Thebe Magugu, SS18 – Gender Studies

Figures of Fortitude (2018)

Photo: Aart Verrips, creative direction & set: Thebe Magugu, assistant: Nhlanhla Masemola

Fashion has built a trap for itself. The most contemporary medium may still pride itself on being ahead of the curve, but it has fallen prey to a totalised corporate capitalist realism that is closing the door on a new generation. Where will it go with its need to rebel and experiment? By Jeppe Ugelvig

 All images courtesy of Celine 

Hedi Slimane, image Courtesy of Celine 

Director Hedi Slimane’s new Celine Art Project enlists contemporary artists to design work for stores around the world. Charles Teyssou discusses Slimane’s artistic imaginary through Americana cultural landscapes, and poses ten questions to two of Slimane’s collaborators, David Kramer and Shawn Kuruneru. 

Annotated images of the Fomalhaut system from NASA/ESA.

The details show the orbital motion of the planet Fomalhaut b (aka Dagon).

NASA, ESA, and Z. Levay (STScI)

How to dress the devil? If there’s one thing we can learn from the canon of villainy it would be that evil rarely requires a stylist. The arts are populated with villains – on both sides of the screen, page, canvas – who know how to work far more dashing cuts than their heroic counterparts. By Ella Plevin

Illustration by Kurt Woerpel

As products and media started to blur into each other, in the wake of a cultural repositioning of the image through social media streams, fashion led the way in turning content into a new art form. By Thom Bettridge

The origins of the fashion industry’s most provocative and innovative strategies had a forerunner in BLESS, the enigmatic fashion studio founded between Paris and Berlin in the late 1990s. By David Lieske

 Symonds Pearmain; Haute Militaire, AW 2017; The Horse Hospital, London

Symonds Pearmain; Haute Militaire, AW 2017; The Horse Hospital, London

The contemporary has ousted the timeless in art today. Fashion, by contrast, has always operated in a different, tighter bond with the timely, anticipating the next season, channeling the zeitgeist.

An interview with Margaret Burton, an ex-artist who found her way into the fringes of fashion to criticise the industry from within. By Ché Zara Blomfield

 Cover of Vogue in June 1932

Cover of the June 1932 Vogue (detail)

A Summer Chronicle, part 2: Natasha Stagg writes about working in the fashion-magazine world and loneliness on Independence Day

A nihilist’s guide to the unbelievable success of the young European fashion label

 Raf Simons, SS15 menswear

Raf Simons, SS15 menswear

A shirt, a T-shirt, a dress: clothing is inescapably concrete. But several recent collections have introduced new strategies of dematerialization into the world of fashion undoing the separation of image and object. Michele D’Aurizio explains.