The colour of ONGNA’s Destroyer Jeans began with a stone Angana Ananya found beside Kyoto’s Kamo River. She had already decided on the silhouette, but the stone’s muted, washed-out surface gave the design its tonal direction.
Cody Rooney
Process Visual’s X Refuses Resolution
Fashion depends, to some degree, on the disappearance of its own labour. By the time a garment is presented as finished, the traces through which it was cut, fitted and assembled have usually been removed.
Nii Hai Is Growing Up With Its Girls
There is a particular problem that confronts any independent fashion label fortunate enough to survive its emergence: how to grow without becoming generic.
Rare DM Wants More Than Your Attention
There is a peculiar kind of movement that belongs only to the night. It reveals itself in headlights cutting through rain-soaked streets, in trains rattling beneath sleeping cities, in bodies slipping between dance floors and sidewalks long after midnight.
FACE VALUE: LORENA BAY / gata.ilusion
Beauty has never been a neutral category. It functions instead as a shifting system of recognition, produced through environments, cultural repetition, and the increasingly accelerated feedback loops of visibility.
Yabu Pushelberg Explores Queer History and HIV Activism in Don’t Stop. Stand Up!
Design is often asked to imagine the future. Rarely is it asked to remember. This Pride Month, Yabu Pushelberg is transforming its Tribeca studio into something altogether different.
Vagabond Shoemakers Softens the Shoe for Pre A/W 26
There’s a noticeable shift happening in accessories. After seasons dominated by sharp geometry and rigid silhouettes, footwear is beginning to relax.
FACE VALUE: ANGELINA MASICH
Beauty has never been more visible, nor more mediated. Between algorithmically curated feeds, AI-generated imagery, cosmetic technologies, looksmaxxing, and an endless stream of trend cycles, contemporary beauty increasingly exists within a landscape of optimization.
Claude’s World
While driving along the highways that branch out of Toronto’s downtown, one witnesses a bewildering contrast of forces; nestled in rolling hills of wheat lie mammoth-sized shipping and logistic hubs.
Sara Cwynar’s ‘Baby Blue Benzo Beta’ at MOCA Toronto
Contemporary image culture is often described through excess, whether through Guy Debord’s conception of the spectacle, Jean Baudrillard’s simulacra, or contemporary discourse surrounding the endless recursive circulation of algorithmic media.