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Maximilian Missoni on his life as Head of Design at Polestar
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Maximilian Missoni on his life as Head of Design at Polestar

Design This weekend Polestar, the electric performance car brand from Sweden, opens its first three Polestar Spaces in the Netherlands. In these retail environments in Rotterdam, Eindhoven and Leidschendam, the Dutch public can meet Polestar 2 for the first time. The fourth Space will open later this year near Amsterdam. Polestar is moving forward towards a more sustainable future and believes electric vehicles are a crucial step on this journey.   These ‘physical’ Spaces are designed to match the minimalist and innovative design philosophy of the brand. Customers can discover the Polestar 1 and Polestar 2 in many different ways; through interactive displays with touchscreens or with Varjo virtual reality that matches the resolution of the human eye. For questions they can always contact Polestar Specialists that, interestingly, do not work on commission basis.    The Polestar 2, which will debut in the Netherlands this weekend, is a fully electric performance fastback. It is also the first car in the world with an integrated Android infotainment system, which means access to Google services such as Google Maps and voice recognition. As Polestar is working towards a sustainable future, the brand created it’s interior out of recycled and vegan materials.      Maximilian Missoni is the Head of Design at Polestar. Maximilian Missoni studied Vehicle Design at the Royal College of Art in London then started his career at the Volkswagen Group. In 2018 he became Head of Design for Polestar.     Being Head of Design of a progressive super design brand we are extremely curious: What does a day in the life of Maximilian Missoni look like?   It’s probably more down to earth than you’d imagine. We work on many future car models simultaneously and the development process of such complex technological products – especially when aiming at a mass production volume can be very tedious at times. I spend probably two thirds of my days in dark rooms with life size projections or virtual reality rigs where we assess proposals and designs, implementing improvements. I also spend a lot of time in intense discussions with engineering about how to get to the desired results. The remaining third would split into team development, management meetings and strategic tasks. It feels like there is never enough time to just roam and find inspiration.   How do you keep inspired when handling a brand like Polestar?   The biggest task when setting up the design language for a new brand as a team is to distill philosophy and values into three dimensional objects and ultimately products that people want to live with. I see it as my main task to identify great ideas that emerge within the design team and develop them into a stage where we can present them and convince the rest of the management team to support this vision. I have handpicked the guys and girls in my team and have done so because I believe in their individual talent and unique styles. So, they are actually the ones who often inspire me. Coming into work every morning, knowing there is a bunch of highly skilled and creative people who are all keen to shape the future is probably my biggest privilege. On top of that I immerse myself whenever I can into contemporary art and design. And I try to keep learning – lately everything about electric propulsion and the challenges and opportunities of sustainability or even circularity – our next frontier.   What's your home like? Do you practice what you preach?   I try to surround myself with furniture design classics and art that inspires me. Would I like to expand this collection? Absolutely. The one object which probably reflects my design ethos the most - besides the cars of our own brands which I drive - is my boat, designed by a Swedish boat designer and friend of mine, who I studied with back in the days. Its clever, Scandinavian, minimalistic solutions make me happy time and time again.   3,5 We just have to ask… are you perhaps related to the (fashion) Missoni dynasty?   The name Missoni is generally not very common, and the origins of the wider family tree are in northern Italy, but I wouldn’t go further than that.      This weekend Polestar, the electric performance car brand from Sweden, opens its first three Polestar Spaces in the Netherlands. In these retail environments in Rotterdam, Eindhoven and Leidschendam, the Dutch public can meet Polestar 2 for the first time. The fourth Space will open later this year near Amsterdam. Polestar is moving forward towards a more sustainable future and believes electric vehicles are a crucial step on this journey.   These ‘physical’ Spaces are designed to match the minimalist and innovative design philosophy of the brand. Customers can discover the Polestar 1 and Polestar 2 in many different ways; through interactive displays with touchscreens or with Varjo virtual reality that matches the resolution of the human eye. For questions they can always contact Polestar Specialists that, interestingly, do not work on commission basis.    The Polestar 2, which will debut in the Netherlands this weekend, is a fully electric performance fastback. It is also the first car in the world with an integrated Android infotainment system, which means access to Google services such as Google Maps and voice recognition. As Polestar is working towards a sustainable future, the brand created it’s interior out of recycled and vegan materials.      Maximilian Missoni is the Head of Design at Polestar. Maximilian Missoni studied Vehicle Design at the Royal College of Art in London then started his career at the Volkswagen Group. In 2018 he became Head of Design for Polestar.     Being Head of Design of a progressive super design brand we are extremely curious: What does a day in the life of Maximilian Missoni look like?   It’s probably more down to earth than you’d imagine. We work on many future car models simultaneously and the development process of such complex technological products – especially when aiming at a mass production volume can be very tedious at times. I spend probably two thirds of my days in dark rooms with life size projections or virtual reality rigs where we assess proposals and designs, implementing improvements. I also spend a lot of time in intense discussions with engineering about how to get to the desired results. The remaining third would split into team development, management meetings and strategic tasks. It feels like there is never enough time to just roam and find inspiration.   How do you keep inspired when handling a brand like Polestar?   The biggest task when setting up the design language for a new brand as a team is to distill philosophy and values into three dimensional objects and ultimately products that people want to live with. I see it as my main task to identify great ideas that emerge within the design team and develop them into a stage where we can present them and convince the rest of the management team to support this vision. I have handpicked the guys and girls in my team and have done so because I believe in their individual talent and unique styles. So, they are actually the ones who often inspire me. Coming into work every morning, knowing there is a bunch of highly skilled and creative people who are all keen to shape the future is probably my biggest privilege. On top of that I immerse myself whenever I can into contemporary art and design. And I try to keep learning – lately everything about electric propulsion and the challenges and opportunities of sustainability or even circularity – our next frontier.   What's your home like? Do you practice what you preach?   I try to surround myself with furniture design classics and art that inspires me. Would I like to expand this collection? Absolutely. The one object which probably reflects my design ethos the most - besides the cars of our own brands which I drive - is my boat, designed by a Swedish boat designer and friend of mine, who I studied with back in the days. Its clever, Scandinavian, minimalistic solutions make me happy time and time again.   3,5 We just have to ask… are you perhaps related to the (fashion) Missoni dynasty?   The name Missoni is generally not very common, and the origins of the wider family tree are in northern Italy, but I wouldn’t go further than that.     

CELINE HOMME "THE DANCING KID"
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CELINE HOMME "THE DANCING KID"

Fashion Week     THE DANCING KID: A TEEN ROMANCE.   THE CONCEPT FOR THE DANCING KID TOOK HOLD IN DECEMBER 2019. ATTUNED TO NEW ADOLESCENT CODES, HEDI SLIMANE PHOTOGRAPHED NOEN EUBANKS IN LONDON. IT BECAME THE START OF THE "PORTRAIT OF A TEEN IDOL" SERIES. IN EARLY 2020, THIS COLLECTION WAS BEING PREPARED IN PARALLEL WITH THE WINTER COLLECTION. THE CONFINEMENT CONFIRMED HEDI SLIMANE’S DIRECTION, BUT THE WHOLE OF THE DANCING KID ALREADY HAD COME TOGETHER AND WAS DESIGNED ENTIRELY IN SAINT TROPEZ WELL BEFORE MARCH.   MEANWHILE, CONFINED YOUTH STAVED OFF BOREDOM BY DANCING, AFFIRMING THEIR CREATIVE FLAIR, CONVICTIONS AND CULTURE, NOTABLY MUSICAL. IN AMERICA, BILLBOARD AND THE MUSIC INDUSTRY PIVOTED TO A MAJOR NEW INFLUENCE.   THE DANCING KID IS A "DOCUMENTARY" COLLECTION SPANNING EBOYS AND CURRENT SKATE CULTURE, A CANDID PORTRAIT OF A GENERATION THAT TOOK ADVANTAGE OF  THE CONFINEMENT AND ISOLATION TO ASSERT ITSELF AND EMANCIPATE ITSELF CREATIVELY, SPONTANEOUSLY INVENTING AN INITIATORY LANGUAGE ANCHORED IN DANCE AND TEEN ROMANCE.   HEDI SLIMANE INVITED SIX ARTISTS TO PARTICIPATE IN THE FORM OF THE DANCING KID EDITIONS, IN THE MANNER OF A GROUP SHOW.     THE DANCING KID: A TEEN ROMANCE.   THE CONCEPT FOR THE DANCING KID TOOK HOLD IN DECEMBER 2019. ATTUNED TO NEW ADOLESCENT CODES, HEDI SLIMANE PHOTOGRAPHED NOEN EUBANKS IN LONDON. IT BECAME THE START OF THE "PORTRAIT OF A TEEN IDOL" SERIES. IN EARLY 2020, THIS COLLECTION WAS BEING PREPARED IN PARALLEL WITH THE WINTER COLLECTION. THE CONFINEMENT CONFIRMED HEDI SLIMANE’S DIRECTION, BUT THE WHOLE OF THE DANCING KID ALREADY HAD COME TOGETHER AND WAS DESIGNED ENTIRELY IN SAINT TROPEZ WELL BEFORE MARCH.   MEANWHILE, CONFINED YOUTH STAVED OFF BOREDOM BY DANCING, AFFIRMING THEIR CREATIVE FLAIR, CONVICTIONS AND CULTURE, NOTABLY MUSICAL. IN AMERICA, BILLBOARD AND THE MUSIC INDUSTRY PIVOTED TO A MAJOR NEW INFLUENCE.   THE DANCING KID IS A "DOCUMENTARY" COLLECTION SPANNING EBOYS AND CURRENT SKATE CULTURE, A CANDID PORTRAIT OF A GENERATION THAT TOOK ADVANTAGE OF  THE CONFINEMENT AND ISOLATION TO ASSERT ITSELF AND EMANCIPATE ITSELF CREATIVELY, SPONTANEOUSLY INVENTING AN INITIATORY LANGUAGE ANCHORED IN DANCE AND TEEN ROMANCE.   HEDI SLIMANE INVITED SIX ARTISTS TO PARTICIPATE IN THE FORM OF THE DANCING KID EDITIONS, IN THE MANNER OF A GROUP SHOW.

Exclusive Editorial "Consciousness" in collaboration with Givenchy, photographed by Matthieu Delbreuve
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Exclusive Editorial "Consciousness" in collaboration with Givenchy, photographed by Matthieu Delbreuve

Men Exclusive editorial in collaboration with Givenchy, captured by Matthieu Delbreuve.       TEAM CREDITS: Photographer : Matthieu Delbreuve Photographer assistant : Arthur Jung Stylist : Joana Dacheville @ agence saint germain Stylist assistant : Alexis Landolfi  Hair Stylist : Yumiko Hikage @ agence saint germain Make up artist : Aurelia Liansberg @ wise and talented Casting director : Rémi Felipe  Model : Eli Epperson @ Bananas models Editor: Timotej Letonja     #GIVENCHY #EDITORIAL #NUMERODIGITAL Exclusive editorial in collaboration with Givenchy, captured by Matthieu Delbreuve.       TEAM CREDITS: Photographer : Matthieu Delbreuve Photographer assistant : Arthur Jung Stylist : Joana Dacheville @ agence saint germain Stylist assistant : Alexis Landolfi  Hair Stylist : Yumiko Hikage @ agence saint germain Make up artist : Aurelia Liansberg @ wise and talented Casting director : Rémi Felipe  Model : Eli Epperson @ Bananas models Editor: Timotej Letonja     #GIVENCHY #EDITORIAL #NUMERODIGITAL

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Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign
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Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign

Fashion Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign directed and photographed by Nicolas Ghesquière, Artistic Director of Women’s Collections. Representing total creative investment in a very personal collection, the campaign expresses contemporary freedom and the pure pleasure of clothing that is open to all manner of audacity.     To photograph this campaign, Nicolas Ghesquière invited Louis Vuitton’s friends and family to his photography studio, a creative laboratory on the Quai Voltaire in Paris: among them were close friends whose personality inspires him, kindred spirits, and favourite faces. Celebrity friends, beloved models, astonishing artists and athletes include Léa Seydoux, Marina Foïs, Noémie Merlant, Akon Changkou, Stacy Martin, Dina Asher-Smith, Lous and the Yakuza and Sora Choi. In all, 20 personalities he wished to represent in their essence. The same holds true of the House’s iconic bags that accompany this stylistic exercise — the Capucines, the Twist, the Pont 9 and the Dauphine.     With the same candor, Nicolas Ghesquière incorporates the new line “SINCE 1854.” A precious jacquard inscribed with a fundamental date, 1854, sprinkled among Monogram owers in a nod to the year the House was created. Already iconic, this Monogram distills the Louis Vuitton spirit on timeless pieces such as the Dauphine, the Neverfull and the Petit Noé. The signature “SINCE 1854” also gures on a wardrobe of essentials and accessories.     Says Nicolas Ghesquière of the campaign, “I thought it would be interesting to extend my work to photography, to follow through to the end of the creative process and give the collection its nal punctuation. In this portrait gallery, everyone is there for my own personal reasons, and I liked discovering new connections with people. I knew already. I also wanted to bring unity to di erent aspects of the House, a circular vision of what happens here. To give a timeless aspect to creations that are very anchored in the season. For me, moving into photography came from a desire to reflect the feeling we share when we’re working on a collection.”     The campaign will be unveiled in September 2020 publications worldwide. Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign directed and photographed by Nicolas Ghesquière, Artistic Director of Women’s Collections. Representing total creative investment in a very personal collection, the campaign expresses contemporary freedom and the pure pleasure of clothing that is open to all manner of audacity.     To photograph this campaign, Nicolas Ghesquière invited Louis Vuitton’s friends and family to his photography studio, a creative laboratory on the Quai Voltaire in Paris: among them were close friends whose personality inspires him, kindred spirits, and favourite faces. Celebrity friends, beloved models, astonishing artists and athletes include Léa Seydoux, Marina Foïs, Noémie Merlant, Akon Changkou, Stacy Martin, Dina Asher-Smith, Lous and the Yakuza and Sora Choi. In all, 20 personalities he wished to represent in their essence. The same holds true of the House’s iconic bags that accompany this stylistic exercise — the Capucines, the Twist, the Pont 9 and the Dauphine.     With the same candor, Nicolas Ghesquière incorporates the new line “SINCE 1854.” A precious jacquard inscribed with a fundamental date, 1854, sprinkled among Monogram owers in a nod to the year the House was created. Already iconic, this Monogram distills the Louis Vuitton spirit on timeless pieces such as the Dauphine, the Neverfull and the Petit Noé. The signature “SINCE 1854” also gures on a wardrobe of essentials and accessories.     Says Nicolas Ghesquière of the campaign, “I thought it would be interesting to extend my work to photography, to follow through to the end of the creative process and give the collection its nal punctuation. In this portrait gallery, everyone is there for my own personal reasons, and I liked discovering new connections with people. I knew already. I also wanted to bring unity to di erent aspects of the House, a circular vision of what happens here. To give a timeless aspect to creations that are very anchored in the season. For me, moving into photography came from a desire to reflect the feeling we share when we’re working on a collection.”     The campaign will be unveiled in September 2020 publications worldwide.

Exclusive editorial "Forces of Nature"
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Exclusive editorial "Forces of Nature"

Fashion Head: Forces of Nature   Exclusive new editorial by Stephanie Galea. Youthful silhouettes and playful layering - natural motifs will forever be fashion’s feel-good trend.     TEAM CREDITS: Photography: Stephanie Galea Fashion Editor: Keanoush Zargham Art editor: Richa Konde   Hair stylist: Sharon Robinson using Oribe   Make-up artist: Anna Payne   Model: Yacine Diop at The Hive Management   Casting director: Miro Raynov   Fashion assistant: Chrissie McKenna   Casting assistant: Naima Labiad Head: Forces of Nature   Exclusive new editorial by Stephanie Galea. Youthful silhouettes and playful layering - natural motifs will forever be fashion’s feel-good trend.     TEAM CREDITS: Photography: Stephanie Galea Fashion Editor: Keanoush Zargham Art editor: Richa Konde   Hair stylist: Sharon Robinson using Oribe   Make-up artist: Anna Payne   Model: Yacine Diop at The Hive Management   Casting director: Miro Raynov   Fashion assistant: Chrissie McKenna   Casting assistant: Naima Labiad

JACQUEMUS Spring/Summer 2021 collection « L’Amour
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JACQUEMUS Spring/Summer 2021 collection « L’Amour

Fashion Week "As an idea for this collection, L’Amour began as something different. I imagined people gathered together celebrating love. Alexander Ekman’s choreography of wheat tossed passionately through the air. Emir Kursturica’s film, Time of the Gypsieswith its enchanting realism. These scenes of ceremony large and small. But what’s so beautiful about L’Amour is how it can endure—sometimes even grow stronger—in the absence of people being together. Not long after my team was separated from each other, we were all in our homes feeling the desire to work, and a new vision of the collection emerged. We became a human chain, every step of the creative process executed with love. In fact, every decision I make concerning JACQUEMUS is motivated first by love and common sense. It’s why we shifted to a more sustainable rhythm last year, with two shows combining menswear and womenswear, held in January and June. This decision ended up saving us this season, since we had received all our fabric orders ahead of the confinement. Deciding to go ahead with our usual collection schedule and with a show is at the heart of our visual identity, our commercial strategy. With this smaller collection, presented mainly to our family and friends, we bring our interior worlds out into the open, interpreting the humble fabrics and objects we live with that have their own poems to tell. Within the home, L’Amour reveals itself in small wonders. Separate but collectively, we realized that the home is a place of endless inspiration. These impressions are what I wanted to recreate in this setting today, where we have been fully sensitive to the circumstances. My team has put in an enormous effort these last few months, and I am so grateful that we arrived here, that we are gathered together in the end. For me, it is important for people to see that a true celebration of L’Amour is universal."     As JACQUEMUS is committed to developing its production in the most progressive, sensitive and sustainable ways, the SS21 collection will be available for pre-order online, exclusively through Jacquemus.com, the morning after the show. Beyond creating a valuable connection with consumers, this helps ensure that production corresponds more directly to demand, ultimately establishing a positive commercial model for all.     Linen is the fabric of L’Amour: Natural, pure, everlasting, honest. It follows the curves of the body as a sensuous dress; it can be tailored with light construction as a pair of high-waisted pants or a summery suit. Linen represents French heritage, family heirlooms, household articles and, through both men’s and women’s collections, a fresh perspective in design. Linen lends itself to surface treatments, spanning delicate and traditional broderie anglaise and jour echelle (ladder stitching) to a tenderly contemporary array of laser-cut hearts. Appliqués and incrustations include borders of braided raffia or cotton herringbone tape and embroideries in micro-beaded wheat sheaves. Pillows are transformed into tops and bags alike—a cushioned nod to comfort beyond the home.     Silhouettes for women continue to explore and integrate notions of lingerie: twisted bra tops and bustier t-shirts; shirts and jackets featuring wraparound straps and delicate metal adjusters. Pencil skirts signal archetypal femininity. Silhouettes for men broaden out beyond workwear, adapting a more sensual attitude conveyed in the women’s looks. Jackets and shirts move through various lightweight volumes: rounded and rustic, reconstructed with asymmetric focus, loose like a deconstructed pea coat. The palette is warm and earthy, with muted yellow, olive and crisp blue conjuring the tones of faded linens and baked ceramics inspired by Peter Schlesinger’s work.     Prints take cue from kitchen tiles, vegetal motifs on ceramics, torchon (dishcloth) checks and the inky abstract drawings of Joan Miró. Painterly still life scenes—a plate of white asparagus, a strainer filled with cherries – float across men’s shirts in linen and crisp cotton. Patterns inspired by Picasso’s frescoes at the Château de Castille stand out playfully, drawn directly on the fabric.     Objects found around the home are reimagined as whimsical accessories: Miniature cutlery and tools crafted in leather dangle from suits, keychains are accented with tiny tablecloths and cuffs are fashioned from old door handles. Real mini Marseille soaps turn up as charms on necklaces and bracelets. Other jewellery pieces signal handcraft through hammered and bent metal shapes, at once artisanal and artistic. Pillows and plates become portable, carried as a tote or secured in a leather harness. In terms of footwear, women wear sandals that wrap around the ankle and flip-flops on a gentle platform; men, an espadrille- style shoe that conjures the countryside.     The Chiquito finds new expression yet again. Chrome-free vegetal tones of vibrant rose, orange and blue show early signs of natural patina, while linen offers an alternative to leather. The Chiquito Nœud features an extra-long top-handle that can be looped or worn on the shoulder. Triangular prism and cube shapes for women, and a toolbox-style case for men expand upon the recognizable references of JACQUEMUS bags. Lastly, as if the Chiquito couldn’t get any smaller, it now appears as a single earring stud. "As an idea for this collection, L’Amour began as something different. I imagined people gathered together celebrating love. Alexander Ekman’s choreography of wheat tossed passionately through the air. Emir Kursturica’s film, Time of the Gypsieswith its enchanting realism. These scenes of ceremony large and small. But what’s so beautiful about L’Amour is how it can endure—sometimes even grow stronger—in the absence of people being together. Not long after my team was separated from each other, we were all in our homes feeling the desire to work, and a new vision of the collection emerged. We became a human chain, every step of the creative process executed with love. In fact, every decision I make concerning JACQUEMUS is motivated first by love and common sense. It’s why we shifted to a more sustainable rhythm last year, with two shows combining menswear and womenswear, held in January and June. This decision ended up saving us this season, since we had received all our fabric orders ahead of the confinement. Deciding to go ahead with our usual collection schedule and with a show is at the heart of our visual identity, our commercial strategy. With this smaller collection, presented mainly to our family and friends, we bring our interior worlds out into the open, interpreting the humble fabrics and objects we live with that have their own poems to tell. Within the home, L’Amour reveals itself in small wonders. Separate but collectively, we realized that the home is a place of endless inspiration. These impressions are what I wanted to recreate in this setting today, where we have been fully sensitive to the circumstances. My team has put in an enormous effort these last few months, and I am so grateful that we arrived here, that we are gathered together in the end. For me, it is important for people to see that a true celebration of L’Amour is universal."     As JACQUEMUS is committed to developing its production in the most progressive, sensitive and sustainable ways, the SS21 collection will be available for pre-order online, exclusively through Jacquemus.com, the morning after the show. Beyond creating a valuable connection with consumers, this helps ensure that production corresponds more directly to demand, ultimately establishing a positive commercial model for all.     Linen is the fabric of L’Amour: Natural, pure, everlasting, honest. It follows the curves of the body as a sensuous dress; it can be tailored with light construction as a pair of high-waisted pants or a summery suit. Linen represents French heritage, family heirlooms, household articles and, through both men’s and women’s collections, a fresh perspective in design. Linen lends itself to surface treatments, spanning delicate and traditional broderie anglaise and jour echelle (ladder stitching) to a tenderly contemporary array of laser-cut hearts. Appliqués and incrustations include borders of braided raffia or cotton herringbone tape and embroideries in micro-beaded wheat sheaves. Pillows are transformed into tops and bags alike—a cushioned nod to comfort beyond the home.     Silhouettes for women continue to explore and integrate notions of lingerie: twisted bra tops and bustier t-shirts; shirts and jackets featuring wraparound straps and delicate metal adjusters. Pencil skirts signal archetypal femininity. Silhouettes for men broaden out beyond workwear, adapting a more sensual attitude conveyed in the women’s looks. Jackets and shirts move through various lightweight volumes: rounded and rustic, reconstructed with asymmetric focus, loose like a deconstructed pea coat. The palette is warm and earthy, with muted yellow, olive and crisp blue conjuring the tones of faded linens and baked ceramics inspired by Peter Schlesinger’s work.     Prints take cue from kitchen tiles, vegetal motifs on ceramics, torchon (dishcloth) checks and the inky abstract drawings of Joan Miró. Painterly still life scenes—a plate of white asparagus, a strainer filled with cherries – float across men’s shirts in linen and crisp cotton. Patterns inspired by Picasso’s frescoes at the Château de Castille stand out playfully, drawn directly on the fabric.     Objects found around the home are reimagined as whimsical accessories: Miniature cutlery and tools crafted in leather dangle from suits, keychains are accented with tiny tablecloths and cuffs are fashioned from old door handles. Real mini Marseille soaps turn up as charms on necklaces and bracelets. Other jewellery pieces signal handcraft through hammered and bent metal shapes, at once artisanal and artistic. Pillows and plates become portable, carried as a tote or secured in a leather harness. In terms of footwear, women wear sandals that wrap around the ankle and flip-flops on a gentle platform; men, an espadrille- style shoe that conjures the countryside.     The Chiquito finds new expression yet again. Chrome-free vegetal tones of vibrant rose, orange and blue show early signs of natural patina, while linen offers an alternative to leather. The Chiquito Nœud features an extra-long top-handle that can be looped or worn on the shoulder. Triangular prism and cube shapes for women, and a toolbox-style case for men expand upon the recognizable references of JACQUEMUS bags. Lastly, as if the Chiquito couldn’t get any smaller, it now appears as a single earring stud.

GUCCI Epilogue live now
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GUCCI Epilogue live now

Fashion Week #GucciEpilogue debuts in a narrative feature to commence on Friday, July 17 at 2:00pm CEST on Gucci.com, YouTube, Twitter, Instagram, Facebook, Weibo, the Gucci App and on the @cameramoda official channels.   The full event, including a 12-hour live streaming, will be broadcast from 8:00am CEST on Gucci.com, YouTube, Twitter, Weibo and the Gucci App and from 12:00pm on Gucci Facebook.   @alessandro_michele #AlessandroMichele #mfw #MilanoDigitalFashionWeek   You can watch the livestream also on our website.   Watch it live here: https://youtu.be/9jIrysawtO4     #GucciEpilogue debuts in a narrative feature to commence on Friday, July 17 at 2:00pm CEST on Gucci.com, YouTube, Twitter, Instagram, Facebook, Weibo, the Gucci App and on the @cameramoda official channels.   The full event, including a 12-hour live streaming, will be broadcast from 8:00am CEST on Gucci.com, YouTube, Twitter, Weibo and the Gucci App and from 12:00pm on Gucci Facebook.   @alessandro_michele #AlessandroMichele #mfw #MilanoDigitalFashionWeek   You can watch the livestream also on our website.   Watch it live here: https://youtu.be/9jIrysawtO4    

Exclusive Editorial by Max vom Hofe
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Exclusive Editorial by Max vom Hofe

Fashion Exclusive digital editorial captured by Max vom Hofe.     TEAM CREDITS: photography: Max vom Hofe model: Lou Schoof at Le Management styling: Tim Tobias Zimmermann make-up: Patrick Glatthaar hair by: Helge Henry Branscheidt   Exclusive digital editorial captured by Max vom Hofe.     TEAM CREDITS: photography: Max vom Hofe model: Lou Schoof at Le Management styling: Tim Tobias Zimmermann make-up: Patrick Glatthaar hair by: Helge Henry Branscheidt  

GUCCI TO PRESENT THE EPILOGUE  COLLECTION THROUGH A LIVE STREAMING
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GUCCI TO PRESENT THE EPILOGUE COLLECTION THROUGH A LIVE STREAMING

Fashion Week Gucci is pleased to announce that Creative Director Alessandro Michele will present his Epilogue collection through a special live streaming and the release of a visual narrative feature.      The event will be broadcast on Friday, July 17, 2020, the last day of the inaugural Milan Digital Fashion Week, on several digital platforms worldwide. The exclusive narrative feature will be shared at 2:00pm CEST during the 12-hour live streaming starting at 8:00am CEST. Tomorrow you can livestream it on our website.     As previously announced, Alessandro Michele wanted to write an Epilogue: a conclusive chapter in the narrative arc that began with his last show “An Unrepeatable Ritual”, when he started celebrating the magic of fashion by unveiling what lies behind the curtains of a beloved liturgy. On July 17th, he is presenting the final act of this path, a further playful experimentation aimed at reversing traditional fashion rules and perspectives.     Casting the team from his design office, the Epilogue will be presented through a unified collection, with the seeds of what will be the near, imminent future. Gucci is pleased to announce that Creative Director Alessandro Michele will present his Epilogue collection through a special live streaming and the release of a visual narrative feature.      The event will be broadcast on Friday, July 17, 2020, the last day of the inaugural Milan Digital Fashion Week, on several digital platforms worldwide. The exclusive narrative feature will be shared at 2:00pm CEST during the 12-hour live streaming starting at 8:00am CEST. Tomorrow you can livestream it on our website.     As previously announced, Alessandro Michele wanted to write an Epilogue: a conclusive chapter in the narrative arc that began with his last show “An Unrepeatable Ritual”, when he started celebrating the magic of fashion by unveiling what lies behind the curtains of a beloved liturgy. On July 17th, he is presenting the final act of this path, a further playful experimentation aimed at reversing traditional fashion rules and perspectives.     Casting the team from his design office, the Epilogue will be presented through a unified collection, with the seeds of what will be the near, imminent future.

PRADA presents Multiple views for their Spring & Summer 2021 collection
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PRADA presents Multiple views for their Spring & Summer 2021 collection

Fashion Week For Prada Multiple Views SS21, a singular statement is replaced by the perspectives of many: multiple views, by a multitude of global creatives. The collection suggests the approach: different views, for a collection that proposes a myriad interpretations of the Prada man and woman. Congruent yet individually delineated, the collection is proposed in five chapters, which in turn are interpreted by five image-makers and artists. A true conversation.     Terence Nance, Joanna Piotrowska, Martine Syms, Juergen Teller and Willy Vanderperre each propose a film capturing a facet of the Prada collection, distinct and definite in its creative statement and ideology, a point of view on Prada. These inherently and fundamentally echo the traditional fashion show, where each observer has their own physical and ideological vantage-point on the collection, their own opinions, their own observations. It also reflects the reality of this Prada digital presentation: seemingly divergent but again seen by many, this time in their own environments, their own time, their own worlds. This is an embracing and celebration of that multiplicity - when people cannot commune, we can establish a different type of community, united through ideas, goals, beliefs.     Attention is drawn back to clothes - simple clothes, with a use and a value, a longevity and a place within people’s lives. As times become increasingly complex, clothes become straightforward, unostentatious, machines for living and tools for action and activity.     The July 2020 collection focuses on the quintessence of Prada, the meaning. How clothes are worn, where, and why. Often, their meanings are compound and multiplex: simultaneously speaking of sportswear and formality, of classicism and futurism, pieces are paradoxes, situated in multiple worlds - just as their debut here is not only framed by the eye of Prada, but by a panoply of creatives. The silhouette for men is sharp and narrow, fitted, with technologically innovative fabrications of Prada nylon and stretch materials juxtaposed with traditional suiting; for women, the same fabrics are given couture volumes and treatments. Then the reverse: industrial outfits in classic fabrications, leathers, cottons, taffeta, and true sportswear, drawn from Linea Rossa, technically innovative, function dictating form. In simplifying and paring back, a logical conclusion is lingerie: a foundational layer, a vulnerability, a fragility and humanity. Pieces evocative of these clothes in both male and female wardrobes - soft knit, fragile colour, light fabric - are worn as everyday clothing. A coat is clutched over bare skin.     A radicalism is found in purity - simplicity with a complexity, yet an antidote to useless complication in precision and directness. Contradiction is celebrated: in apparent fragility can be found strength, through rigour joy. A sense of lightness not only of physicality but of emotion - the dynamism of sportswear translates throughout, a sense of enjoyment, energy, fun. A reason for fashion. Prada - and fashion - seen with multiple views.     CHAPTER I Willy Vanderperre (b. 1971, Belgium) ‘Prada evolves and changes every season; this season, the part we were shooting and filming felt like an honest collection. Stripped from fashion ideas, which turns that idea into fashion again. It also felt introspective and slightly schizophrenic. A look into the past with the future ahead. I hope that the audience feels that in the movie, a distilled pure and honest presentation of the collection.’     CHAPTER II Juergen Teller (b. 1964, Germany) ‘It was an honour to be asked to photograph and film Miuccia‘s last collection. I thought the men and women looked beautiful, elegant and modern. I enjoyed looking at Miuccia‘s vision and trying to make sense of it as honest and direct as possible.’     CHAPTER III Joanna Piotrowska (b. 1985, Poland) ‘Gesture and physicality are an essential non-verbal form of communication and play a big role in the conceptual and compositional aspects of my work. The finger snap, is a quick and subtle yet attention-demanding action. It is also used to indicate approval or to maintain rhythm. I thought that this short could be an interesting space to work with the snap as a recurring motif that marks the movements and refocuses the viewer’s attention to each new look.’     CHAPTER IV Martine Syms (b. 1988, USA) ‘The video is a collage of multiple formats and features iterative, repetitive movements intercut with beautiful people staring at images of themselves on monitors and screens in Milan and in my studio in Los Angeles. Since the collection pieces have a 60s feeling to them, I tried to include several references to cinema culture and surveillance/sousveillance from that time period to the present. I'm inspired by the way screens have come to make & unmake us, and what it means to be living, breathing, moving fleshy things in a world full of them.’     CHAPTER V Terence Nance (b. 1982, USA) ‘The film that came through was born of speed and play, I have no words through which to decode what the meaning is and was and will be but it may be about ‘time’ - and keeping your organs in that vessel we call a body while it contorts itself to love each second as it goes bye bye.’     #PradaSS21 #PradaMultipleViews For Prada Multiple Views SS21, a singular statement is replaced by the perspectives of many: multiple views, by a multitude of global creatives. The collection suggests the approach: different views, for a collection that proposes a myriad interpretations of the Prada man and woman. Congruent yet individually delineated, the collection is proposed in five chapters, which in turn are interpreted by five image-makers and artists. A true conversation.     Terence Nance, Joanna Piotrowska, Martine Syms, Juergen Teller and Willy Vanderperre each propose a film capturing a facet of the Prada collection, distinct and definite in its creative statement and ideology, a point of view on Prada. These inherently and fundamentally echo the traditional fashion show, where each observer has their own physical and ideological vantage-point on the collection, their own opinions, their own observations. It also reflects the reality of this Prada digital presentation: seemingly divergent but again seen by many, this time in their own environments, their own time, their own worlds. This is an embracing and celebration of that multiplicity - when people cannot commune, we can establish a different type of community, united through ideas, goals, beliefs.     Attention is drawn back to clothes - simple clothes, with a use and a value, a longevity and a place within people’s lives. As times become increasingly complex, clothes become straightforward, unostentatious, machines for living and tools for action and activity.     The July 2020 collection focuses on the quintessence of Prada, the meaning. How clothes are worn, where, and why. Often, their meanings are compound and multiplex: simultaneously speaking of sportswear and formality, of classicism and futurism, pieces are paradoxes, situated in multiple worlds - just as their debut here is not only framed by the eye of Prada, but by a panoply of creatives. The silhouette for men is sharp and narrow, fitted, with technologically innovative fabrications of Prada nylon and stretch materials juxtaposed with traditional suiting; for women, the same fabrics are given couture volumes and treatments. Then the reverse: industrial outfits in classic fabrications, leathers, cottons, taffeta, and true sportswear, drawn from Linea Rossa, technically innovative, function dictating form. In simplifying and paring back, a logical conclusion is lingerie: a foundational layer, a vulnerability, a fragility and humanity. Pieces evocative of these clothes in both male and female wardrobes - soft knit, fragile colour, light fabric - are worn as everyday clothing. A coat is clutched over bare skin.     A radicalism is found in purity - simplicity with a complexity, yet an antidote to useless complication in precision and directness. Contradiction is celebrated: in apparent fragility can be found strength, through rigour joy. A sense of lightness not only of physicality but of emotion - the dynamism of sportswear translates throughout, a sense of enjoyment, energy, fun. A reason for fashion. Prada - and fashion - seen with multiple views.     CHAPTER I Willy Vanderperre (b. 1971, Belgium) ‘Prada evolves and changes every season; this season, the part we were shooting and filming felt like an honest collection. Stripped from fashion ideas, which turns that idea into fashion again. It also felt introspective and slightly schizophrenic. A look into the past with the future ahead. I hope that the audience feels that in the movie, a distilled pure and honest presentation of the collection.’     CHAPTER II Juergen Teller (b. 1964, Germany) ‘It was an honour to be asked to photograph and film Miuccia‘s last collection. I thought the men and women looked beautiful, elegant and modern. I enjoyed looking at Miuccia‘s vision and trying to make sense of it as honest and direct as possible.’     CHAPTER III Joanna Piotrowska (b. 1985, Poland) ‘Gesture and physicality are an essential non-verbal form of communication and play a big role in the conceptual and compositional aspects of my work. The finger snap, is a quick and subtle yet attention-demanding action. It is also used to indicate approval or to maintain rhythm. I thought that this short could be an interesting space to work with the snap as a recurring motif that marks the movements and refocuses the viewer’s attention to each new look.’     CHAPTER IV Martine Syms (b. 1988, USA) ‘The video is a collage of multiple formats and features iterative, repetitive movements intercut with beautiful people staring at images of themselves on monitors and screens in Milan and in my studio in Los Angeles. Since the collection pieces have a 60s feeling to them, I tried to include several references to cinema culture and surveillance/sousveillance from that time period to the present. I'm inspired by the way screens have come to make & unmake us, and what it means to be living, breathing, moving fleshy things in a world full of them.’     CHAPTER V Terence Nance (b. 1982, USA) ‘The film that came through was born of speed and play, I have no words through which to decode what the meaning is and was and will be but it may be about ‘time’ - and keeping your organs in that vessel we call a body while it contorts itself to love each second as it goes bye bye.’     #PradaSS21 #PradaMultipleViews

GUCCI LAUNCHES A NEW COLLABORATIVE PROJECT BASED  AROUND THE G-TIMELESS WATCH
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GUCCI LAUNCHES A NEW COLLABORATIVE PROJECT BASED AROUND THE G-TIMELESS WATCH

Watches Gucci has pioneered several collaborative projects, sharing its vision in the digital space. Now, House Creative Director Alessandro Michele has invited a number of visual artists from around the world to bring their personal and idiosyncratic perspectives to bear on the G-Timeless automatic watch.      Alessandro Michele asked different visual artists (illustrators, painters and digital artists) to indulge their imaginations and create artworks featuring various models of G-Timeless automatic watches. All were challenged to creatively interpret the watches in their own way, and to focus in particular on the element that makes the G-Timeless so distinctive: the motif of the bee, first introduced to Gucci in the 1970s,which is the key decorative feature on the stone dials of these timepieces, where it functions as every hour-marking index.     The artists truly represent the global community. While some, like Winnie Chi from China and Kieron Livingstone from the UK, have previously collaborated with Gucci, most are new discoveries for the House: like London-based Oh de Laval and Tishk Barzanji, Balfua from California, David Macho from Spain and Andrey Kasay from Russia. Other artists include the USA’s Margot Ferrick and UK’s Cambo, who have already had their artworks for this project previewed on Gucci’s Instagram as a teaser, together with Winnie Chi, who has presented an animation. Although each artist has brought a deeply personal eye to the project, all the pieces share a dreamy, surreal mood, perfectly in keeping with Gucci’s eclecticism.     The Gucci G-Timeless watch features a stone dial decorated with the House’s famous bees, while the transparent case back gives a glimpse of the automatic movement that powers the timepieces.     There are eight Swiss-made variations of the G-Timeless in all, with a 38mm or a 42mm case. Three models combine an 18kt yellow gold case with a black onyx, brown tiger eye or green malachite stone dial. Five further variants combine a steel case with a blue lapis stone dial or a black onyx stone dial.   #GucciTimepieces Gucci has pioneered several collaborative projects, sharing its vision in the digital space. Now, House Creative Director Alessandro Michele has invited a number of visual artists from around the world to bring their personal and idiosyncratic perspectives to bear on the G-Timeless automatic watch.      Alessandro Michele asked different visual artists (illustrators, painters and digital artists) to indulge their imaginations and create artworks featuring various models of G-Timeless automatic watches. All were challenged to creatively interpret the watches in their own way, and to focus in particular on the element that makes the G-Timeless so distinctive: the motif of the bee, first introduced to Gucci in the 1970s,which is the key decorative feature on the stone dials of these timepieces, where it functions as every hour-marking index.     The artists truly represent the global community. While some, like Winnie Chi from China and Kieron Livingstone from the UK, have previously collaborated with Gucci, most are new discoveries for the House: like London-based Oh de Laval and Tishk Barzanji, Balfua from California, David Macho from Spain and Andrey Kasay from Russia. Other artists include the USA’s Margot Ferrick and UK’s Cambo, who have already had their artworks for this project previewed on Gucci’s Instagram as a teaser, together with Winnie Chi, who has presented an animation. Although each artist has brought a deeply personal eye to the project, all the pieces share a dreamy, surreal mood, perfectly in keeping with Gucci’s eclecticism.     The Gucci G-Timeless watch features a stone dial decorated with the House’s famous bees, while the transparent case back gives a glimpse of the automatic movement that powers the timepieces.     There are eight Swiss-made variations of the G-Timeless in all, with a 38mm or a 42mm case. Three models combine an 18kt yellow gold case with a black onyx, brown tiger eye or green malachite stone dial. Five further variants combine a steel case with a blue lapis stone dial or a black onyx stone dial.   #GucciTimepieces

DIOR PRESENTS THE MEN’S SUMMER 2021 COLLECTION AND THE ARTISTIC COLLABORATION WITH AMOAKO BOAFO
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DIOR PRESENTS THE MEN’S SUMMER 2021 COLLECTION AND THE ARTISTIC COLLABORATION WITH AMOAKO BOAFO

Fashion Week THERE IS THE WESTERN WORLD’S PERCEPTION OF AFRICA AND THEN THERE IS ACTUALLY THE REAL AFRICA. THE AFRICA YOU COME FROM OR HAVE REGULARLY VISITED. KIM JONES AND AMOAKO BOAFO REPRESENT BOTH. BOAFO, A PAINTER BORN IN ACCRA, GHANA; JONES, BORN IN LONDON WITH A CHILDHOOD SPENT IN ETHIOPIA, BOTSWANA, KENYA, TANZANIA AND VARIOUS OTHER PLACES IN AFRICA, INCLUDING BOAFO’S NATIVE GHANA. A HOME I IMAGINE HE WAS REMINDED OF WHEN HE CAME ACROSS AMOAKO’S ART IN 2019 AT THE RUBELL MUSEUM IN MIAMI WHERE HE WAS A RESIDENT ARTIST. AMOAKO’S ART DROWNS THE VIEWER IN THE SHIMMERING LIGHT OF THE BLACK GAZE, WHICH WE SO RARELY SEE IN FASHION OR THE ART WORLD. EACH OF HIS SUBJECTS CELEBRATES BLACK LIFE, BLACK SKIN SHROUDED IN EXUBERANT COLORS SPLAYED ACROSS HIS CANVASES. COMBINING HIS TOOLS WITH AMOAKO’S, KIM BRINGS TO LIFE A WARDROBE INTENDED FOR THE PAINTER’S SUBJECTS. PULLING THESE BEAUTIFUL CHARACTERS OFF THE MUSEUM’S AND COLLECTORS’ WALLS WHERE THESE WORKS NORMALLY DWELL AND BRINGING THEM TO A SPACE WHERE AFRICAN CULTURE IS AT TIMES REFERENCED BUT RARELY FULLY ACKNOWLEDGED IS WHERE KIM’S TALENT AS A DESIGNER EXTENDS BEYOND JUST A GARMENT AND ASCENDS TO WHERE ALL ARTISTS ASPIRE TO GO... TO THE HEART OF A STORY, AND THE MOST POWERFUL STORY IS A STORY RARELY TOLD.     A CORNUCOPIA OF STRIPES, FLORALS AND NEONS. THE COLORS, CUTS, PROPORTIONS, PARING, AND LAYERING OF THE GARMENTS ARE ALL ARTFULLY MANIPULATED BY THE BLACK GAZE OF AMOAKO’S PAINTINGS. KIM DOESN’T HIDE HIS HAND, WHICH GUIDES THIS COLLECTION PURPOSELY, BECAUSE THE HAND IS AFRICA, AND THROUGH THAT, EDUCATION IS GAINED, A STORY IS TOLD AND A PAINTER AND HIS SUBJECTS ARE CELEBRATED IN THE CONTEXT OF A DIOR COLLECTION THAT SHOWS ANOTHER CHAMBER OF KIM’S VAST INFLUENCES AND HIS ABILITY TO HARNESS THE CULTURES HE HAS EXPERIENCED IN HIS LIFETIME. THIS ISN’T JUST A COLLECTION; THIS A SYMBIOTIC RELATIONSHIP BETWEEN TWO ARTISTS THAT GIVES BIRTH TO A COLLECTION OF CLOTHING THAT IS MORE THAN THE SUM OF ITS PARTS. TWO MEN WHO LOVE AFRICA AND ITS PEOPLE, TELLING THEIR STORIES IN SPACES THESE SUBJECTS RARELY GET TO GRACE, AND IN THAT LIES THE POINT OF ALL THIS. THERE IS THE WESTERN WORLD’S PERCEPTION OF AFRICA AND THEN THERE IS ACTUALLY THE REAL AFRICA. THE AFRICA YOU COME FROM OR HAVE REGULARLY VISITED. KIM JONES AND AMOAKO BOAFO REPRESENT BOTH. BOAFO, A PAINTER BORN IN ACCRA, GHANA; JONES, BORN IN LONDON WITH A CHILDHOOD SPENT IN ETHIOPIA, BOTSWANA, KENYA, TANZANIA AND VARIOUS OTHER PLACES IN AFRICA, INCLUDING BOAFO’S NATIVE GHANA. A HOME I IMAGINE HE WAS REMINDED OF WHEN HE CAME ACROSS AMOAKO’S ART IN 2019 AT THE RUBELL MUSEUM IN MIAMI WHERE HE WAS A RESIDENT ARTIST. AMOAKO’S ART DROWNS THE VIEWER IN THE SHIMMERING LIGHT OF THE BLACK GAZE, WHICH WE SO RARELY SEE IN FASHION OR THE ART WORLD. EACH OF HIS SUBJECTS CELEBRATES BLACK LIFE, BLACK SKIN SHROUDED IN EXUBERANT COLORS SPLAYED ACROSS HIS CANVASES. COMBINING HIS TOOLS WITH AMOAKO’S, KIM BRINGS TO LIFE A WARDROBE INTENDED FOR THE PAINTER’S SUBJECTS. PULLING THESE BEAUTIFUL CHARACTERS OFF THE MUSEUM’S AND COLLECTORS’ WALLS WHERE THESE WORKS NORMALLY DWELL AND BRINGING THEM TO A SPACE WHERE AFRICAN CULTURE IS AT TIMES REFERENCED BUT RARELY FULLY ACKNOWLEDGED IS WHERE KIM’S TALENT AS A DESIGNER EXTENDS BEYOND JUST A GARMENT AND ASCENDS TO WHERE ALL ARTISTS ASPIRE TO GO... TO THE HEART OF A STORY, AND THE MOST POWERFUL STORY IS A STORY RARELY TOLD.     A CORNUCOPIA OF STRIPES, FLORALS AND NEONS. THE COLORS, CUTS, PROPORTIONS, PARING, AND LAYERING OF THE GARMENTS ARE ALL ARTFULLY MANIPULATED BY THE BLACK GAZE OF AMOAKO’S PAINTINGS. KIM DOESN’T HIDE HIS HAND, WHICH GUIDES THIS COLLECTION PURPOSELY, BECAUSE THE HAND IS AFRICA, AND THROUGH THAT, EDUCATION IS GAINED, A STORY IS TOLD AND A PAINTER AND HIS SUBJECTS ARE CELEBRATED IN THE CONTEXT OF A DIOR COLLECTION THAT SHOWS ANOTHER CHAMBER OF KIM’S VAST INFLUENCES AND HIS ABILITY TO HARNESS THE CULTURES HE HAS EXPERIENCED IN HIS LIFETIME. THIS ISN’T JUST A COLLECTION; THIS A SYMBIOTIC RELATIONSHIP BETWEEN TWO ARTISTS THAT GIVES BIRTH TO A COLLECTION OF CLOTHING THAT IS MORE THAN THE SUM OF ITS PARTS. TWO MEN WHO LOVE AFRICA AND ITS PEOPLE, TELLING THEIR STORIES IN SPACES THESE SUBJECTS RARELY GET TO GRACE, AND IN THAT LIES THE POINT OF ALL THIS.

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