is a mirror held up to the theatre of the absurd that is life on planet earth in the first decades of the new millennium. It’s a headlong dive into the deluge of images that saturate contemporary consciousness. It’s joyful and irreverent, life-affirming and fatalistic at the same time – a massive party the night before doomsday. It embraces the restlessness of a world in constant transformation, ready to spin out of control at any moment. And what makes Gorse’s work so remarkable is his ability to channel this havoc into something relatable and even soulful …. to find new cultural symbols that capture the complexity of the now … to seek out grains of sanity amidst the madness, to find moments that begin in the randomness of everyday life and that end by lifting us up out of it… this is the soul and spirit of Henry Gorse’s work.\u003c\/p\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":54243390980431,"sku":"PK1542","price":45.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/Gorse1.jpg?v=1737117471"},{"product_id":"emma-summerton-harri-1","title":"Emma Summerton, Harri","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis booklet weaves together designer Harri’s inflatable wearable sculptures and Emma Summerton's ethereal photography, with the subtle powers of their work magnified by Fruzsina Bekefi’s text. Readers experience fashion media’s shapeshifting magic thanks to a multisensory visual narrative of latex-clad masked figures frolicking across the pages. The trio’s shared appreciation for craft, mythology, and subtle tactility creates a unique dialogue about transcending our sense of space, time, and self in a world dominated by technological acceleration. The limited edition booklet encourages intentional alternatives to mainstream fashion’s voracious churn of images, clothing, and people. \u003c\/p\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":54394155172175,"sku":"PK1564","price":26.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202308313.jpg?v=1738937418"},{"product_id":"archivist-addendum-fashion-interpretations-1","title":"Archivist Addendum: Fashion Interpretations","description":"\u003cp\u003eIn April 1974, the late Italian fashion journalist and stylist Anna Piaggi started presenting her reports for Italian Vogue as ‘box’ reports. “\u003ci\u003ebox, di Anna Piaggi\u003c\/i\u003e” was listed under the ‘lettura e attualitá’ [Reading and News] section of the magazine rather than the fashion pages with which she had been associated. The ‘box’ started with a square drawn across a page and a third of a double page spread. The thin line was designed to ‘cast’ a grey shadow at a 45 degree angle that made the area on the page actually look a bit like a shallow box. In it, she promised in those inaugural pages, she would be\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eputting\u003c\/i\u003e: ‘people, notes, observations, and fashions’.\u003cbr\u003e\u003cbr\u003eIn the first edition she asked six designers three questions: what they collected; which illustrator from the 20th Century would they like to collect; and finally which (other) designer from the 20th century would they like to collect. Their answers opened out the scope and timeframe of the ‘box’, from 1920s Italian ceramics, 1930s painters of panthers, Georges Lepape’s 1911 illustrations of Poiret and so on. The thumbnails that accompanied the lists, Piaggi claimed, were the clues to how we would be dressing the following season. Collections within collections: the apparently miscellaneous selection would make sense creating genealogies of their references.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eArchivist Addendum\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ehas launched as a slim box [307 x 220 x 35mm] of uncoated card, stapled together. It can be laid flat or placed vertically on a shelf. With lettering on both its lid and its spine, it plays with two formats: book and box. Books are usually read sequentially. If you want to classify papers you place them in a file. If you put papers in a box they will be safe — but there will be no guarantee of order.\u003cbr\u003e\u003cbr\u003eThe origin of the format is actually a box belonging to Artistic Director Jane Howard that she has kept since the 1990s when she was working full time as a fashion stylist. She kept ephemera that was fetishised at the time, but rarely still found. Her Marni boot box still contains amongst other things: designer Shelley Fox’s invitation to her\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePhiladelphia Florist\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eexhibition at the Stanley Picker Gallery in 2006; an invitation to Comme des Garçons Junya Watanabe Man A\/W 2007\/08; a 7” vinyl cover of Chas and Dave’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRabbit\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(a gift from a DJ); A page from\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Independent\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e18th March 1999 featuring Hussein Chalayan as British Fashion Award winner; photocopies of looks and the running order from Louis Vuitton’s S\/S 2006 men’s show; polaroids of shoots from 2004 with stylist Katie Grand (for whom she then worked); postcards Howard bought in Berlin in 2005 of couples dancing; an A5 invitation to the Pre-Inca Feather Dress exhibition at Judith Clark Costume Gallery in Notting Hill in 1999. She describes them as fashion industry left-overs; not random; a record of events to be used or remembered later on, but not easily categorised either: projects that were symptomatic of big shifts in the industry at the time, and of Jane Howard’s own restlessness. They were clues to alternative ways of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eusing\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efashion and working within it as a system, ‘people, notes, observations, and fashions’ as Piaggi would have labelled it.\u003cbr\u003e\u003cbr\u003eThis box not only contains Howard’s signature styling [of fashion that is importantly no longer for sale], but also, with Editor-in-Chief Dal Chodha, a commitment to presenting and literally re-presenting academic research within their remit. This first collection of papers (academic and material) includes a snapshot of an international collaborative project driven by dress historian Rebecca Arnold based at the Courtauld Institute in London, that looked at the relationship between ‘dress, medium and meaning’ that formed the subtitle to its main heading:\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFashion Interpretations\u003c\/i\u003e. The participants’ overlapping concerns were about how representational modes translate and reconfigure meaning. Arnold said: “\u003ci\u003eFashion Interpretations was really about two things for me: to explore medium as a subject in and of itself, and as a way to open up and extend our understanding of fashion, and to collaborate with people whose work I respected and admired\u003c\/i\u003e.”\u003cbr\u003e\u003cbr\u003eHoward and Chodha have respected this principle, extending and enacting the project member’s research quite literally with the paper it is printed on. Those printed on a university library photocopier (on 75 and 90gsm paper) feel like penultimate drafts (not for sale), the last usually owned by an academic before sending it to be formatted by a publisher. To these they have added flourishes: 275gsm Ensocoat board postcards; an unbound 32-page full colour GalerieArt Satin 90gsm paper publication; five Image Indigo 170gsm collage prints [brass paperclip]; 16 full colour gloss coated 300gsm paper prints in single glassine envelope; 16 full colour Rapesco Supaclip bound pages of Terraprint Silk 70gsm paper. The box constantly reminds us of something personal that runs through the projects, dress as mourning, as private eBay transaction, as holiday snap, reading, about what to keep, what to paint, translate; the A1 full-colour 80gsm uncoated paper poster “Take me home” — designed from a curator’s evocative moodboard — creates the dilemma around whether to store it, pristine, or hang it on the wall. The gilded names of the authors on the closed lid read like patrons on a gallery wall, creating yet another analogy for the space inside the box and the act and art of selecting the material.\u003c\/p\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":54457043026255,"sku":"PK1492","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310033.jpg?v=1739636117"},{"product_id":"slanted-experimental-type-3-1","title":"Slanted, Experimental Type 3.0","description":"\u003cdiv\u003e\n\u003cp\u003eFollowing the success of the first two editions,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSlanted Experimental Type 3.0\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehas evolved into an ongoing series, each edition exploring groundbreaking approaches in typography and graphic design.\u003c\/p\u003e\n\u003cp\u003eThe third edition, developed in collaboration with students from Dortmund University of Applied Sciences and Arts under the direction of Prof.Lars Harmsen and Andreas Ruhe, introduces entirely new content, pushing the boundaries of creative experimentation. When borders are drawn arbitrarily, they often disregard geographical, ethnic, or historical realities, sparking tension and conflict. While these themes might seem distant from typography, applying such reflections to design offers intriguing challenges. Designers often grapple with their role in a consumer-driven system, questioning the purpose of their work. Yet, they hold the power to choose projects, cross boundaries, and explore uncharted paths. This project delves into design strategies that embrace accidents, imprecision, and unconventional methods, showcasing fonts born from unique concepts or systems. From AI-generated typefaces to variable fonts,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSlanted Experimental Type 3.0\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003echallenges norms and redefines the design process. It’s an invitation to venture into uncharted territory, shift perspectives, and question the lines we draw—both in design and beyond.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Slanted","offers":[{"title":"Default Title","offer_id":54464290849103,"sku":"PK1475","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310533.jpg?v=1740140249"},{"product_id":"currency-7","title":"Currency 6","description":"\u003cdiv\u003eCURRENCY was founded by Carlier in 2003. Each unique issue appears at irregular intervals and constitutes a document of the editor’s relationships and exchanges with advertisers, artists, designers, independent publishers and writers. The new issue of CURRENCY departs from ‘Daydream of Security’, a text by the late art critic Guy Brett, a friend of Carlier and Demoriane. In his editorial letter, Carlier writes: ‘There are several dead people walking around in this magazine. When we consider the ones we have lost, we also try to remember who we are and what we represent.’ In this sense, the issue is guided by key cultural figures, including \u003cspan\u003eartists Eva Hesse and David Medalla.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003eCURRENCY 6 exists at the intersection of art history, culture, fashion and style. It includes contributions from over 25 writers and artists, such as Michel Amet, Paul Mpagi Sepuya, Heinz Peter Knes, Merzedes and Asa Sturm-Lie, critics Barbara Buchmaier and Christine Woditschka and perspectives from notable cultural figures, including Hermine Demoriane, model John Foley and DJ Patrick Vidal.\u003c\/div\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":54761775071567,"sku":"PK1662","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202312143.jpg?v=1743163416"},{"product_id":"tauko-issue-15-crafting-roots","title":"TAUKO, Issue 15: Crafting Roots","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTAUKO Issue No.15 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCrafting Roots\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHow do you learn to sew? It’s a question that sparks countless friendships in sewing circles. Whether it’s tracing Burda patterns, repurposing vintage designs, matching nightgowns made from checkered fabric, or learning from a grandmother’s knitted socks and an auntie’s handmade coat—our sewing stories shape who we are as makers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTAUKO No.15 explores the roots of sewing, blending nostalgic memories with the endless possibilities of modern tutorials and online learning. This summer issue is filled with beautifully designed dresses, trousers, and shirts, each reflecting the unique journey of its creator and the inspirations that first brought them to sewing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach design comes with \u003c\/span\u003e\u003cspan\u003eprinted sewing patterns and step-by-step instructions\u003c\/span\u003e\u003cspan\u003e, making them accessible for sewists of all skill levels. With sizes ranging from \u003c\/span\u003e\u003cspan\u003e31\" (78 cm) to 57.5\" (146 cm) bust\u003c\/span\u003e\u003cspan\u003e, these patterns celebrate creativity for every body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTAUKO Magazine\u003c\/span\u003e\u003cspan\u003e is an award-winning independent print and digital publication for home sewists worldwide. Featuring \u003c\/span\u003e\u003cspan\u003esewing patterns, interviews, columns, articles, and expert tips\u003c\/span\u003e\u003cspan\u003e from international contributors, it connects craft, culture, and sustainability in every issue..\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFORMAT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTAUKO is a 128-page collectable that measures in at 275mm high x 215mm wide. There are four folded paper pattern sheets included with the magazine. It is printed in Estonia with a glue and stitch binding to secure durability and easy reading.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDESIGNS \u0026amp; DESIGNERS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFLOW by Nicole Göttler \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGA-ROSHE by Tringa Osmani \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKERI by Monica Patel \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLIDO by Laurie Stefanizzi \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLINDA by Cris Wood \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMARGARETHA by Alexandra Vrolijk\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNOE by Rumer Ajifu\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePRUDENCE by Marcia Lois Riddington\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRUKUMANI by Gowri Paary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTILLY by Jen Byrne\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eArticles, essays and columns:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUncovering Hidden Narratives Through Everyday Textiles:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn Interview with Textile Artist Ali Ferguson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePhotography by Michael Wickes, Michael Graham, and Paul Ferguson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBook Reviews\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWords by Mila Moisio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePhotography by Laura Oja\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMaking Story\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThreads of the Past: The Art of Transforming Hand-Embroidered Linens\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWords by Jen Byrne\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePhotography by Jen Byrne and Euan Douglas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHandmade Details from a Fisherwoman’s Home: A Visit to the Pentala Archipelago Museum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWords by Mila Moisio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePhotography by Laura Oja\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSewing as Self-Determination:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Power of Choosing Your Material and Making it Yours. 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She's a tousled Monica Vitti on a vespa! 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The project focuses on each persons bag and the fandom (\u003c\/span\u003e\u003cspan\u003ebe it a character, movie, show) that they display through their Ita bag trinkets. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":55381672722767,"sku":"PK1743","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PKB_0892.jpg?v=1750426104"},{"product_id":"mono-kultur-28-bless","title":"mono.kultur #28 Bless","description":"\u003cdiv\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cdiv class=\"std\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cdiv class=\"std\"\u003eSo much more than ‘just’ a fashion label, Bless is in fact a lifestyle (that comes free of style), an attitude, a view of the world. Founded in 1996 by Desiree Heiss and Ines Kaag and based in Paris and Berlin, Bless has always had its own way of seeing and doing: be it the famous fur wigs that were picked up by Maison Martin Margiela, or chairs that function as hoovers, or combs made out of (real) hair, or desks that turn into beds – you never know what to expect from Bless.\u003cbr\u003e\u003cbr\u003eRenowned as a fashion label for quirky and unusual womenswear long before they actually presented their first regular collection, Bless successfully defies categorization by straddling the different worlds of fashion, industrial design and fine art with impressive ease and style. The underlying thread to all products and projects, however, is a constant questioning and rethinking of our world. And so, no matter what the designers set their delicate minds to, in the end it will always feel so surprisingly and refreshingly Bless.\u003cbr\u003e\u003cbr\u003eIn an interview that continuously reverses the roles of interviewer and interviewees, Bless talked with mono.kultur about the similarities between fashion and furniture, the importance of food, and their determination to improve our world.\u003cbr\u003e\u003cbr\u003eThe issue contains two separate booklets with a rollercoaster ride of an interview on your left, and the official lookbook of Bless’s latest collection N° 43 Know Howowow on your right.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eInterview by Adriano Sack \/ Artwork courtesy of Bless \/ Design by Manuel Raeder\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Printed on uncoated stock that’s heavy with ink, issue #28 of MONO. 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