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FEATURES 4 On My Mind 8 What’s New? 12 Bookshelf 14 Interview 22 Theme Text


















33 Hadar Pitchon 45 Nadine Ijewere 57 Catherine Servel 69 Casper Kofi 97 Julia Falkner & Lorena Hydeman 105 Giovanni Corabi & Roberto Ortu 117 Mohamad Abdouni 129 Alexandra Leese 161 Tyler Mitchell 181 Suzie and Leo 193 Joyce Ng 201 The Sartists 225 Ambroise Tézenas & Frédéric Delangle 233 Mateus Porto 241 Arielle Bobb-Willis 253 Justin Dingwall

What was once called fashion photography finds itself nowadays positioned along a much broader spectrum of intentions and visual cues. Photographers are borrowing from the aesthetics of fashion, moving away from creating glamorous ideals towards telling stories of social and political inclusivity, diversity, identity, everyday life and an ever changing panorama of lifestyles.


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97 105



of Yumi Goto


INTERVIEW With Grace Wales Bonner by Zoé Whitley

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Alice Quaresma Marton Perlaki


INTERVIEW With Jimmy Moffat by Siobhán Bohnacker

Carla Sozzani Kim Jenkins Elisa De Wyngaert Saskia De Brauw



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AFFECT, RACE, AND PERFORMANCE Text by Roberto Filippello


 TYLER MITCHELL With an interview by Hans-Ulrich Obrist

Text by Shonagh Marshall



With Jess Maybury by Max Houghton









MAGAZINE TAKEOVER III King Kong INTERVIEW With Stephen Galloway by Shonagh Marshall










INTERVIEW With Jasmine Raznahan by Maisie Skidmore




When we think of fashion, the first things that come to our minds are often luxurious clothes, fabulous glossy magazines, exclusive catwalks. We often overlook the fact that the way we dress, the way we adorn our bodies and present ourselves to the world is one of the most primal ways humans have found to define their identity. In all cultures, across all ages, clothing, accessories, hairstyles and makeup have been powerful tools employed not only to protect our body, but also to create and communicate who we are. But how does this basic yet complex need become fashion? What is fashionable, and what does it convey about ourselves? Foam Magazine #53 Adorned — The Fashionable Issue takes a close look at the new ways of seeing and presenting fashionrelated photography, specifically, projects created by a younger generation of image makers. They often present their stories in ways in which the clothing is absolutely incidental, perfectly blended with the identity of the people pictured, so that we could be looking at a fashion shoot or a ­diary, a story about a person or a group or friends. We often need little effort to place ourselves in those hypothetical scenarios. However, there is always something that makes us place these ­images within a ­fashion-able context. Reacting to social movements and a pressure to remain current, the fashion industry is increasingly reflective of progressive ideals of beauty and representa-

tion in contemporary visual culture, both in front of, and behind the camera. Visual artists, fashion editors, curators, writers and activists are all contributing towards, and advocating for a wider conversation of inclusivity, diversity and a celebration of the self. This issue touches on three interweaving themes which approach issues of representation and visibility in several ways. Firstly, there is the social agenda which allows us to peer into the reasons for causing this shift in the first instance. Whether this is expanding ideas of beauty, a broader range of people involved in the business of fashion, or the result of many calls to action bringing about change, the result is a group of socially and politically engaged photographers creating arresting, provocative work. The second theme is that of performance, which directs its gaze towards the look, language, poses and gestures adopted by these image creators, turning straightforward fashion into something more dynamic and lively in feel. Lastly, there is a storytelling aspect which is used as a tool in helping to build alternative worlds and visualise fantasies where these ideas of identity are acknowledged and can be lived out. In particular, we were interested in photographers and artists who actively and knowingly take from the language of fashion photography. From here, it is transformed into new ways of promoting and supporting a widening view on iden-

tity. The images act as a measurement of our progress towards new ways of seeing and being. Catherine Servel’s portfolio of refreshingly average-sized models makes a compelling case for using models who are more representative of a wider population, while Sneakers like Jay-Z, a project by Ambroise Tézenas and Frédéric Delangle, reinforces the political power of clothes through a combination of text and image. Alongside this, there is also an emphasis on young photographers representing the LGBTQ+ communities, black and POC communities. One example being Nadine Ijewere who pushes for increased visibility in all aspects of her fashion shoots, by actively casting models of colour to feature in her projects. Next to the many familiar features and the photographic portfolios, a varied set of essays and interviews with inspiring figures from the fashion industry helps in understanding dynamics and adding important factors. We are proud to host, amongst others, an extensive conversation between curator Zoé Whitley and designer Grace Wales Bonner, beautifully portrayed by Paul Mpagi Sepuya. Finally, we invited three of the most forward thinking fashion magazine­s to contribute with a curated intervention, showcasing their editorial vision. We hope you will enjoy this journey and receive in exchange some inspiring food for thought as we slowly but surely add a few more seats to the table.






Outsider is a project where I explore the idea of fragility and impermanence. The photographs are placed on top of fabrics away from the frame and its rigidness. The fabrics are life-size pieces referring to the body and its mobility, each fabric hangs on the top allowing movement as people interact with the work. I am investigating photo installations that make subtle references to the fragility of the human body. With each photo on the work Unconscious I find myself immersed in nature, from a cacao farm filled with small trees, forcing me to stay low for a long period of time, and a photo where I am underwater. The situations are physically uncomfortable but amazing experiences. I want to revisit these journeys as I build a fragmented narrative with photographs, tape, fabric and wood boxes.

ALICE QUARESMA is a New York based photographer. She received a master’s degree from the Pratt Institute in 2009, and has since participated in numerous exhibitions and residencies internationally. In 2018, Alice had her first solo show in an art Institution in São Paulo. Alice was featured as a Foam Talent in 2014.







Joy as an Act of Resistance

Nadine Ijewere’s body of work Joy as an Act of Resistance is a jubilant display of beauty and diversity in the fashion photography world. Intentionally casting models of c ­ olour, Ijewere is leading the way in creating a space in which black is always beautiful, and not just a passing, fashionable trend. In actively positioning these historically under-represented models in front of the camera, Ijewere is able to create a space where this narrative is possible and normalised. Ijewere made photography history when she became the first woman of ­colour to shoot a Vogue cover — fittingly titled The Future Issue — in the magazine’s 125-year history, in January 2019. This was a ­moment to acknowledge and celebrate as evidence of progress. However, while not to undermine the achievement, it was also a moment to note the rate at which change is being made. The laughter and glee of the model on the opening page is infectious. She is ­almost too much for the frame of the

photo­graph to contain, spilling over the edges. The orange tulle is dotted with black circles, like the eyespots of a peacock’s tail, designed to dazzle and beguile. The body of work is a beautiful fashion shoot, tempting us with alluring clothes and the promise of becoming more attractive versions of ourselves. But Joy as an Act of Resistance is much more than a straight forward fashion shoot. The phrase could be understood as a kind of manifesto; a directive reminding us all to be joyful as a way of re-humanising ourselves in defiance of negative stereotyping, misrepresentation and adversity cast against us. It is a reminder that joy is a form of freedom, not a privilege. The series uses joy as a way of pushing back against constraining ideas of what is possible to achieve, and by who. The photoshoot takes place at the seaside, a place for splashing, frolicking fun. It is easy for the term ‘women of colour’ to be used as a catch all, suggesting that it is a singular group of people. This group photo shows how diverse the term

is in reality. It is a parade of different skin tones and colours, beautifully patterned head wraps, and natural hair of different lengths and textures. When gathered together like this, it is here that the viewer can see just how many faces have been excluded from the narrative until now, and what is to be gained from including them in the dialogue of what beauty and fashion looks like moving forward. In advocating for, and supporting diversity in this way, Ijewere is consciously adding to the visible spectrum of models. — Text by Mariama Attah (MA)






Catherine Servel takes the styling and ­poses of fashion photography and broadens our minds as to who and what can be attractive and desirable in the fashion industry. The women represented in these photo shoots don’t normally take centre stage in fashion editorials. These women — of average sized bodies — would typically be featured as a ‘special’ type of model, separate from the prevalent displays of very tall, thin white models ­exhibited throughout the pages of a fashion magazine. Or more often, they are positioned as a token to demonstrate the industry’s supposed willingness of working towards diversity and a more reflective representation of its actual readers, rather than its desired or imagined a ­ udience. Servel photographs figures that are more familiar, realistic and accurate to ourselves than many of the bodies routinely presented in mainstream fashion photography. The models are refreshing in their normalcy, and there is a currency and importance to this. As readers, ­viewers and consumers become more vocal and

capable of advocating for the change they want to see, fashion brands and agencies are slowly shifting to adapt and mirror this demand. The deep, bold colours throughout the ­images are ideal for showing off the textures of the materials, like the bright ­yellow, ribbed skirt clinging to its wearer, or the sheer, indigo coloured tank top being gently coaxed into place by lime green stockinged hands. The double page spread of the model wrapped head to toe in bright geometric scarves could almost be an ad for Pucci. It is the sheen of the materials and the zesty colours wrapped around the model that elevate what otherwise would have been a conventional fashion pose. Meanwhile, the model in pleated fuchsia, slightly blurred from movement, lifts the fabric as if all the better to show off her legs to us, echoing the curve of her thigh and the gathered skirt in her hand. Yet, the images featured in these three bodies of work, Allure, Dazed and Document, are as much about the bodies, as they are about the clothes, if not more

so. It is the shape that holds most interest. The models take up classic poses, hands on hips and thighs, shoulders tilted inwards, collarbone jutting out, or one shoulder ­angled back, leg forward as if on the catwalk. The photos hold a balance of ­rounded edges and sharp lines where faces have been cropped off at the cheek or neck, or turned from the camera. This device adds to the shapeliness within the frame, emphasising the curve of the limbs and their photogenic qualities. Servel gives us familiar stances from unexpected angles, and with this, the work boasts a confidence and assuredness in its deviation from what is currently the norm. — Text by MA

CASPER KOFI Dreams and Reveries of a Quiet Man





Buffalo Zine

A VISUAL MANIFESTO Forward thinking fashion magazines share a curated intervention, showcasing their editorial vision.




It has often been said that one of the strongest traditions is that times change, constantly and inexorably. Yet, the perception and the effects of these changes vary enormously depending on the context, latitude and actors involved, the so called frame of reference. It is one of the basic laws of physics, and something that we are able to feel and experience constantly in our everyday lives — sometimes just five minutes can seem an eternity, and large stretches of time go by without much happening and leaving little, if no, trace in our memory. Then all of a sudden, revolutions happen in seconds, and very short segments of time leave inside us enough memories to last a lifetime. ­Sardinia, a rather small island in the middle of the Mediterranean Sea, is one of those places in which this is something very strongly felt and experienced not only by the individuals, as it would be expected, but by communities at large. When you ask Sardinians to define time, they would very probably reply that time in the island stands still. Sardinia is an island of mythical history and megalithic archaeology, a so-called blue zone for centenarians, blessed with a raw wild nature that strongly defines the attitude of its inhabitants. This is a narrative that fed itself over the ages, creating an exotic and adventurous appeal for the island’s visitors and a

very comforting, yet binding, set of alibies and excuses for the islanders — that f­ amous time that stands still. Nevertheless, and in spite of it, it moves. Roberto Ortu, art director and visual wizard and Giovanni Corabi, photographer, both very active in the European fashion scene, set on a long term project to document and read the contradictions and the different temporal spaces operating in the island and in the life of its inhabitants — strongly committing to communicating and showcasing the evolving, joyful spirit of a seemingly timeless place. They crossed the sea, jumped in a car and set out looking. Once they accepted the impossibility of keeping up with a plan and a schedule, magic started to happen. And what happened was the unfolding, in front of their eyes, of a rich, surprising and multi-vocal set of ­stories. Ortu is Sardinian, while Corabi is not. The combination of their gazes, one hyperaware of behavioural codes, social nuances, aesthetic details and unwritten laws set in stones, the other empowered by the curiosity and the fresh, stranger’s look of someone who is discovering the depths of his subject, made all the difference. Together they created a very specific yet instinctive visual language that keeps the beautifying, elegant and solid craftsmanship of fashion photography at its best, while mastering the potential of narrative

techniques, empowering and elevating the wild, sensual naiveté of its subjects. The subjects are what this island is made of here and now: youth, animals, people wearing traditional clothing, communities of newcomers and migrants ­arriving from the neighbouring African continent. All share the same strong relation to nature and all finding themselves in between the past and the future, youth and adulthood, wilderness and urbanism. The artistic duo captures the essence of these communities at the cusp of their transformation process, as if they all just started to bloom, or to evolve into something else. Their images talk about youth, gender, e ­ legance, identity and spirituality. But also about spontaneity, renewal and the inebriating power of nature and wilderness — of places and habit. It is also a very visceral, sanguine portrait of the ­island, one that looks at the core, at what is there to be said, rather than its casing. One that highlights what is going to come, rather than what came before. — Text by EM






Beauty Papers

A VISUAL MANIFESTO Forward thinking fashion magazines share a curated intervention, showcasing their editorial vision.


INTERVIEW I remember my sister having a clock of DAVID ­WOJNAROWICZ’s face on her wall before I even knew who he was.

MH: Would you describe yourself as an activist? And if you had to define yourself further, how few words could you use?! JM: I get asked this question a lot, due to it being something that’s ‘on trend’ but I feel like it’s just an insult to label models and Instagram influencers ‘activists’ to give them a current title, because a lot of them are quite boring, uninspiring people. It takes away from people who are genuine activists who work on serious issues and are pushing for change. I have beliefs that are really personal to me, which I feel strongly about, and try to support, but it baffles me that it has become a gimmick instead of people’s interests really being about charity work, shifting political views and debating serious matters. There are so many a ­ ctual activists who need to be given the recognition and not taken away by children of celebrities who don’t create any change or awareness.  Social media is an amazing platform to spread news and information, especially in a time when people are really trying to rally together. Instagram can be great for spreading awareness of charities like Sisters Uncut, for people living under the threat of domestic violence; it’s accessible for people of all backgrounds in all countries, and it’s so vital in the political turbulence that’s going on right now. MH:

FOAM itself has always been very broad in its own appreciation of the medium of photography. In this hyper visual era, do you think there is something striking about the photographic image? JM: Of course, photography is one of the easiest ways of communicating an idea; there doesn’t need to be any snobbism that you can get with painting or literature. Rich and Poor by JIM GOLDBERG made me almost cry when I first saw it, the personal text with the small insight into the person’s life is incredibly moving.  Instagram and the internet have created a platform for anyone to churn out imagery; it’s a good and a bad thing I suppose. You can be from any walk of life and have millions of people seeing your work and build your own career, whereas people used to work a lifetime and never get any recognition because of a hierarchal system. However being bombarded everyday with hundreds of people who outright rip off HARLEY WEIR and other talented photographers is just a testament to how images are sadly losing their value. MH: Is there a way for that value to be regained? Obviously images have destinations beyond the inter­ net. Does being face to face with an image in an exhibition or in a book have a different affect? JM: Living in London, being able to access exhibitions, libraries, and some of the best book shops like Donlon in Broadway Market, means it is not a struggle to find meaningful images that don’t need social media to be their testament.

JESS MAYBURY is creative who represents feminism and a ­commercial freedom in ­fashion. As a feminist, Jess is defy­ing fashion norms with her statuesque figure and striking features, having featured in likes of Dazed, i-D, Print magazine, modelled for brands including Kenzo, Acne, Vivienne Westwood, Lavin, Helmut Lang and has been shot by the likes of Harley Weir, Tim Walker, Tyrone Lebon and Alasdair Mclellan. MAX HOUGHTON is a writer, editor and curator in the field of contemporary documentary photography. She is Course Leader of MA Photojournalism and Documentary Photography at London College of Communi­ cation. She co-authored Firecrackers: Female Photographers Now (2017) and her latest mono­ graph essay for Anja Niemi: In Character is published by Thames and Hudson (2019). She is a Laws faculty scholarship PhD candidate at UCL.

TYLER MITCHELL I Can Make You Feel Good




HUO: There are many words you use to describe your work; lush, optimistic, pure, intimate, self-contained, sensi­ tive, collaborative, black visual utopia. We’ve discussed most of that but there’s one interesting definition which is love and I think love is very impor­tant in the work and you say that love is a form of raging against the machine, can you explain that? TM: It’s funny because one of my best friends is a hardcore kid and he was really into the Philly hardcore scene and also punk music and I was like ‘why are our reference points so different from each other?’ We’re really close friends and we had this long conversation talking about how much in common on some level rap music and black music has with hardcore. It’s just so loving, both are acts of love. He was showing me the choreography of how they dance and everything in the shows and I think that love as a form of raging against the machine is a really interesting idea to me. The idea that you don’t necessarily have to make angsty feeling work for it to be valid and the idea that maybe angst isn’t the thing that gets it done, sometimes love is more efficient HUO: Rainer Maria Rilke wrote a book which is advice to a young poet. Obviously yourself being very young it’s a bit unusual to ask you to give advice to a young artist but if you had to… TM: I like that question. The key thing for me was to very quickly find a sense of personal vision and that came from things like music, film, personal interests and ex­ perience. When I got to school there were tropes and the fray of film school. The same film was being made over and over again and I was like ‘okay, what is my voice and what do I want to say?’ I think a sense of personal vision is the most important and beautiful thing for a student.

TYLER MITCHELL is a photogra­ pher and filmmaker. In 2017, he graduated from NYU Tisch School of the Arts with a B.F.A. in Film & ­Television. At an early age, he began filming skate videos and document­ ing the music, fashion and youth cul­ ture in Atlanta. He self-published his first photobook El Paquete in 2015, and in 2018 Tyler became the first black photo­grapher to make the ­cover of American Vogue with his ­photographs of Beyoncé. HANS ULRICH OBRIST is Artistic Director of the Serpentine Galleries in London, and Senior Artistic Advi­ sor of The Shed in New York. Prior to this, he was the Curator of the ­Musée d’Art Moderne de la Ville de Paris. Since his first show World Soup (The Kitchen Show) in 1991, he has curated more than 300 shows.

SUZIE AND LEO doppelgänger





Suzie and Leo are an artistic duo living and working in Paris. Combining their back­ grounds in film and fine arts they created for themselves an ever evolving aesthetic. This combines straightforward fashion photography with a parallel production of editorial and videos employing image ­manipulation techniques and Computer Generated Imagery. Together they have been realising videos and campaigns for brands such as Fendi, Kenzo, Stella Mc Cartney and Yves Saint Laurent, edito­ rial and c ­ overs for Dazed Beauty, Numéro, T Magazine among others. When look­ ing at all the bodies of work there is only one constant — none of them look like the ­other. Influenced by dance and movie culture, to YouTube videos, their research focuses on the creation of new languages, reinterpreting tropes and pop elements, mixing them up with animations and mixed media techniques. Craftsmanship is a very important part and aspect of their creative process. There is something very intriguing in their ability to employ super technological elements and instruments in

a vintage way, creating pictures that trans­ mit a very old fashion feeling but at a closer look, contain a very modern and contem­ porary twist. It is also notable how com­ fortably their work moves between two very different contexts, the printed page and the screen, gaining new insights ac­ cording to the platforms they are placed in. This versatile but strongly experimen­ tal vision finds a very fertile territory in the panorama of fashion, where so much is go­ ing on between paper and digital platforms and there is lots of space for works cross­ ing territories and navigating in ­between different aesthetics, allowing them to work in a very interesting playground. Playful­ ness, blurring details, space for contra­ diction and absurdity are keywords when describing their work. Their process is also very intuitive: partially a consequence of the collaborative work, they allow space for chance to happen, for error and for lack of symmetry. For them an image works well when something strikes in it, when it forces the viewer to engage in an active and perhaps slightly discomforting way. This

can be seen in the manipulations, multipli­ cations and distortions they use, but also in the act of erasing and cutting out ele­ ments from the images so that the viewer has to reflect on what’s missing, on what’s inside. While metaphysical, this is also very playful of the codes of fashion, where you are supposed to see the model and to see everything all the time. So by hiding some crucial elements, using Photoshop to spray-paint the face and the clothing of the model, everything becomes more inter­esting: it counteracts the overwhelm­ ing amount of visual information that we receive constantly, allowing our eyes to rest, and putting our brain into motion. — Text by EM






Joyce Ng is a Canadian national, born and raised in Hong Kong to a Chinese family. She had her early studies at a local school until she was ten and then switched to an American school. She then moved to London where she graduated from Cen­ tral St. Martins. She came to photography through a process of elimination, moving from Graphic Design to Art Direction to Fashion Communication — always feeling that she should try out different positions within the fashion industry: production, styling, studio work. From there, she then went to New York, and got involved with casting when she worked for DIS Magazine — which quickly became street casting. The streets of New York triggered a spark and provided a very good use for her natu­ ral attitude to the constant and meticulous observation of life happening around her. When she returned to L ­ ondon and start­ ed working on her graduation project, she slowly came to understand that instead of guiding the photographers working with her to realise the images she had in mind, she had to do it herself. Since that moment in 2015, she has created and developed a very personal and specific aesthetic that finds its strength in the sense of genuinity it sparks, together with a mix of realness and absurdity that made her images so appealing to the fash­ ion industry. Her visual background has been deeply influenced by Hong Kong and its endless sequence of billboards and

street signs and life just happening all over around. Her images reflect this abundance of elements, each one creating a story in itself: there is always so much going on, even in the portraits. Each image some­ what creates a story, a micro narrative and a micro universe in which it becomes dif­ ficult to understand what is real and what is not — a nice, pleasant sneak peek through the looking glass, without feeling made up. She defies standards of beauty both in the models she casts and in the poses and expressions they assume. The result is that the viewer can easily enter into a context of plausible identification with the subject — the complete opposite effect that polished, classic fashion imagery is not al­ ways able to spark. But growing up always at the thresh­ old of different cultural influxes, continu­ ously being on the move, and having a sub­ tle but persistent feeling of being a stranger everywhere she goes made her develop a strong, sharp talent for pinpointing the frictions and idiosyncrasies belonging to the different worlds she has been exposed to. She tells me: ‘I grew up with a colonial mentality in myself and the people around me. I wanted to be whitewashed and espe­ cially so when I moved to an international school. Speaking Cantonese was against the school rules. I soon developed an English accent when I spoke Chinese. People’s eyes glisten when you have a Guimui (fe­ male version of Guilo) accent. It means

you’re cooler, you’re richer, you’re s­ marter. Meanwhile I went home and watched Hong Kong TV dramas, T ­ aiwanese vari­ ety shows, spoke Cantonese to my parents, kept up with local tabloids, was ­secretly a big fan of Taiwanese and Chinese pop stars. Living in Hong Kong is literally like dipping yourself back and forth in a duo-flavoured hotpot.’ Yet, adjusting to life in London had not been easy. She continues: ‘I still feel like an alien some­ times. It’s great not to feel 100% comfort­ able and at ease. I miss my roots now, and want back everything I missed while I was growing up wanting to be Westernised. Yet being in Hong Kong won’t allow me to create the way I could in London. But I find this struggle and contradiction good, productive.’ The portfolio presented in the cur­ rent issue of Foam Magazine combines ­images coming from her fashion edito­ rials with images belonging to a body of work specifically created for the exhibition English as a Second Language, on view at the ­Somerset House in London until April 2019. This exhibition, which also includes works from Hanna Moon and has been ­curated by Shonagh Marshall, explores the photo­graphers’ take on Western standards of beauty. — Text by EM






King Kong

A VISUAL MANIFESTO Forward thinking fashion magazines share a curated intervention, showcasing their editorial vision.

IBRAHIM I was born on the 15 March 1993 and I come from Guinea. I chose a black jumper, in remembrance of my difficult journey. I experienced a shock when we were in the dark. Wearing black, it’s like I have won. A symbol of victory. Darkness, because we travelled in containers in Mali with the heat. We crossed the desert in trucks, frightened of weapons. This dark jumper, it’s positive. Wearing dark clothes today, it shows that I am not frightened here, that I am safe. The pair of jeans because I am young. A dream of mine is beginning to take form.

IBRAHIM I am 23 years old. I come from the Ivory Coast. I chose this black coat because black goes with everything. And it also symbolizes my origins. I am African. I have black skin and I like everything that is black. With the rumours around immigration, it’s important to know that, black or white, we all form a family in France. As a refugee it is important to dress well, as an old saying goes “It is better to make people like you than pity you”.



Sneakers Like Jay-Z

The portraits of the young men in Sneakers like Jay-Z present an intimate look at how identity can re-shape itself in response to a change in environment and circumstance using clothing as a signifier and catalyst. The idea for the project was sparked by a young Afghan man, Zaman, seeking donated clothing at a men’s shelter in France. Having walked for months from Kabul, Zaman arrived in France, ready to begin a new phase of life. On presenting himself, he asked for a pair of sneakers that weren’t ‘too ugly, maybe sneakers like Jay-Z?’ From here, Ambroise Tézenas and Frédéric Delangle began photographing other young men who came to the shelter in need of clothing. The men were invited to select clothes for a photoshoot that best represented themselves now, at this new stage of their lives. Each portrait is accompanied by a short text. The descriptions are simple and stirring, and summarise in just a few lines who and what has been left behind, and hopefully what awaits them. The text also gives a voice to people who are easily overlooked, or often have people speaking on

their behalf. It could be easy to underestimate the importance that clothing plays in the lives of these young men. In a sense, it is a type of camouflage, allowing them to blend in, and to an extent, to belong in their new countries. It is in the texts that we can begin to understand the physical and emotional journeys the men have undertaken, as well as the utter importance of looking the part, not just for the sake of aesthetics, but also for physical safety. Idriss, from the Ivory Coast summarises this feeling, ‘If you are well dressed, you are more respected, you are safer’. Together, the pairing of text and image explains the vital role that clothing plays in building identities, indicating the many stories and layers that contribute to a person’s sense of self at various stages in life. The portraits are stylish, proud, and revealing. The men are in a position to take control of their appearances and perceptions, to be beautiful and seen. Sneakers like Jay-Z gives viewers an idea of what it is like to reinvent yourself. Through the act of being selected, the clothes go on to acquire another layer of

meaning when chosen by the men to help them fit into the shape of their lives. The clothes become a vehicle for newness, reinvention and change. As Ibrahim shares in his introduction, ‘We crossed the desert in trucks, frightened of weapons. This dark jumper, it’s positive. Wearing dark clothes today, it shows that I am not frightened here, that I am safe… A dream of mine is beginning to take form.’ In these portraits, we can begin to see the many subtleties and personal meanings, and how the power of these portraits is in showing the men as who they were, and who they will become. — Text by MA






When Mateus Porto moved to New York from Texas to study at the Parsons School of Design, he organically went through a process of self-liberation, awareness and discovery that allowed him to find, and become part of, a community that not only informed his growth as an artist and as a person, but quickly became the subject of his work. Identifying as queer, he started out by getting involved in the rich New York queer nightlife, realising portraits for the artists and shooting at the parties. The artists, and the individuals gravitating around them and their performances, became the foundations of a safe space in which anything was allowed and self-­expression, in whatever shape and form this could appear, was a form of liberation. The portraits included in this portfolio were made between September 2017 and March 2018, with the purpose of documenting his friends who were creating a look based around their interest, cultural background, inspirations and emotional state. Porto focused on making portraits of them made up as heroes, and ­depicted as iconographic subjects. With a signature, very stylish low-fi visual imprint

his work turned out to be a celebration of fantasies, otherworldly identities and impersonations. His friends are not only ­heroes in the classical term, with ­poses that sometimes remind the viewer of saints and martyrs in religious paintings — imagine a modern day St. Sebastian, Virgin Mary and Mary Magdalene translated in a very­ colourful steam punk environment and seen through an LSD filter. They are beautiful, fragile super heroes in a Marvel sense, only without the macho obsession and with lots of make up. They seem to be there to protect and avenge and fight for the community, the individuals they represent and themselves too. These images are seemingly dark and gothic, and outspoken, yet at the same time delicate and full of love for the eyes able to decode them. They speak a language of beauty, intricacy, textures and tension, contrasts and friction. They speak about self-expression and pride, but also about the pain that often comes with its acceptance and desire to exist, and being heard. With the Instagram account @Orograph, Porto and his portraits very quickly went viral in the online community, and

what was the documentation of a very ­specific New York based underground youth scene gained a s­ ignificantly wider exposure. The author’s heroes are definitely autonomous characters in the virtual world by now, and it is very powerful to see them popping up unexpectedly every now and then in the feed thanks to the invisible laws of the algorithm, as a very comforting example of humanity, resistance and beauty. — Text by EM






Arching bodies and contorted shapes in bright primary colours are a signature style of Arielle Bobb-Willis. The models stretch and bend and reach to the edges of the frame and bring to mind a vibrancy and flair that is a sight to behold. The riot of colours and compositions is like an avalanche. Material strains, and limbs lean into awkward poses, lending a sense of flow and feeling to the still images. New York based photographer Bobb-­ Willis borrows from the look and language of fashion photography and translates it into a more playful photographic performance. The bold colours and plain backdrops combine to create images that are odd and slightly off-kilter yet could still be read as fashion images. This body of work speaks to the power of pose and performance which sets it apart from its peers. The image of the figures dressed in head to toe red, blue and yellow seem to have been perfectly captured in the midst of a tightly choreographed chorus line. Another image shows two bodies neatly folded into each other, as if paused just before springing away from each other or

leaping into the air. The images are dynamic and all verge on action, introducing an element of tension between the movement that was captured and all the possibilities and outtakes that will remain unseen by the viewer. This invisibility or abstraction is heightened by the anonymity of the subjects. Turned from the c ­ amera, faces tilted out of sight or ­obscured by hair or clothing, they are all hidden. Much like a performance where an actor takes on ­another persona, the model here temporarily suspends their actual self in order to take on the role called for. The bodies act as mediums for communication, in much the same way as more conventional fashion photography. Yet, in this case, the models aren’t suggesting lifestyles or items to aspire to, more so a boundless and freeing way of seeing and being in the world. Viewers aren’t being sold a fantasy here, instead they are being shown a world full of sunshine, striking colours and a carefree moment. This freedom is further illustrated by the images tilted and rotated onto their sides. Two models seem to defy gravity as

they tumble up (or possibly down) a hill, while in another, the model finds themselves pinned to an unusually brightly coloured section of ground, clashing mightily against their pastel pink suit. The images are straightforward and bring a joyousness not often associated with the world of fashion. — Text by MA

JUSTIN DINGWALL Albus & A Seat at the Table




Albus & A Seat at the Table

South African born Justin Dingwall’s portraits are a visual exercise touching upon beauty, adornment and representation. The images are also filled with symbolism and metaphor, with some bringing to mind religious iconography and paintings. In the opening image from the ­series ­Albus (meaning white) model, lawyer and albinism activist Thando Hopa wears a glowing white veil that virtually blends in with the whites of her shoulders and background. The draped cloth is also present in the images that follow. In one, the curve and sweep of the high, white collar is ­mirrored in the white arches of the model’s eyelids and upper lip. The symbolism of the butterflies in another portrait refers to the idea of transformation and resurrection, tying in seamlessly with the divine feeling of the series. It is also a visual note as to the range and d ­ iversity that can be found in nature, and their unique and necessary contributions. In the double page spread, a model in a near monochromatic pink setting sprawls on a table, casually spooning ­cereal from a bowl. The colour is almost overwhelming when seen next to the whites of the models’ drapes, skin and hair seen beforehand.

This second body of work featured is A Seat at the Table. D ­ ingwall emphasises that this project is about perceived beauty, and encouraging ­viewers to further explore new perspectives and ways of seeing. When discussing his fine art work, he explains that ‘to me diversity is what makes humanity ­interesting and beautiful.’ Working with models over a long ­period of time allows Dingwall to build rapport and understanding of what experiences and thoughts the models can bring to the set, explaining that his projects are collaborative in nature. In this instance, model Moostapha Saidi made initial contact with Dingwall through Facebook and Instagram (@justin_dingwall), and from there the series formed. The project sees Saidi’s vitiligo as a way of raising visibility and expanding perceptions of beauty, understanding and ideas of ‘normal’. The symbolism is just as present in this body of work. Dingwall explains that the image of Saidi, his back to the ­camera, every surface scattered with eyes, references the experience of feeling u ­ nder scrutiny, or contending with constant looks when one doesn’t meet the socially accepted or expected definition of desir-

able or beautiful. The many eyes can also be read as a way of Saidi reflecting back the look of these viewers and on­lookers, holding them accountable for their thoughts. The title A Seat at the Table refers to the phrase of widening conversation and debate and working to ensure that a broader spectrum of voices are heard and have an opportunity to sit at the negotiating table, where decisions are made, rather than it continuing to be a position for the privileged and the few. In this instance, the table being the fashion industry determining the rules of beauty. The final image is of model Sanele Xaba. He stands in the dark, awash in a red light, evoking the feeling of a darkroom safety light. With his eyes closed, it becomes a powerful metaphor on the idea of being cloaked in safety even when standing out from the crowd. — Text by MA





In the five years since it was founded by creative director JASMINE RAZNAHAN, NOON magazine has located itself firmly outside of subscribed — to ideas about what art and fashion publications can be. ‘I felt very strongly about doing everything differently than I had before’. And NOON is testament to that; it captures a modern mood in art, photography, fashion and writing. Unscripted and ­agile, experimental and probing, NOON is a paean to what publishing can be.

BIOGRAPHIES MOHAMAD ABDOUNI is a photo­ grapher, filmmaker, curator, and Editor-in-Chief and Creative ­Director of COLD CUTS MAGAZINE. His work focuses on the untold stories of subcultures in Beirut and the rising queer culture of the city. Mohamad has exhibited at the Brooklyn Museum in New York and in festivals around Europe including the Leeds Queer Film Festival. In 2019, he will be the first queer artist to exhibit at The Institute of Islamic Culture in Paris. MARIAMA ATTAH is a photography curator and editor. With a BA in Photography and MA in Museum Studies, her interest in photography is centred on its ability to re-present visual culture and history alongside the over looked and the under explored. Before joining the editorial department of Foam Magazine, she was Programme Curator at Photoworks responsible for developing and programming exhibitions and events, including Brighton Photo Biennial and Jer­wood/Photoworks Awards. She was also Commissioning and Managing Editor of Photoworks Annual maga­zine. She has worked with a number of national and international artists. Mariama is Assistant Editor of Foam Magazine. ARIELLE BOBB-WILLIS battled with depression from an early age, found solace behind the lens and has developed a visual language that speaks to the complexities of life: the beautiful, the strange, belonging, isolation, and connection. Her use of colour is therapeutic and speaks to a desire to claim power and joy in moments of sadness, confusion or confinement. Arielle has been commissioned for numerous ­projects recently including JW Anderson × Converse, The C ­ leveland Transit Project 2018 and Today at Apple.


RNED #53


GIOVANNI CORABI & ROBERTO ORTU teamed up to document the many faces and communities on the island of Sardinia. Giovanni is a photographer who received his B.A from Central Saint Martins in 2017. A keen eye for casting, his work explores the emotional sphere of his subjects, portraying them at their most honest state. This becomes more prevalent in constructed situations where it translates into a cinematic approach with attention to detail and a strong narrative element. Roberto is a creative and video director. Operating in the world of fashion, he has been commissioned by numerous brands including Church’s, Prada Journal and Gucci. He is half of Locals, a new video creative and production studio based in Milan.

JUSTIN DINGWALL graduated Cum laude in Photography from Tshwane University of Technology. Dingwall uses contemporary portraiture layered with metaphors and symbolism to create intimacy and engagement with perspectives surrounding the topics he deals with. His work has been featured by prominent ­advertising and editorial clients. Justin has received multiple awards, including the International Photography Awards — Fine Art Portrait of the year 2018. His work has been exhibited around the world and is in many prominent collections. He lives and works in Johannesburg, South Africa. JULIA FALKNER & LORENA HYDEMAN are a photographerstylist duo based in London. They met on the day they moved in together, when neither of them knew that they would pursue photography and styling respectively. Julia comes from a small village in the Austrian mountains called Schlaiten. Lorena is Serbian and grew up between London and Doha, Qatar. A recurring theme throughout their work is one of androgyny and subversion of masculine stereotypes. The duo’s work expresses the vulnerability of their subjects through a dreamy and surreal aesthetic. NADINE IJEWERE is a photographer whose work focuses primarily on the subjects of identity and diversity, informed by her own Nigerian/Jamaican background. She is drawn to non-traditional faces with the aim of showcasing a new standard of beauty and giving life to the uniqueness of disparate cultures. In 2016, her work featured in The Tate Britain Generation exhibition and more recently at Unseen Amsterdam and Lagos Photo Festival in 2017. CASPER KOFI is a self-taught photographer working mostly in fashion; he graduated with a BA in Media Studies at the University of Amsterdam. Casper’s work explores the ambivalent notions of masculinity through portrait photo­graphy, paired with still life images that together offer diverse and tender vignettes of manhood. Drawing inspiration from vintage men’s physique photography and classic Hollywood films, Casper’s subjects are captured with a strong but vulnerable physical presence. ALEXANDRA LEESE studied BA Fashion Photography at the ­London College of Fashion and began her career assisting photo­graphers such as Wing Shya. She developed an eye for composition and colour, and

together with her mixed cultural background began to bridge the gap between east and west. In 2018, Alexandra published Boys of Hong Kong, selling over 500 copies worldwide. Her work has gained great momentum; most recently working with i-D, Helmut Lang and Marc Jacobs. ELISA MEDDE is a photography editor and curator. With a back­ground in History of Art, Iconology and Photographic Studies, Elisa worked for various cultural institutions, publishing houses and non-profit organisations as project and research co-ordinator as well as independent curator and editor. Her academic research reflects on the relations between image and power, particularly in the context of contemporary photography. She has served as juror for many prizes, amongst which the Luma Rencontres Book Award, Copenhagen Photo Festival, and Lens Culture. She has been a nominator for the Mack First Book Award, Prix Elysée, and MAST Foundation for Photography Grant amongst others. Since 2012, Elisa is the Managing Editor of Foam Magazine. TYLER MITCHELL is a photographer and filmmaker. In 2017, he graduated from NYU Tisch School of the Arts with a B.F.A. in Film & Television. At an early age, he began filming skate videos and documenting the music, fashion and youth culture in Atlanta. He self-published his first photobook El Paquete in 2015, and in 2018 Tyler became the first black photo­grapher to make the cover of American Vogue with his ­photographs of Beyoncé. JOYCE NG is a London-based fashion photographer who grew up in Hong Kong and graduated from Central Saint Martins in 2014. She uses street-casted models, natural environments and props to create images that feel both familiar, yet surreal. Her work has been featured by leading publications including Dazed, i-D and 1 Granary, and in 2019, she participated in the Somerset House exhibition English as a Second Language. HADAR PITCHON is a visual artist based in NYC, originally from Florida. He explores different ideas of vulnerability and truth through his imagery. Hadar graduated from Ringling college of Art and Design with a Bachelor of Fine Arts in photography and digital imaging. His personal work explores the dynamic between him and his family, inspired between a cross of fashion imagery and fine art.

279 MATEUS PORTO is a New York based photographer. He graduated from the Parsons School of Design in 2018. THE SARTISTS: Andile Buka, ­ abelo Kungwane, Wanda K Lephoto and Xzavier Zulu are a ­Johannesburg-based multidisciplinary creative collective, formed to challenge parochial ideas about blackness in modern ­society, taking a considered, ­autodidactic and documentary approach to style and identity. CATHERINE SERVEL is a photo­ grapher and sculptor, and the designer of de Cosmi jewelry. Her fine arts background includes degrees in Photography from the School of Visual Arts in NY as well as Arts Appliqués from Atelier Met de Penninghen in Paris. Catherine’s appreciation for the human form and unusual juxtapositions of visual elements is palpable in her work which can be characterised as simultaneously sensual and subtle while also provocative and graphic. SUZIE AND LEO are a French artistic duo based in Paris. Their work ranges from fashion, photography and film. After meeting at the famous Gobelins school, Léo studied film and Suzie studied fine arts at Les Beaux Arts de ­Paris. They have worked for international publications and brands including Muse, 10 Magazine, Under the Influence, Numéro ­China, Office magazine NY, Fendi and Kenzo. As directors, their work includes a series of films for Yves Saint Laurent beauty starring Cara Delevingne, music videos for the Swedish rap artist Yung Lean and a film for Stella McCartney. ­ MBROISE TÉZENAS & FRÉDÉRIC A DELANGLE are separately developing work on landscape and the effects of globalisation and urbanisation on man. Frédéric studied photo­graphy at the University Paris 8 and in 2001 began a 15-year p ­ roject on modern day India spanning five hybrid works. At Galerie Binome, he exhibited ­Indian Spring, a retrospective of his work in India during the Month of Photography in Paris 2017. A ­ mbroise graduated from the Applied Arts School of Vevey, Switzerland in 1994. He has ­published several works including Beijing, Theatre of the People (2006) — winning the European Publisher’s Award for Photography — and I Was here (2014). In 2009, he won the Nikon Story Teller Award.



THEME TEXT p.22: THE THINLEYS Photography JAMIE HAWKESWORTH and J.W. ANDERSON, editing and design M/M (PARIS), grooming GARY GILL, set design POPPY BARTLETT p.26-27: MARNI Spring Summer campaign 2019 Photography JAMIE HAWKESWORTH, creative Director FRANCESCO RISSO, art director GB65, stylist CAMILLA NICKERSON, model JESS MAYBURY, hair DAMIEN BOISSINOT, makeup DICK PAGE p.30: LOVE MAGAZINE / JULY 2017 “KIDZ” Photography ETHAN JAMES GREEN, stylist PANOS YIAPANIS, hair JIMMY PAUL, makeup KUMA, casting ANITA BITTON, production CAT LEWIS p.31: VOGUE PARIS / March 2018 “Flower Power” Photography ETHAN JAMES GREEN, model EDIE CAMPBELL, stylist ANASTASIA BARBIERI, hair CYNDIA HARVEY, makeup PETROS PETROHILOS, set JULIA WAGNER, production ROSCO PRODUCTIONS p.268-269: MOTHER for NOON Magazine Issue 10, AW 18/19 MEL BLES with VANESSA REID, design JASMINE RAZNAHAN, courtesy NOON MAGAZINE and WEBBER REPRESENT p.270: WSJ MAGAZINE / March 2019 “Goddess Rising” Photography ETHAN JAMES GREEN, model IMAAN HAMMAM, stylist ANASTASIA BARBIERI, hair LAURENT PHILIPPON, makeup KARIM RAHMAN, casting PIERGIORGIO DEL MORO, production EL SOL AZUL PRODUCTIONS p.272: THE THINLEYS Photography JAMIE HAWKESWORTH and J.W. ANDERSON, editing and design by M/M (PARIS), grooming by GARY GILL, set design by POPPY BARTLETT p.273: WSJ MAGAZINE / September 2018 “Maheshwar“ Photography ETHAN JAMES GREEN, models LAKSHMI MENON and JITENDRA, stylist ANASTASIA BARBIERI, hair LAURENT PHILIPPON, makeup PETROS PETROHILOS, set JULIA WAGNER, casting PIERGIORGIO DEL MORO, production ELEMENTS PRODUCTIONS

p.274/277: ANONIMITY for NOON Magazine Issue 10, AW 18/19 A collaborative project by MARK PECKMEZIAN, MARTON PERLAKI, CHARLIE ENGMAN, styling CHARLIE ENGMAN, design JASMINE RAZNAHAN, courtesy NOON MAGAZINE and the authors

p.33: All images from the series Family Work © HADAR PITCHON, courtesy of the artist.

p.276: Rachel Adams for Girls. Girls. Girls. Magazine, 2019 © CLAIRE ROTHSTEIN, courtesy of the artist and Girls. Girls. Girls. Magazine

p.57: All images © CATHERINE SERVEL, courtesy of the artist.

p.45: All images from the series Joy as an Act of Resistance © NADINE IJEWERE, courtesy of the artist and i-D.

p.69: All images © CASPER KOFI, courtesy of the artist. In order of appearance: — Vlad, 2018 — Untitled (Tangerine), 2018 — Youth (Brian and Noah), 2018 — Youth in the sun (Brian and Noah), 2018 — Untitled (Oasis), 2018 — Kebri, 2018 — Young Man (Ram), 2017 — Vlad, 2018 — Untitled (Car), 2017 — Narcissus I & II (Bodhi), 2018 — Brian, 2018 — Adonis (Ram), 2017 — Young Man (Mitchell), 2018 — Balaclava (Brian), 2018 — Untitled (Birds), 2017 — Daydreaming (Jemal), 2018 p.97: All images from the series Blah Blah Genitals, 2018 © JULIA FALKNER & LORENA HYDEMAN, courtesy of the artists. In order of appearance: — TYRELL MATTHEW, 12, London, United Kingdom wears helmet JOHANNA PARV and outfit SEROTONIN VINTAGE @johanna­parv_, @serotoninvintage — HARRY CONSTANTINE, 12, London, United Kingdom Hair GERARD MOLÓN @gerardmolon, Make Up BARI KHALIQUE @barikhalique —H  ARRY CONSTANTINE, 12, London, United Kingdom wears STACEY WALL @stacey_wall_, hair GERARD MOLÓN @gerardmolon, Make Up BARI KHALIQUE @barikhalique —J  ACK MELTON-CHAPRONIERE, 10, London, United Kingdom —R  IO FOLKES, 13, London, United Kingdom, wears JOHANNA PARV @johannaparv_ p.105: All images from the series SARDINIA © GIOVANNI CORABI & ROBERTO ORTU, courtesy of the artists. p.117: All images © MOHAMAD ABDOUNI, courtesy of the artist. p.129: All images from the series Boys of Hong Kong, 2018 © ALEXANDRA LEESE, courtesy of the artist. p.161: All images © TYLER MITCHELL, courtesy of the artist.

p.181: All images © SUZIE AND LEO, courtesy of the artists. p.193: All images © JOYCE NG, courtesy of the artist. p.201: All images from the series Our Tribe © THE SARTISTS, courtesy of the artists. p.225: All images from the series Sneakers Like Jay-Z © DELANGLE-TÉZENAS, courtesy of the artists. In order of appearance: — Ahmed — Ibrahim — Ibrahim —G  uindo —S  aïd —A  l Noor —S  afi p.233: All images © MATEUS PORTO, courtesy of the artist. p.241: All images © ARIELLE BOBB-WILLIS, courtesy of the artist. p.251: All images from the series’ Albus & A Seat at the Table © JUSTIN DINGWALL, courtesy of the artist. In order of appearance: — Series Albus, artwork White veil, model THANDO HOPA, makeup RAINE TAUBER — Series Albus, artwork Reveal I, model SANELE XABA, makeup LYN KENNEDY, stylist JESSICA SAMANTHA LUPTON — Series Albus, artwork Soar, model SANELE XABA, makeup LYN KENNEDY, stylist JESSICA SAMANTHA LUPTON — Series Albus, artwork Grazia, model THANDO HOPA, makeup LYN KENNEDY —S  eries A seat at the Table, artwork Diamond II, model MOOSTAPHA SAIDI, makeup ORLI MEIRI — Series A seat at the Table, artwork Ruby 8, model MOOSTAPHA SAIDI, makeup ORLI MEIRI, stylist JESSICA SAMANTHA LUPTON — Series Albus, artwork Mob I, model SANELE XABA, makeup LYN KENNEDY, stylist PIERRE DU PLESSIS — Series Albus, artwork Three Mary Red, model THANDO HOPA, makeup LYN KENNEDY — Series A seat at the Table, artwork Diamond IV, model MOOSTAPHA SAIDI, makeup ORLI MEIRI, stylist CHLOE ANDREA — Series Albus, artwork Cerasinus, model SANELE XABA




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PhotoIreland Festival 2019 1 May-31 July

Š Luis Alberto Rodriguez, from the series The People of the Mud

10th Anniversary Dublin

Celebrating 10 years advancing Photography in Ireland. Vibrant, friendly, all-inclusive: a festival for all to enjoy.


288 ISSUE #53, ADORNED EDITOR-IN-CHIEF Marloes Krijnen EDITORS Mariama Attah, Marcel Feil, Marloes Krijnen, Elisa Medde MANAGING EDITOR Elisa Medde ASSISTANT EDITOR Mariama Attah EDITORIAL INTERN Toby Wall MAGAZINE MANAGEMENT Matthijs Bakker, Maureen Marck, Madeleine van Wensen ART DIRECTOR Hamid Sallali DESIGN & LAYOUT Ayumi Higuchi, Hamid Sallali TYPEFACES Haarlem (Adrien Menard), L15 Medium, Medium Extended, Regular Extended (type), SANGBLEU SUNRISE LIGHT (Swiss Typefaces) CONTRIBUTING PHOTOGRAPHERS & ARTISTS Mohamad Abdouni, Mel Bles, Arielle Bobb-Willis, Giovanni Corabi & Roberto Ortu, Justin Dingwall, Charlie Engman, Julia Falkner & Lorena Hydeman, Jamie Hawkesworth, Nadine Ijewere, Ethan James Green, Casper Kofi, Alexandra Leese, Tyler Mitchell, Joyce Ng, Mark Peckmezian, Hadar Pitchon, Mateus Porto, Alice Quaresma, Claire Rothstein, The Sartists, Paul Magi Sepuya, Catherine Servel, Suzie and Leo, Ambroise Tézenas & Frédéric Delangle FRONT COVER Nona from the series Family Work © Hadar Pitchon, courtesy of the artist BACK COVER Narcissus I & II (Bodhi), 2018 © Casper Kofi, courtesy of the artist INSIDE BACK COVER © Suzie and Leo, courtesy of the artists INSIDE BACK COVER SPREAD From the series Boys of Hong Kong, 2018 © Alexandra Leese, courtesy of the artist

Colophon CONTRIBUTING WRITERS Siobhán Bohnacker, Saskia De Brauw, Roberto Filippello, ­Stephen Galloway, Yumi Goto, Max Houghton, Kimberley Jenkins, Shonagh Marshall, Jess Maybury, Jimmy Moffat, Jasmine Raznahan, Eugenie Shinkle, Maisie Skidmore, Carla Sozzani, Hans Ultich Obrist, Grace Wales Bonner, Zoé Whitley, Elisa De Wyngaert MAGAZINE TAKEOVERS KING KONG: Mikel Benhaim, Ali Kepenek BEAUTY PAPERS: Maxine Leonard, Valerie Wickes, Carolina Otero BUFFALO ZINE: Adrián González-Cohen, Andrea Lazarov, David Uzquiza SPECIAL THANKS Stefania Arcari, Alex Babahmadi, Dominic Bell, Sissy Best, Paula Fodor, Natsumi Hisamitsu, Matthew Mitchell, Thu Nguyen, AeLi Park, Sabrina Ponti, Nikki Stromberg, Andre Werther, Joanna Wzorek PRINTING & LITHOGRAPHY NPN Drukkers Minervum 7250 4817 ZM Breda – NL Postbus 5750 4801 ED Breda – NL PAPER Igepa Nederland B.V. Biezenwei 16 4004 MB Tie – NL EDITORIAL ADDRESS Foam Magazine Keizersgracht 609 1017 DS Amsterdam – NL T +31 20 551 65 00 F +31 20 551 65 01 SUBSCRIPTIONS For subscription inquiries, please e-mail DISTRIBUTION Foam Magazine is available at the best book shops worldwide. For distribution opportunities and conditions please contact: ADVERTISING Foam Magazine is looking to team up with like-minded brands and organisations. For information please contact: STOCKISTS Foam Magazine is available at the best book shops worldwide. For a full list of stockists look at EAN 8710966455234-00053

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PREVIEW Foam Magazine #53, Adorned  

Want the full issue? Go to What was once called fashion photography finds itself nowadays positioned along a much broader spec...

PREVIEW Foam Magazine #53, Adorned  

Want the full issue? Go to What was once called fashion photography finds itself nowadays positioned along a much broader spec...