This issue is dedicated to Quiet Concealed Luxury.
Although we do find it hard to be quiet… Whatever that may be, then – reading, escaping to see a brilliant lm (all fashion headlines in this issue are lm titles); listening to music on a Linn deck, with big speakers woo ng away, quietly obviously; lounging around, squandering time purposefully before we can’t any more; doing good things, rescuing small animals…
And so we were, of course, incredibly clever about finding the most luxurious place in Sydney to photograph our Moncler Genius 1952 Collection story – The Foam Booth. Anyone who lives in Sydney will surely know it, that tiny unassuming corner shop on Cleveland Street full of pastel-coloured foam. Samuel Hodge gives it his artist’s-eye-to-be-reckoned-with, all collaged, thoughts scattered. Personal. He is currently studying for his Master’s in Fine Arts at the University of New South Wales. And in a season of quilted jackets, he gave the best something classy.
Anna Pogossova studies Loewe with the microscopic intensity that is hers, collaborating with the young sculptor Ryan Hancock and his forlorn clay “people”. That’s a luxury worth panting about. Tony Marcus writes about subtlety, via Russian tea and Christopher Isherwood, fascinating. Ted Stans eld introduces us to Jacob Kane who is nailing that spot between luxury and streetwear. And Richard Gray interviews Adrian Joffe, the superman and “shopkeeper to the alternatives” of Dover Street Market, and the rest.
Yes, yes, so much to luxuriate in, just quietly. Oh, and the best story ever by Renell Medrano and Simon Rasmussen. The car. Sweet Jesus. For me, it’s always about the car. Throbbing luxury, always.
All up this issue, with its brand-spanking-new redesign by consulting creative director Alex Wiederin, is a puddle of goodness, a great group of artists – all poets, photographers, writers, thinkers – every one with a fresh set of eyes across the detail of luxury. Shhhhhh.