Imagine a fine combination of comfort leisurewear and luxury craftsmanship. The idea sounds contradictive, but Bulgari made it happen together with the burgeoning French fashion house Casablanca, under their latest project “Serpenti Through the Eyes of Casablanca”.

As a top-notch luxury brand, Bulgari has always been active on contributing to societal goals by nurturing the youth. The financial aids to the restoration of Spanish Steps and the ongoing restoration project in Area Sacra di Largo Argentina are just the tip of the iceberg. In 2017, Bulgari launched the “Serpenti Through the Eyes of ”, a project in collaboration with talented young designers on the reinterpretation of the fashion house’s iconic Serpenti collection. Through their daring vision, the collection is imbued with vibrant and sprightly energy. Previous collaboration include London-based “Queen of Print” Mary Katrantzou and high-fashion streetwear label Ambush. This year, Bulgari invites us to see Serpenti through the eyes of Charaf Tajer – the creative director of Casablanca.

Bringing together its contemporary soul by mixing the essence of carefree and decadent après-sport style and luxurious touch into the Mediterranean aesthetics, Casablanca’s exclusive interpretation of Serpenti, Bulgari’s legendary icon, is all about playfulness and elegance. Divided into two different moods, the first part of the “Serpenti Through the Eyes of Casablanca” capsule collection is all about the après-sport chill. Inspired by the classic tennis look, Casablanca turns the bags into a white and green contrast. Finished with perforated leather and a gold-plated wooden handle, the design alludes to the equipment, venue, colors, details, outfits and elegant aesthetics of the universe of tennis.

Incorporating Bulgari’s Roman heritage with Casablanca’s Moroccan roots, the aesthetics from two opposite shores of the Mediterranean blends harmoniously in this collection, infusing a breath of fresh air hailing from the Mediterranean Sea to the fashion world.

After reading the brief of the monograph, I wonder how present the surf life is in your life. Have you always wanted to capture this celebration?

I grew up in a surf town on the East Coast of South Africa called Durban, and most of the cool kids in my school were surfers, so I guess I had an introduction to surf culture at an early age.

When I moved to Venice Beach California I was introduced to a few surfers through common friends, and they were quite open to being photographed. Each surfer introduced me to more surfers and the project grew very fast!

So, I know that you followed a group of young surfers from Venice Beach on their adventures up and down the coast. What were you hoping to witness? Could you elaborate more on “adventures up and down the coast?”

What I discovered very quickly is that all the surfers I was shooting lived out of their vans. They were literally surf nomads traveling up and down the coast, following the best surf. This lifestyle was really fascinating to me, and I was drawn to their philosophy of life and sense of freedom.

I did not have any preconceived expectations when I started photographing the surfers – it was more about shooting everything as it happened, like a surf diary. What surprised me about the surfers I was shooting was how quickly they opened up their world to me and how generous they were with their time. They made me feel very accepted and welcome.

That’s wonderful to hear! A side question if you don’t mind: for some creatives, water has always been their muse, a source of infinite healing and inspiration. Do you have the same affinity towards water? I am curious as I can imagine how it accompanied you throughout your project.

I guess I am drawn to water and the sea as I grew up by the ocean. I also spent months traveling up and down the coast of California watching and photographing the surfers in the water, so that felt very meditative and healing.

Water to me is linked to emotion in my psyche. I’m very drawn to photographing the emotion in people and the way they express themselves. I’m always trying to look beneath the surface with people. Also, I feel like shooting someone is like surfing – you are constantly navigating the waves of emotion with people until you find the perfect shot.

For me, the perfect shot is the one where you look at a portrait of someone and it takes you on a journey or reveals something very intimate or unexpected about the person.

Did you ever imagine van culture before your monograph? Did the actual one live up to how you envisioned it?

Before this project, I imagined living out of a van more as a form of homelessness or because of financial difficulties, but not as a lifestyle choice. After witnessing what I saw I could imagine many people being drawn to it, either as a travel holiday or more long term. It’s a form of “living the dream” in a way that is more unexpected.

Have you always been fascinated with van culture? Have you tried it before, or did you try it for this series?

I knew very little about van culture before this project, but now, it’s a dream of mine to buy a van and take a long vacation living out of it and traveling around the US or Europe.

I understand that Zack Raffin did the interviews for the book and to accompany your images, but when you spoke with the surfers, what stories stuck with you?

The stories that struck me were the surfer’s philosophy on life. They all had a kind of artistic and creative view of life, quite philosophical and introspective. I loved the way they described surfing and life as a “flow”. It seemed to be a common philosophy with all the surfers that I met: finding balance and flow.

The brief mentions that this is “a story of youth choosing to follow their dreams, living out of vans, existing for surfing and travel and freedom, and always chasing the best waves.” Touching on this, have you always chased your dreams? What do you live for today?

I’ve always been a big dreamer. I suppose that’s part of being an artist, dreaming big and living in your imagination. I realized at an early age that I was not good at many things, so when I finally discovered photography and that it came naturally to me, I focused everything I had on this newfound passion.

Today, I have to admit that I’ve already achieved all the things I wanted to achieve and more in my career as far as which clients or magazines I have worked for. Right now, I’m on a more personal venture of how I would like to communicate with the world and, in some way, inspire young creative people around me to also follow their hearts and creative passions.

Continuing the last question, how do you feel about the relationship between travel and freedom? When do you feel your most liberated self?

After traveling intensively for so many years for work, I guess I’m a nomad too. I’m used to being on a plane every week, so the feeling of travel and freedom are very linked to my experience. I love the feeling of arriving in a new place and the excitement of not knowing what will happen. In my work, I find that I always feel refreshed and inspired when I discover new places.

I feel most liberated when I have a camera in my hand; with nobody behind me telling me what do. That’s why personal projects are so important to me – they are a kind of reset and therapy.

Another side question: I read that you have always been fascinated by the dynamism of the human form in motion. Have you dabbled in any activities concerning movement?

Well, my father was a professional football player, and I grew up playing tennis. My whole family was involved in sports in one way or another, so I guess watching bodies and their movement was something that I observed from a very early age.

As far as any kind of dance is concerned, I cannot dance at all! Maybe that’s why it fascinates me to watch dance and to photograph it. I’m fascinated by watching people dance, especially contemporary ballet. I have many friends who are ballet dancers, and they are the most hardworking people I know, pushing their bodies to the limit every single day!

Your first monograph consists of portraits of the ballet dancers of the Paris Opera. This one focuses on surf life. Are you already planning the next one?

I have another project in my back pocket, one that I have started but still need to work on. It’s a very exciting and beautiful subject, but I’m saving the announcement for a later date.

What we talk about when we talk about Japan? As one of the main cultural output country in today’s world, it isn’t really hard to spot bits of Japanese culture in our quotidian life, whether traditional or modern. While traditional Japanese culture is deemed as profound and sophisticated, Japanese pop culture and its spinoffs are often the most playful, diverse, and probably, ubiquitous ones.

Aside from a variety of mainstream pop culture, the subculture that ramifies under also has an impactful presence; amongst them are the anime, manga and games. Often regarded as esoteric from outsiders, the revenue that these “Nijigen” (Two-dimension in Japanese, used to describe the virtual world in anime, manga and games) works generate is substantial. The term Otaku is coined accordingly to describe the die-hard fanatics with interests in anime and manga. Their passion is all-consuming, whether it be cosplay, Lolita, gothic or maid café, and their obsessions towards it is beyond fathomable.

Mesmerized by this distinctive social phenomenon, Australian photographer Irwin Wong turned his insightful observation on it into his latest publication. Living in Japan for more than 15 years, Irwin documented these eerie yet intriguing moments through his lens and compiled them to his new book “The Obsessed”. Accompany with on-the-ground interviews and cultural essays, “The Obsessed”, created in collaboration with gestalten, showcases a kaleidoscope of scenes and individuals drawn from Japan’s many countercultural group, pinpointing their place within Japanese society and global popular culture. As a thorough discovery unfolds, Irwin invites us to an in-depth gaze into the essence of these Japanese subcultures, and the lives of people who dedicate their passion and obsession to them.

Since the appointment of Demna Gvasalia as creative director in 2015, Balenciaga has continually been challenging the very idea of what it means to be a luxury fashion house. The latest offering from their Balenciaga Objects collection, a handcrafted tiger sculpture, continues to embody this spirit of subversion. During Demna’s tenure, he has embraced the anti-consumerist stance of slow fashion, choosing to release only one haute couture range a year. Thus, as we arduously endure the wait between these collections, the Balenciaga Objects line is a welcome relief, allowing us a glimpse at the wider creative direction of the brand under Demna’s guidance.

The man behind the sculpture is post-modern artist Nik Kosmas, whose oeuvre sardonically observes the state of technology and the human experience in the 21^st century. Based in China’s mega metropolis Shanghai, Kosmas’ work is a physical, emotional, and spiritual journey inspired by science fiction, sports practice, and psychology. The sculpture itself would not have looked out of place in the brand’s SS22 show, with its sleek all black appearance resembling the ‘Cyber Goth’ aesthetic of that range. Despite the futuristic hybridity of the piece, its handcrafted nature stays true to the roots of the brand. Kosmas’s brass shaping of every aspect from the whiskers to the vertebrae reflects the ethos of bespoke luxury that has been at the heart of the brand since its inception.

Launching on November 20th, 2020, Balenciaga Objects is a category of items produced outside of the fashion collections. Having released various items of homeware over the last couple of months, ranging from laser-engraved glassware to reusable porcelain coffee cups, this latest venture represents a stylistic shift to the ornamental. The Objects collection now offers the decorative as well as the functional.

Presented on 38 x 27cm display platforms, there will be 15 numbered editions of the product released worldwide. Each model undergoes a meticulous process of craftsmanship; the individual components are shaped using the ancient technique of lost-wax casting, before being welded coated and glossed by hand.

As various fashion houses face accusations of lacking originality or recycling ideas, this release represents the latest in a long line of successes from the brand that just seems to keep getting it right. All that is left to do is to eagerly await whatever the next steps may be in this truly innovative era of the iconic brand’s history.

After a hiatus in 2020, ModaPortugal returned to Porto. Eighteen designers, hailing from six different countries (Finland, France, Italy, Switzerland, United Kingdom and of course, Portugal), gathered to Porto two weeks ago for the 7th edition of ModaPortugal Fashion Design Competition. These emerging young talents represent some of the most renowned fashion institutes across the continent. In their five days journey, they vied not only with their schoolmates and compatriots for the best collection of each country, but also for the “grand prix” that dedicates to the best collection overall.

To better understand Portugal’s robust textile and clothing manufacturing industry, ModaPortugal took these aspiring designers, along with panellists and my fellow press on an Industry Tour around the Northern part of the territory. Since the textile industry is one of the most polluting industries, the tour revolved around the initiatives that these textiles companies have taken in response to the environmental issues. The tour started with a visit to Riopele, an established factory with more than 90 years of history. Founded in 1927, Riopele is one of the oldest and most self-sufficient Portuguese textile companies. From spinning, dyeing, weaving, finishing to quality control and logistics, Riopele vertically integrates the entire fabric production cycle. Lately, Riopele has embarked on a new research: they collected the water consumed during the manufacturing process and tried to make use of it. 50% of the water consumption is now reutilized, successfully reducing the water pollution from their production process.

The tour continued with a visit to the family-owned factory of Pedrosa & Rodrigues, one of the most well-known jersey fabric manufacturers in Portugal. Pedrosa & Rodrigues blend jersey into high-end fashion; its clients include some of the major fashion brands in the world. Its newest movement is to collect leftover fabrics, grind them and spin new yarn out from them. This repurposing of discarded fabrics definitely makes the fashion industry greener and more environmentally-friendly.

After learning a bit more about the innovative projects that traditional textile companies in Portugal have taken, we visited RDD textile and Valérius Hub, an innovatory research center focusing on the repurposing of used fabrics and the development of sustainability textiles. In 2019, Valérius Group launched a brand-new project Valérius 360 – a recycling centre that realizes the ideas of RDD Textiles and Valérius Hub. Here, the factory collects cutting waste, overproduced textile products, unsold stock and recycled fabrics from Côte d’Ivoire, Turkey and other European countries, making them into recycled-yarns, jersey fabrics and even garments. Together with Valérius Hub, Valérius 360 wishes to build a community that contributes to the creation of a responsible fashion system, reducing more environmental impacts and driving the industry towards a sustainable future.

After a day of repose, the designers ushered in their biggest challenge of this trip – The ModaPortugal Fashion Design Competition. The day started with the students taking turns presenting their collections to the jury. The event climaxed with a fashion show during dinnertime. Models stomped on the aisles in the banquet room. Grotesque or artistic, theatrical or intricate, they showcased these young designers’ flourishing imagination and creativity. Among them, Juha Vehmaanperä (Finland), Mathieu Goosse (France), Paulo Mileu (Italy), Tiago Bessa (Portugal), Claire Lefebvre (Switzerland) and Jessica Zhou (United Kingdom) won the best collection from the country they represented, with Tiago Bessa from Portugal snatching the Best Collection of the year, keeping the grand trophy home in Portugal.

Looking back, I couldn’t imagine a better way to experience Portugal’s beauty and fashion all at once. It’s really impressive to see Portuguese textile companies taking initiatives on sustainability and eco-friendly fashion production, and to see the fashion industry supporting emerging talents. To summarize my experience at ModaPortugal, I think of the word “fascinating”. Porto’s view is fascinating, the “Azulejo” tiles on the church walls are fascinating, the serenity of the flowing Duoro River is fascinating; what’s more, It’s fascinating to know that even under an unfavourable macro environment, on the periphery of the European continent, a cohort of fashion talents is seeking to build a friendlier environment for the talents to come, and perhaps more importantly, for our Mother Nature.

It is indeed good news for you ski lovers! Do you find it hard to complete the perfect functional look that keeps you comfortable and warm while staying stylish on the ski slopes? Well, this season the Parisian fashion label Isabel Marant and online luxury retailer Mytheresa collaborate on the launch of an exclusive Snow capsule collection, which would definitely be the perfect touch to your ski wardrobe.

The Snow capsule collection, available globally from December 8th, 2021, comes along with a dedicated editorial story. Directed by Mytheresa Chief Creative Officer Julian Paul and shot by noted photographer Ferry van der Nat, the editorial features world-renowned model Heather Kemesky. It represents the first time that Isabel Marant designs a Skiwear-inspired pieces.

The collection, composed of 33 garments, has one fundamental watchword: contemporary. The modern and functional design protects wearers from the cold weather without being out of trend. Overall, it makes skiing and spending a cozy evening in the mountains with your friends and family an easy and joyful activity to partake. The palette consists of beige, burgundy and yellow with metallic touches, blend poetically with the niveous landscape in a ski resort.

Taking a closer look at the collection. Three down puffer jackets: one in monochrome and two colorful catch our eyeballs instantly. Along with two pairs of ski-trousers, they are the perfect protagonists of our outdoor adventures. Indoor, the comfortable loungewear sets composed of beige braided sweater and trendy overalls, offer us coziness on a freezing winter night.

The accessories and the shoes from this collection are also not to be missed. Warm gloves and hats that match with scarf and sunglasses, a shearling vest with leather lining, belts and socks adorn the look in the chicest way. And to complete it, we have the shearling snow boots with red shoelaces, the white sneakers with beige on the toecap and velcro fastening or the high model in beige and metallic color.

Holidays season is around the corner, are you ready to be the trendiest skier on the ski trail? Visit Mytheresa.com website to check out the exclusive Isabel Marant for Mytheresa Snow collection, it’s time to shine in the snow.

It was a mild September’s afternoon. Milan had finally cooled down a bit from the blistering heat. Sat in a corner window seat, I ordered a cup of iced coffee, waiting for this impending interview with Muzi. I adore Muzi’s music. He is without a doubt a music wunderkind. At the age of 30, he is already one of the most venerated and talked about musicians in South Africa. He has recorded and produced 4 albums, played several DJ sets in Berlin, done some overseas tours and has even graced the soundtrack of the sought-after Spanish Netflix drama “Elite”. His fine mixture of traditional African music and contemporary electro-techno sounds is beyond avant-garde. Wanting to immerse myself more into his musical approach, I tuned into the tracks from his latest album “Interblaktik” while waiting. With his upbeat African rhythm and overwhelming techno beat, the ever-lasting sweltering summer in Milan seems not to be so unbearable.