Photography by Austin Calvello, fashion by Chloe and Chenelle Delgadillo.
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The Reward System By Antonia Nessen For the print edition of our Head Piece issue, we wanted to cook lamb’s brain and teamed up with the master chef Adam Dahlberg. He agreed to meet us in his restaurant kitchen in Stockholm. This was the first time cooking lamb’s brain for Adam Dahlberg. The organ is tiny, and
Ironic fashion and a growing interest in the materiality of clothes are intertwined in the sub-trend for women with full-length dresses, floral prints, puff sleeves, prairie styles, and high collars. We take a closer look at clothes that blur the lines between fiction and reality. Essay by Antonia Nessen
What’s in the box? Instead of a conventional magazine format, we continue to package Contributor in a box. Inside you’ll find a selection of large prints in two different sizes and one poster. We’re thrilled to have the actress Katherine Waterston on the cover. Waterston’s lived-in, full-bodied, and palpable commitment is why she’s become a reliable source for a variety of directors looking to infuse their characters with a visceral complexity, a nuanced humanity, that’s difficult to find elsewhere.
From our latest issue. Available in our online shop and selected stores worldwide. Photography by Magnus Magnusson and Styling by Robert Rydberg. Hair by Karolina Liedberg at Link Details Using Less is More, Make Up by Josefina Zarmén at Link Details Using RMS Beauty. Modeling by Ola Rudnicka at Next Models Photographer’s Assistant by Niklas Marklund Stylist’s Assistants by Hilda Sandstöm and Anna Sundelin. Hair styling assistance by Janina Grantor, Sara Eriksson and Melina Arnesson. Make up assistance by Johanna Nordlander, Tove Dalsryd and Mathilda Hedin.
The theme that runs through our latest print issue is CASTING AND COLLECTIONS. Both are central concepts in fashion. The mechanism behind changes in fashion can be compared to a kaleidoscope. Unreliable pieces of clothing are always in flight, ready to become something else. The key to taking hold of these fleeting moments is usually to look at a designer’s handiwork in detail from collection to collection, since clothing derives its consistency from its role as part of a series. Other paths to finding a narrative in fashion are through styling or photography. Patterns seen through the fashion kaleidoscope can, however, easily be freed of their current meaning. After giving it a few violent shakes, they can go from being interpreted as frivolous to provocative and offensive, by rearranging the compositions and shaping themselves into different meanings. By using the kaleidoscope as a metaphor for fashion in this issue entitled CASTING AND COLLECTIONS, we look back at the modernist writers of the early twentieth century who frequently returned to the image of the optical instrument in their writings. When describing the modern experience in “Arcades Project,” Walter Benjamin for one, writes that: “Every age unavoidably seems to itself a new age. The ‘modern,’ however, is as varied in its meaning as the different aspects of one and the same kaleidoscope.
“I feel unreliably free,’’ says Lykke Li, one of the most talked-about and critically admired musicians of her generation. “It’s been a rough couple of years and the album was so hard-core to make as well, so I feel unbelievably thankful that it’s done and that I’m still alive. I’m in love with life again.” Photography by Magnus Magnusson. Fashion by Robert Rydberg