Tabla de contenidos para Autumn/Winter 2022 en AnOther Magazine

Each issue of Another Magazine is a six-month love affair with individuals, concepts, ideas and ideals: an obsession that possesses and inspires us. Ever-changing, there is, nonetheless, a connecting thread. That is courage – our obsessions are the actors, musicians, artists and fashion designers who challenge preconceptions, who take risks even though that may attract outrage. These are the people we are drawn to, the human beings who fill these pages, who continue to move us. Ana de Armas has always swum against the tide, playing roles that challenge her – and her audience – in their range. After turns as a Bond girl (in No Time to Die) and a hologram (for Blade Runner 2049), this year she tackles her most ambitious role to date – embodying Marilyn Monroe,…

“I think 24 Hours in A&E is one of the most profound programmes on TV. It makes you fall in love with people, inspires huge empathy and shows all the work the NHS does – the doctors, nurses, porters, receptionists, every member of the team. It also highlights how, no matter what we are going through, we somehow manage to be funny and maintain a sense of humour. It’s beautiful – sometimes terribly sad, but a beautiful slice of humanity at its best. As an actor I’m more obsessed with people than with other actors. I was compelled by this show, it moved me in a completely unexpected way. The way the staff treat older and possibly more lonely people always stands out to me, too. It makes me think…

“Grace Jones was the first artist that I connected with. My older sisters were huge fans – I remember seeing a copy of her album Slave to the Rhythm in the house as a child. I found that iconic cover artwork by Jean-Paul Goude, where her screaming face has been elongated, so terrifyingly beautiful even though I was only seven at the time. I felt like she was screaming at me, but not in a way that was aggressive. It felt more like a pure expression of vitality and exuberance. The message was simple – just be yourself. Before I had even heard the music, there was something about seeing someone with my complexion being so clearly and unapologetically themselves. It struck a chord right at the core of my…

“I encountered Scott Burton’s work through an exhibition held at Kasmin Gallery in New York in 2015. When I walked in, a gallery representative was sitting on one of the pieces, Rock Chair [1981] – a huge boulder that had been cut with such precision to carve out a little seat. What was shocking is that her sitting on it didn’t take anything away from my experience of that show as art. That was an important moment for me – it solidified the idea that I could make work that existed within the context of art without it being marginalised as design. I’m always trying to blur the categories. Think about what people deem African sculpture – it’s actually African design. These artefacts had spiritual functions within the communities they…

“I was visiting [Brazil’s capital] Brasília, the city Oscar Niemeyer designed, and went into a brutalist church with incredible blue stained-glass windows. I happened to be there on my own and that moment will stay with me for the rest of my life. There is something about brutalism that speaks to me and it’s possibly nostalgia for back home [in Serbia]. In Belgrade we have this part of town called New Belgrade that, when we were growing up, we all disliked very much. It’s built with the same principles Le Corbusier was using at the time. To me as a teenager it didn’t look particularly appealing, but as time passes and you mature as a person – and the world matures in a certain way – you realise that there…

Wearing Vaquera is a joyful experience. Slipping into the label’s pouffy, ten-tiered party dresses, big, blown-up tailoring or cartoonishly wide-legged denim evokes a childlike thrill – and that’s before you’ve perched one of its pillowy, bonnet-like derby hats or XXL bows on your head, or affixed a Vaquera stuffed teddy-bear key ring to your bag. The collections it has been putting out for almost a decade now are a rallying cry against the banal. Founded in New York back in 2013 by Patric DiCaprio, with Bryn Taubensee, David Moses and Claire Sullivan entering the fold three years later, the house has fantasy at its heart. From day one Vaquera set out to write its own intoxicating brand of what it termed “fashion fan fiction”, its collections paying homage to Jean…

Hair: Edward Lampley at CLM using DAVINES. Make-up: Yumi Lee at Streeters using CHANEL. Model: Cara Taylor at Next Models. Casting: Nicola Kast. Manicure: Dohee Bahn at Exclusive Artists Management using PLEASING. Photographic assistant: Irene Tang. Styling assistant: Desiree Rodriguez. Production: Ines Cross at NVM. Producer: Ryker Allen. Special thanks to Nick Mainwaring at NVM…

Hair: Orlando Pita at Home Agency. Make-up: Francelle Daly at Home Agency. Set design: Piers Hanmer. Manicure: Megumi Yamamoto at Susan Price. Digital tech: Tadaaki Shibuya. Photographic assistants: Nick Brinley, Alex Hopkins and Shri Prasham. Styling assistants: George Pistachio, Molly Shillingford, Rosie Borgerhoff Mulder and Cornelius Lafayette. Tailor: Eliz Diratsaoglu at Lars Nordensten. Set-design assistant: Louis Sarowsky. Producer: Gracey Connelly. Post-production: Gloss The deluge of doorstop biographies, tell-all memoirs, rumour and conspiracy theory dedicated to the riddle of Marilyn Monroe’s life has never conclusively solved it. But we know where it ends: in Brentwood, Los Angeles, on 4 August 1962, in a scantily furnished hideaway with a kidneyshaped pool, a clutter of pill bottles in the bedroom and listening devices planted in the walls. The star was buried in a…

Hair: Shiori Takahashi at Streeters using WELLA PROFESSIONALS. Make-up: Thomas de Kluyver at Art Partner using GUCCI BEAUTY. Models: Jules Volfu at XDirectn, Mina Serrano at The Hive Management, Mica Kendall at Milk Management and Rachael Carruthers and Luke Clod at Storm Management. Casting: Julia Lange at Artistry. Set design: Alice Kirkpatrick at Streeters. Manicure: Lauren Michelle Pires at Future Rep. Digital tech: Jeanne Buchi. Lighting: Alexa Horgan. Laser operator: Mark Randall. Photographic assistants: Joe Reddy, Charlotte Ellis and Tamibé Bourdanné. Styling assistants: Isabella Damazio and Roshni Rai. Hair assistants: Yuri Kato and Cher Savoy. Make-up assistants: Abbie Nourse and Josh Bart. Manicure assistant: Amy Thomas. Casting assistant: Anna Pkhakadze. Set build: Tommy Aitcheson, Toby Morrison and Tris King. Set-design assistants: Columbia Williams and Sophia Wilcox. Printing: Sarah England. Production:…

Hair: Mustafa Yanaz at Art and Commerce using ORIBE. Make-up: Yumi Lee at Streeters using CHANEL. Models: Dara Allen at Heroes Models, Aya Brown, George and Nicole Eisenman, Arta Gee at APM Models, Vas Halastaras at Stetts Model Management, Parker Kit Hill at IMG Models, Capri Jones, Joaquin and Santiago Knepp, Owen Ley at Ricky Michiels, Dede Mansro at Next Models New York, Bako Seville, Orion Sun and Angel Zinovieff. Casting: Nicola Kast. Digital tech: Jarrod Turner. Lighting: Ari Sadok. Photographic assistant: Dylan Garcia. Video: Steven Rico. Styling assistants: Shant Alvandyan, Alex Hall and Sage Johnson. Hair assistant: Karen Zamor. Make-up assistant: Yui Sakamoto. Production: Jemma Hinkly at Artist Commissions. Post-production: Two Three Two…

This year Wayne McGregor directed the Venice Biennale Danza with a theme of Boundary-less. For his guest-edit of Document, he invited the choreographers who participated to share their often-hidden thought processes, in the shape of their choreography notebooks. “Dance is made in the studio, through and with bodies transacting energy, individuality and emotion. It is made in real time, in real spaces between real human beings. We try, we test, we experiment, we succeed, we fail. A ‘dance’ is essentially a collection of decisions made in these alive moments, held together in one organisation of time, to be shared with an audience. A different dance, a different set of decisions – held together in a new organisation of time. And so it goes on, the continuum. “Studio hours with incredible…

The pioneering dancer and choreographer Merce Cunningham founded the Merce Cunningham Dance Company at Black Mountain College, North Carolina, in 1953. From his early days touring the US in a VW camper van to his final work aged 90 (Nearly Ninety, 2009), the mercurial visionary was unwavering in his dedication to exploring the possibilities of dance, combining revolutionary ideas about shape, space and rhythm with wit and seemingly superhuman stamina. These are selected notes from Cunningham’s piece Canfield, which premiered at the Brooklyn Academy in 1969. The title is taken from a game of solitaire – invented by a gambler in Saratoga Springs – that the choreographer played while on holiday. Cunningham’s work assigns each of the 52 cards in a deck a specific movement, using the chance process of…

Choose three words to describe Michèle. Astute, pointy shoes. What was the most surprising thing you learnt about her? She created her restaurant Les Deux Cafés by moving a house down the block on the back of a truck. What possession of yours would you not sell for any price? I sold most of my things to pay for my visa to move to the US, so I have experience in this. You think it’s any price but actually it’s what eBay customers tell you: it’s all junk. I would do it all again, except now I have wedding rings I would keep. Both the cheap and expensive one. What was the best part of the shoot? Alasdair McLellan’s jokes got me through the heatwave, and Anthony [Turner]’s T-shirts. Who…

“I’ve been listening to Ballaké Sissoko for the past six years now. I can’t understand the words on those tracks, but I can feel them. When I paint, there’s this gap where the work goes beyond what I visualise, a balance of knowing and not knowing, creating a passage for me to grow. The first song on the album Sissoko & Sissoko, Sigi Gno Gonya, is like a spaceship moving you to these different places across Africa and beyond. I thought about the symbols in the pyramids – the snake was a symbol of protection, not evil. I was moving between works and one of them [Ama Tempest Calmers l & II, 2022] ended up with a big golden python in it. That was like a spice from the music,…

“I took a college course on multilingual writing – I love learning about dialects and ‘anti-languages’. Language is so steeped in culture, generations, laws, presentations of self. As a white woman I have the perspective of someone on the ‘right side’ of multi-lingualism. I’ve never had to endure double standards or mistreatment like other bilingual people. I have two personas – some friends only know my Icelandic side and can be surprised by my English. I try to push the Icelandic side because I had such a tough time learning it – kids are brutal. I talk louder in English – American English – with optimism. In Icelandic there is a precise attitude. When I journal in Icelandic, it feels heartfelt and raw. If I need to intellectualise or work…

“There is only one response to hearing Le Mystère des Voix Bulgares for the first time – a desperate need to consume it whole. The album was released in 1975 by the Swiss label Disques Cellier and is made up of recordings of the Bulgarian State Television Female Vocal Choir. The choir’s founder was tasked in the 1950s by the Soviet puppet regime to modernise Bulgaria’s folk music. Its repertoire is ravishingly beautiful. The dissonant harmonies of traditional vocal music are brought together with avant-garde elements. Girls’ voices blend with mature women’s in songs that rocket from joy to grief to yearning. Ivo Watts-Russell, the founder of the British label 4AD, was first played some of Mystère by a friend who had been given a mixtape with no song or…

“I grew up in Stockport in the 1970s, learning ballroom and Latin American dances to Abba. Their songs are part of my dance DNA – the lyrics, the narratives, the emotions, the way they sit within you musically – and while making [this year’s virtual concert residency] Abba Voyage, I realised how much they were part of my bodily memory. It’s the biggest motioncapture live-avatar project to date and is based on real performances. First by the latter-day Abba, which was phenomenal – Frida singing Fernando right there – and then by four body doubles embodying their physical signatures. Every tiny movement was choreographed and repeated for the motion capture. Abba had a really special performance character – each member moved in a very individual way. We took that and…

Steven Stokey-Daley’s label SS Daley revels in the fripperies of the British upper classes, drawing on notions of class and queerness, and the homosocial tensions present in elite schools – on their rugby pitches, in their changing rooms – and exploring the camp glamour of the interwar-era English aristocracy. His handwriting is also rooted in his own past and the dressed-up dress sense of the working-class “glam girls” he grew up with in Liverpool. Between the ages of 16 and 19 Stokey-Daley had a job at McDonald’s in Aintree, where he would see them “work 15-hour days, seven days a week, just to afford a new outfit to wear on a Saturday night in Liverpool”, he recalls. “It was everything to them.” For Stokey-Daley, reclaiming the luxurious and elaborate look…

Hair: Roger Cho at Artlist using ORIBE. Make-up: Thomasin Waite at Julian Watson Agency using CHANTECAILLE. Models: Lydia Kloos at M ilk Management, Giselle Gamble at Select Model Management and Miranda Chambers at AMCK Models. Casting: Simone Schofer. Set design: Gemma Tickle at East. Photographic assistants: Mike Merkenschlager and Alessandro Tranchini. Styling assistant: Mary Hovhannisyan. Hair assistant: Ryunoshin Tomoyose. Casting assistant: Lyly Bui. Set-design assistant: Ayesha Linton-Whittle. Post-production: IMGN Studio…

Hair: Yumi Nakada Dingle at MA and Talent using HAIR BY SAM MCKNIGHT. Make-up: Thomasin Waite at Julien Watson Agency using PAT MCGRATH LABS. Models: Ahmadou at Next Models, Xie Chaoyu at Premier Model Management, Awek Gak at Titanium Management, Kai Grimes at Storm Management, Jo Helsloot at IMG Models, Mica Kendall at Milk Management and Bunny Syxes at Supa Model Management. Babies: Eloise Green, Mani Ray and Ezra Gurung Shaw. Casting: Simone Schofer. Set design: Samuel Pidgen at Bryant Artists. Manicure: Christie Huseyin at David Artists using Le Vernis in Ballerina and La Crème Main by CHANEL. Photographic assistants: Matt Kelly, Oscar Spyrou and Carlos Duro. Styling assistants: Imaan Ashraf and Mary Hovhannisyan. Hair assistants: Yuri Kato and Maiko Komori. Make-up assistant: Maria Kuno. Set-design assistant: Kash Odedra. Production:…

Hair: Laurent Philippon at Bryant Artists. Make-up: Cécile Paravina at Bryant Artists. Models: Manon Dubourdeaux at Tribe Management, Lucas El Bali at New Madison, Chol Mabior at The Claw, Chris Massala at Girl Management and Maya Renaudie at Wilhelmina. Casting: Troy Fearn at Bryant Artists. Set design: Justine Ponthieux at CLM. Photographic assistants: Tara Laure Claire Sood and Oliver Burslem. Styling assistants: Salomé Rouquet, Ricky Saint and Roxana Mirtea. Hair assistant: Michael Thanh Bui. Make-up assistants: Anaïs Kreib and Marco Roscino. Set-design assistant: Anne Camille Allueva. Production: Kitten Production France. Producer: Orna Israel. Production assistant: Thibaut Virolan…

Hair: Issac Poleon at CLM using L’ORÉAL PROFESSIONNEL. Make-up: Mata Marielle at CLM using CLARINS. Set design: Patience Harding at New School. Photographic assistants: Andy Broadhurst, Dominic Markes and Abena Appiah. Styling assistants: Bella Kavanagh, Douglas Miller and Mary Hovhannisyan. Set-design assistants: Charlotte Cook and King Owusu. Production: TIAGI. Executive producer: Chantelle-Shakila Tiagi. Producer: Martha Barr. Production runner: Tamara Ohene. Post-production: Ink In June 2020 Steve Lacy’s life changed. He was driving through a canyon in the mountains near his home in Los Angeles, California, on a road that had space for just one vehicle, when a car hit him head-on. “I remember a black flash,” he recalls. “I thought I’d died. It scared the shit out of me.” After several moments he opened his eyes and looked down at…

Hair: Virginie Moreira at MA and Talent using BUMBLE AND BUMBLE. Make-up: Ammy Drammeh at Bryant Artists using Tone on Tone and No 1 de Chanel Essence Lotion and Body Serum-in-Mist by CHANEL. Models: Greta Hofer at Elite Models, Chloe Oh at Premier Model Management, Avanti Nagrath at Select Models and Anyiel Majok and Goy Manase at PRM Agency. Casting: Jonathan Johnson. Movement director: Benjamin Jonsson at Box Artist Management. Set design: Ibby Njoya at New School. Manicure: Saffron Goddard at CLM using Manicure Collection and Miss Dior Hand Cream by DIOR. Photographic assistants: Meshach Roberts, Matt Moran and Jaye Gilbert. Styling assistants: Molly Shillingford and Precious Greham Johnson. Hair assistant: Marina Demetriadis. Make-up assistants: Quelle Bester and Tamsin Ballingall. Set-design assistants: Axel Drury, Sam Edyn and Mick O’Connor. Production:…

Hair: Christian Eberhard at MA and Talent using BUMBLE AND BUMBLE. Make-up: Hannah Murray at Art and Commerce. Models: Saskia de Brauw at Viva, Maty Drazek at Focus Models Prague and Muna Mahamed at Platform Agency. Casting: Daniel von der Graf and Andrea Prato. Movement director: Pat Boguslawski at Streeters. Manicure: Hanaé Goumri at The Wall Group. Digital tech: Lorenzo Touzet at D-Factory. Lighting director: Christian Bragg. Photographic assistants: Florent Redolfi and Kinu Kamura. Styling assistants: Donnika Anderson, Maria Bonfà, Lina Velasquez and Anum Sajjad. Hair assistants: Alexandra Adams and Anne-Cecile Tubanza. Make-up assistant: Jill Joujon. Production: Town Productions. Producers: Silvia Nicoletti and Blanche Stagnara. Production assistants: Sarah Bailly and Christian Mupondo…

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For more than two decades, the Canadian choreographer Aszure Barton has created acclaimed, arresting work for renowned dancers and companies including the ballet superstar Mikhail Baryshnikov, English National Ballet and Bolshoi Ballet. As well as being Canada’s offcial ambassador of contemporary dance, she collected the country’s prestigious Arts and Letters Award in 2009. Moving deftly through hip-hop and jazz to neo-ballet, her daring works have included Busk (2009), a haunting excavation of loneliness, and Where There’s Form (2019), an innovative collaboration with the experimental German pianist and composer Hauschka that presents an intricate dialogue between sonic and kinaesthetic energies on stage. “These are little sketches and drawings I’ve done recently – I am clearly haunted by dots, pathways and multitasking. Drawing helps to satiate my neurotic curiosity about the process…

The acclaimed dance-world iconoclast Rocío Molina is revered for her innovative style, reimagining traditional flamenco with her experimental incursions and the barefoot, frenetic intensity and volatility of her movements. The Malaga-born dancer and choreographer has been distinguished with a range of national and international honours, including the 2022 Silver Lion award for dance at the Venice Biennale Danza. Her work often draws inspiration from broader cultural forms, intersecting with practitioners and concepts from the worlds of cinema, literature, philosophy and painting to explore themes as broad as motherhood, passion, suffering and joy in works such as Grito Pelao (2018) and Afectos (2012). “These are notes from my 2022 piece Carnación. This performance is an open itinerary, a search around desire which starts from the intuition that its origin can only…

Born in Douglas, Georgia, the choreographer Trajal Harrell was first feted for his innovative performance series Twenty Looks or Paris Is Burning at The Judson Church, which imagined a fusion between Harlem’s vogueing ballroom scene of the 1960s and the early postmodern dance tradition that flourished in downtown New York in the same era, exploring perspectives on identity and authenticity. His work has been staged around the world in both dance and art settings, and continues to mash up dance languages that range in inspiration from Ancient Greek theatre and 19th-century hootchy-kootchy carnival entertainment to 1970s Yves Saint Laurent runway shows. This year he received acclaim for Porca Miseria, a trilogy exploring the stories of three women: Maggie from Tennessee Williams’s Cat on a Hot Tin Roof, the choreographer and…

The Israeli dancer and choreographer Sharon Eyal danced with the Batsheva Dance Company between 1990 and 2008, also serving as associate artistic director and a house choreographer during that time. In 2013, Eyal launched L-E-V with her long-time collaborator Gai Behar. Eyal’s darkly beautiful works have been performed across the world and often pulse to an electronic score, including a trilogy on love that began with OCD Love (2015), its out-of-sync lovers vibrating to techno beats. Love Chapter 2 (2017) won the Fedora – Van Cleef & Arpels Prize for Ballet and was followed by 2019’s Chapter 3: The Brutal Journey of the Heart, with dancers clad in sheer bodysuits by Dior creative director Maria Grazia Chiuri. This summer, L-E-V staged the glitchy, emotionally resonant Dark in the House in…

The Belgian-Moroccan dancer and choreographer Sidi Larbi Cherkaoui won a national dance competition in Belgium aged 19, for a performance that mixed vogueing, hip-hop and African dance. He has won a slew of awards since, in a practice that has ranged from choreographing a sumptuous video inside the Louvre for Beyoncé and Jay-Z (for their 2018 track, Apeshit) and a production of Boléro for the Paris Opera Ballet with Marina Abramović (2013) to choreographing 18 warrior monks of the Shaolin temple for Sutra (2008). He has worked with several established companies, including Royal Ballet of Flanders and Sadler’s Wells, and formed his own, Eastman, in 2010. This year he became the artistic director of the Grand Théâtre de Genève in Switzerland.…

“When I was seven my grandfather passed away. At his funeral I was asking everyone, ‘After Grandpa is burned and turned into ashes, where will his own memories go?’ The things I think about have not changed since. I feel like death is always somewhere in the same room and its presence is rather large. Death will never go away. Rather, it is I who will leave the room first, or disappear within it. It’s not that I am fearful, but I almost despair that there is this unavoidable, inexorable fact of losing awareness. For humans, death is the most irrevocable thing. But the fact that being born is, in the same way, also something irrevocable is what made me write my novel Breasts and Eggs. All of the gradations…

“Syndromes and a Century is like a poem – the best poems smash discordant images together. The film unfolds in two parts, the first in an airy rural hospital in Thailand, the second in a modern city hospital with artificial lighting and menacing machinery that feels alienated from the human body. That juxtaposition of the old Jenny Zhang has a singular way of flexing language, embracing misspellings and malapropisms, textspeak and slang in poems that are raw and sticky with feelings. The Brooklyn-based country with uber-fast global capitalism is what I feel when I go back to Shanghai, where I was born. There’s a sense in the film that science is its own kind of magic, but there are also ancient, ancestral remedies that are dying out. These two ways…

“Pierrot is a character that became a mainstay of the commedia dell’arte movement. The Moonstruck Pierrot came to fame through an Italian actor who would paint himself as the white clown during the full moon and cause a ruckus, putting on impromptu plays and musical events in his town square. It’s this duality that draws me so closely to Pierrot – he is always on a precipice, dancing between a state of sin and a state of grace. To me, Pierrot transcends gender. He has a seductive power – not necessarily that women wanted to be with him, but they embody him by painting their faces and adopting his demeanour. Having spent my teenage years in Vienna and returning here after living in LA, it feels like I have regressed…

“It’s becoming harder and harder to be present in any facet of our lives. With food, for instance, we have become so accustomed to being able to have any vegetable or fruit we want at any time of the year. With that comes unsustainable practices and we tend to lose touch with why things are so special. The more we can lean into seasonal eating, the more we’re going to find moments of happiness – if you haven’t had a tomato since last year, there’s such a joy to that first ripe fruit come summer. It’s more rewarding than having accessibility year-round. Conscious eating is about slowing down – cooking something and taking time to transform those ingredients into something delicious and nurturing. That process does feel a little spiritual.…

Models: Alhassan Sesay and Zarah Moreno at PRM Agency and Zack Tidswell at Next Model Management. Casting: Tytiah at Unit C. Set design: Hella Keck at Webber. Manicure: Sasha Goddard at Saint Luke Artists using Manicure Collection and Miss Dior Hand Cream by DIOR. Photographic assistants: Rhys Thorpe and Guillaume Mercier. Styling assistants: Katie Dulieu and Brigitte Kovats. Set-design assistants: Mo Adams and Sadie Haque. Production: TheArcade. Producer: Thea Charlesworth. Production assistants: Chloe Johnson, Peter Hargroves and Ellen Stewart…

Michèle Lamy is sitting on her terrace at the Owenscorp headquarters in Paris, eating from a cheeseboard prepared by the cook. Much has been written of Lamy’s ethereal qualities, her raspy voice and witchy air, just as there are several books that feature the famed residence and office she has created with her husband, Rick Owens, in the city’s 7th arrondissement. Lamy, however, is not the eddy of cigarette smoke I’d anticipated. Wearing a small black dress and pointed mules, her skin taut and shiny as a nut, she has the toned body and practical air of someone used to making things. Their office – the fabled dark lair – seems bright and open, with the terrace facing the French Ministry of Defence and two cats enthusiastically attacking some leathery…

Hair: Amidat Giwa at Bryant Artists using WELLA PROFESSIONALS. Make-up: Jimmy Owen Jones at Dawes using skincare by HORACE and make-up by BYREDO. Models: Madlin Lokiti at Viva Model Management and Mamuor Awak at Elite Model Management London. Casting: Good Catch at New School. Movement director: Emmanuelle Loca-Gisquet. Set design: Josh Stovell at Drop Studios. Manicure: Sharlene Davis at Hands On Beauty. Photographic assistants: James Robertson and Luca Ward. Styling assistant: Nadia Dahan. Set-design assistant: Benthe de Vries. Make-up assistant: Jenny Glynn. Production: Dawes. Production assistant: Lois Wilson. Post-production: IMGN Studio. Special thanks to Regina Limon-Vega…

Hair: Dylan Chavles at MA and Talent using ANTI. Make-up: Michaela Bosch at Bryant Artists. Models: Xavier “Bonebreaking X” Days, Robert J Mason, Majesty Telfar and Khalil Williams. Casting: Nicola Kast. Manicure: Leanne Woodley at She Likes Cutie using CND VINYLUX and Hydration by SHE NAILS IT. Photographic assistants: Nikolai Hagen and Jupiter Jones. Styling assistants: Minji Kim, Sasha Sekhavatmandi and Honor Dangerfield. Hair assistant: Tracy Nguyen. Make-up assistant: Mika Omura. Casting assistant: Rochelle Marie Adam. Production: Webber…

Hair: Franziska Presche at Together using ORIBE. Make-up: Vassilis Theotokis at MA and Talent using Tone on Tone, No 1 de Chanel Essence Lotion and Body Serum-in-Mist by CHANEL. Model: Kai Newman at Elite Models. Casting: Midland. Set design: Andrew Tomlinson at Streeters. Digital tech: Thomas Carla. Photographic assistants: Simon Wellington and Luca Rizzardi. Styling assistants: Minji Kim, Rudi Edwards, Douglas Miller and Andrew Kang. Hair assistant: Maiko Komori. Construction manager: Tobias Blackmore. Set build: Stefano Gianniti, Ben Joffe and Louis Toledo. Set-design assistant: Phoebe Swiderska…

BJÖRK in conversation with OCEAN VUONG In celebration of Björk’s new album Fossora, the tenth of her era-defining career, she talks to writer Ocean Vuong about that artistic process, mothering, grief and self-preservation. BJÖRK Ocean, I read your wonderful book about your mother, Time Is a Mother. It’s so mind-blowing. I was crying over it. OCEAN VUONG Oh, thank you so much. I’ve been really enjoying immersing myself in your new album, Fossora. It’s also a pleasure to talk to you again after our serendipitous meeting in New York in 2019. I’ll never forget it – it was this 90F day in October. My mother was sick and it was one month before she passed and you were so generous with me – so mothering. What I realised with your…

John Galliano, creative director of Maison Margiela, talks to Susannah Frankel about returning to the stage with the label’s Autumn/Winter 2022 Artisanal collection – and the show of the season. SUSANNAH FRANKEL Why did you choose to show in this format? To stage a play? JOHN GALLIANO I was listening to my instinct, Susannah. Following the lockdown period, which pushed us all to investigate the possibilities of digital formats, I sensed a profound desire for physicality. But after everything we experienced during the pandemic – our collective discoveries and evolvements – it didn’t seem relevant to return to a runway. I wanted to create a proposal informed by the investigations made through our filmic work with Olivier Dahan and Nick Knight, a multidisciplinary format that would reflect the connectivity for…

Hair: Anthony Turner at Streeters. Make-up: Lauren Parsons at Art Partner. Models: Mila van Eeten at Viva Model Management, Etienne Maclaine at Select Models and Rubuen Bilan-Carroll at Supa Model Management. Casting: Piergiorgio Del Moro DM Casting. Photographic assistants: Lex Kembery, Simon Mackinlay and Andrew Edwards. Styling assistants: Arnaud Buisson, Tamara Prince and Letizia Maria Allodi. Hair assistant: John Allan. Make-up assistant: Eddy Liu. Production: Art Partner. Production assistant: Abbie Cockerell…

Iranian-born American artist Tala Madani has been creating paintings and animations for more than 15 years. Employing a playful and sometimes gross-out lightness of touch, Madani satirises our society’s deep-seated patriarchal systems, fallacies and aspirations. In the run-up to Madani’s first major survey, Biscuits, at MOCA in her hometown of Los Angeles, the artist and her husband – the British artist and musician Nathaniel Mellors – recorded several conversations in their kitchen. With occasional contributions from their children Imra, 6, and Roshan, 4, their discussions are accompanied here by a series of incisive new works produced especially for the exhibition. Paintings like those in her Near-Sighted series depict Madani’s attempt to look closely at the things we cannot see, or perhaps the mugginess of those we choose to see instead.…

The New York City-based dance company AIM by Kyle Abraham was established in 2006 with the guiding principle of creating work inspired by Black culture and history. Drawing on Abraham’s personal experiences and his commitment to social justice, AIM’s sensual, provocative productions also take inspiration from a range of visual arts, text and music. The Radio Show (2010) merges soul and hip-hop with contemporary classical composition, while the eclectic score of Pavement (2012) incorporates music by artists that range from Bach to Sam Cooke. AIM’s works have been staged in some of the world’s most prestigious performing arts venues, including the Lincoln Center in New York, London’s Sadler’s Wells, and Maison de la Danse, Lyon’s innovative performing arts space. “Although there is a tremendous amount of research involved in my…

The pioneering digital artist Tobias Gremmler’s investigations into movement and form are inspired by the intricate unseen forces operating all around us – the sonic energy of an orchestra, wind transforming clouds, the kinetic motion propelling the human body. Working with digital media, motion graphics, interface design and music to render the invisible visible, Gremmler creates visual compositions and immersive experiences that defy physical limitations. For the London Symphony Orchestra’s 2017/2018 season, Gremmler represented the movements of its conductor, Simon Rattle, as a series of dynamic, hypnotic waves, textures and patterns. His exquisite video for Björk’s 2017 single Tabula Rasa transfigured the Icelandic singer – and her ethereal voice – into a ceaselessly dissolving and unfolding series of otherworldly organic forms. “The virtual space is a medium with few restrictions,…

The German dancer and choreographer Sasha Waltz trained at the School for New Dance Development in Amsterdam before exploring the postmodern New York dance scene as a dancer for Yoshiko Chuma and The School of Hard Knocks, among others. In 1993, together with Jochen Sandig, she founded the dance company Sasha Waltz & Guests in Berlin. The group has collaborated with more than 300 artists from over 30 countries and ensembles from the fields of architecture, visual arts, choreography, film, design, literature, fashion and music, on more than 80 projects and productions. These include Allee der Kosmonauten (1996), inspired by life in a Berlin high-rise estate, Körper (2000), a startling meditation on bodies and mortality, and the choreographic opera Dido & Aeneas (2005), which enclosed its dancers in a gigantic…

The Israeli choreographer, dancer and composer Hofesh Shechter trained with the Batsheva Dance Company and later studied music in Paris while playing drums in a rock band. He moved to London to perform with the Jasmin Vardimon Company in 2002. His award-winning 2004 piece, Cult – featuring Shechter in a gorilla outfit – was a dark look at the shadowy forces in society that shape us, with a doomy, dense soundtrack also composed by Shechter. In 2008, he formed Hofesh Shechter Company, currently resident at the Brighton Dome. His acclaimed 2010 piece, Political Mother, a large-scale work exploring totalitarianism, was staged at London’s Brixton Academy in 2015. Shechter has also worked as a choreographer in theatre, television and opera. “Revealing the process. Doesn’t the work, on stage, reveal the process?…