The Creators


Photography & Creative Direction: Jelena Jankovic (@bitefzena)

Styling & HMUA: Street Casting


Terraforma 2022 - Bonding with Nature Through Music and Dance

The pandemic is not over yet; but thankfully, things are gradually back on track. For two years, our freedom of movement has been limited; traveling round has become an unattainable luxury. Events were cancelled, same as holiday plans. As an underground electronic music lover and festivalgoer, missing the opportunities to see my favourite musicians play live was definitely excruciating. Among all those tickets I got refunded, Terraforma was the one that I felt most pity for.

 

Taken place in Villa Arconati, an 18th century manor house located at the northeastern outskirt of Milan, Terraforma is one of the most-anticipated music festivals here in North Italy. Luckily, I had the luxury of experiencing its charm pre-pandemic, and it was truly fantastic. This music festival is one of a kind; it is an eclectic mix of sonic experimentation, contemporary art and our relationship with nature. Centered on environmental sustainability, Terraforma renders partygoers an extraordinary sensational enjoyment under the pretext of eco-friendliness.

 

Adopting sustainability as leitmotif, Terraforma not only have their core thinking written on their website, but also put them into practice. All drinks are served in reusable containers; any refill with them will be entitled to a discount. Only eco soaps are allowed in the camping area, bio soaps will be provided for those who don’t have any.

Sofie Birch, a sound artist specialising in soft soothing ambient  © Stefania Zanetti

DJ Paquita Gordon playing at the Vaia stage  © Riccardo Fantoni

Aside from on-site practices, Terraforma also collaborated with various architecture and design studio on some long-term projects on the restoration of Villa Arconati’s landscape. Over the past  few years, they restored a pre-existing 18th century hedge labyrinth with local flora from scratch and reforested the camping area by planting more than 100 saplings on the event’s territory. Almost all the facilities (tables, benches, bins and shower cabins) and architectural structures inside the venue were made out of woods. This year, Terraforma took the project even one step further. Together with an avant-garde architecture studio Space Caviar, they built a new stage, Vaia. Named after the extreme weather event that occurred in northeastern Italy in 2018, the stage was constructed by wood from the tree fell from the Vaia storm, making use of the substantial amount of lumber that the community has invested in removing from the distressed area.

Even during the worst period of the pandemic when events were shut down, Terraforma kept working on their vision and ecological agenda by planting trees, launching creative incubator of artistic languages and hosting an open space for contemporary sustainable practices. They even started a new editorial project, the Terraforma Journal, a platform to showcase works and discuss topics on sound, art, ecology, and contemporary culture. Their efforts pay off. Villa Arconati is greener, lusher and livelier, and the event was awarded as one of the “improvers” by the non-profit organization A Greener Festival for the commitment on reducing its environmental impacts.

 

Before COVID-19 struck, lounging around was easy. Things were going places, and maybe went a bit too fast and too far. The pandemic gave us a chance to slow down and contemplate on what are the essentials for our lives. Living a simpler but better quality life is a trend, and it also reflects on Terraforma’s curation this year.

Some happy Terraformers  © Stefania Zanetti

Mykki Blanco from EXPAT  © Riccardo Fantoni

Morning yoga session  © Edoardo Comba

With the motto “For once we only dance”, Terraforma 2022 is a music festival with no talks, no panels, no workshops and a small self-caring yoga session between sets, putting a special focus on the musicians’ creation post-pandemic. Talents from all over the world gathered in Villa Arconati, pulled out a three-day music galore that is full of diversity, creativity and experimentation. The range of the music genre is wide, spanning from more fashion-oriented acts that fit to Milan’s ambience, to some authentic techno and house sets that stimulate festivalgoers’ impulse to dance. By having only one act at a time, the festivalgoers were transformed (or terraformed if you will) into one nomadic collective drifting between the stages together over the course of the weekend. This collective experience gave the proceedings an intimacy that is rarely found at festivals. Delving between the woodlands, the stunning Villa Arconati, and the labyrinth, one had an almost psychedelic sensation of shifting between dimensions; this was accentuated further still by the diversity of the music.

Representing CAP 72024, my colleague Harvey and I participated in the Saturday’s event. Dog days haven’t started yet but Milan was quite warm already, the afternoon sun had us hidden under tree shadows. Thanks to the successful reforestation they’ve been doing over the years, we enjoyed the whole afternoon of music shaded. Our experience started with the performance of EXPAT, a 9-month old band with no recorded music focuses on intense, dramatic and theatrical live show. Chanting political-related catchphrases like “White supremacy causes climate changes” with grating guitar sound; their provocative performance sent the crowd boiling. The afternoon proceeded with Milan-based electronic music producer Piezo’s DJ set and charismatic alternative and art rock inspired sound of London-based band Moin before the ravers swung to the hedge labyrinth grooving with Birmingham-based musician High Intelligence Agency’s electronica set, a true masterpiece mixing his 90’s classic with his new release.

Ravers gathered at Alpha stage © Edoardo Comba

The revolutionary performance of Teto Preto is nurtured by female and LGBTQIA+ leadership  © Edoardo Comba

Uganda-based Kenyan rapper MC Yallah and her powerful beats  © Edoardo Comba

Lafawndah was the opening act of this year’s Terraforma  © Riccardo Fantoni

Then it was MC Yallah & Debmaster. The duo stepped on the newly constructed Vaia stage at nightfall. Hailing from Uganda, the Kenyan rapper Mc Yallah made her Italian debut in Terraforma. Pairing with French producer Debmaster, they blended the explosive rap with some powerful sounds. Carrying a hint of African exoticness, the performance had the audience swooned in the evening breeze.

 

The night culminated when the closing DJ of the day, Berlin-based PLO Man started to play, drawing all the ravers to the spacious Alpha Stage for some 4-hour long dance marathon. His exceptional DJ set took the ravers from Milan to Berlin in a split second, indulging in the most authentic and orthodox Berlin electronic atmosphere. For Harvey and I, there was no better way to end our Terraforma experience than with some perfect beats from PLO Man.

 

Overall, our experience this year is phenomenal. Coming back to festivals after two years of hiatus is great, and to start our post-pandemic rave marathon with Terraforma is even greater. Deep from my heart, I truly wish to hear more from them in the near future. Not only because of the excellent lineup they have built, but also the endeavor of their sustainability movement.


Text: Yves Tsou, Harvey Byworth-Morgan


A Coastal Closet

A Costal Closet

The GIORGIO ARMANI Mare collection offers an exotic summer wardrobe with a focus on freedom


The Mare collection from Giorgio Armani, available at pop-up shops in all of the most iconic summer hotspots, bring us a holiday collection with a Mediterranean spirit. The range was devised with an exotic travel lifestyle in mind but works just as well in an urban setting as it does on the sun kissed shores of the continent.

The women’s range utilises a palette of soft nautical tones with the occasional flash of red and orange. The items themselves range from sarong skirts and pullovers to lightweight dresses and one-piece swimsuits, employing a variety of materials including nets and matting. The men’s portion of the range takes a traditional maritime wardrobe of shirts, polos and Bermuda shorts and gives it a contemporary twist with geometric patterns in multicoloured jacquard.

Having been available at Porto Cervo’s Cala di Volpe Hotel and Yacht Club Costa Smerelda as well as La Gritta in Portofino, the collection is coming to various summer hotspots across Europe with Mykonos’ Nammos the next stop on the circuit. As well as the pop-ups, the range is available in the Giorgio Armani boutiques in Cannes, Miami, Monte Carlo, Porto Cervo Rome and St. Tropez and can be found on Giorgio Armani’s armani.com.


Event Photography: Lucas Possiede (@lucaspossiede)

Editorial Photography: Bruno+Nico Van Mossevelde (@brunoandnico_vanmossevelde)

Text: Harvey Byworth-Morgan


Golden Boy: Interview with Chris Baker

In the rising heat of the Parisian summer, I tucked myself away in the shadows awaiting the upcoming interview with Chris Baker, eying the phone being answered in LA. I have followed Chris through his career and the whirlwind that has been his life since his latest release, ‘The Estate’. Having written and starred in the film, alongside having it show on a major streaming platform, Chris appears to be the full package for the gay community in Hollywood. As a seemingly open, eccentric, and upbeat individual, I was curious to see how life has changed for him and his thoughts on the current industry’s approach to the queer narrative. Speaking, laughing, and pondering over the subjects, I was able to see the raw and genuine personality that has made him so loved both on and off our screens. Benjamin K. Johnson speaks with Chris Baker following his shoot with Emil Kosuge in the dawn of the LA Summer.

 Can you tell us about your most recent film? How do you believe it stands out in a very saturated industry?

Yes. My film, The Estate is a throwback to films of the nineties, which, I think, were nastier and screwed in a lot of ways. I think it is in your face, it is colourful, it’s beautiful, and it’s sexual. I think the dialogue, the characters, and the performances make it impossible to ignore, in my opinion… I am biased of course [laughing]. I mean, when you watch it, you’re either going to love it or you’re going to hate it, but you’re never going to forget it.”

The other films you mention, do you have some examples of this?

Wild Things and Cruel Intentions, alongside some films by John Waters. They are kind of campy, maximalist, either incredibly queer coded, or just straight up incredibly queer films. I think these have been gone for a while from the industry, for a lot of reasons, and they are currently just trying to survive.

How do you feel playing a gay character, who didn’t rely on his queerness within the role, and wasn’t pinned as ‘the gay supporting character’?

I saw that, for me, to be the lead in a film and to be gay, the only option was to write my own role. I think that says a lot about the industry and where people are in terms of taking risks and taking chances. But, throughout that entire experience, no one ever said “Oh, this is too gay” or, “Oh God, you know, this is only going to make sense to queer people.” I mean, everyone on set was laughing at the same jokes. So, there’s something really important there. I don’t know if it was necessarily the character or the situation, but it’s about a rich family who are killing each other for their inheritance. And to me, that’s not an exclusively gay thing. You know, every type of person does evil, horrible things. So, I wouldn’t want to show a gay character, more so to show a character who happens to be gay. But my intention also wasn’t to show that gay people are like every everyone else. I personally don’t feel that way. I think part of whatever artistry or absurdism that I notice about the world is all because I’m gay and having that vantage point. I think it is a gift.

How much further can this side of the industry still be pushed?

Well, I’ll start by saying this. It is really hard to make a movie. And I mean any movie, about any subject, no matter what it is. And I think going through the experience once, and I’m going through it again right now, I have so much more capacity for empathy for all filmmakers. Personally, I just really want to make great movies and I don’t know how to write something that’s not queer [laughs]. That is just something that will naturally come out of me whenever I’m writing. In terms of the industry, I do think people are pushing a queer narrative. I don’t know yet on how much of a scale it’s going, but I certainly feel like people are more receptive and open and see the money that can be mined. Frankly, it is what this is all about. I think people realize finally, in a capitalist way, how lucrative it can be to have projects that are more queer. But, when I look at the landscape, at least from the U.S., it does seem like people are getting more opportunities than ever before. But, I think that gayness is really about sex when you sort of distill it. So by pushing gayness, it’s also pushing sex and what I’ve learned being in this industry is that movies in particular are incredibly chaste and often critiqued more heavily. They are not like TV shows. And so, I don’t know, honestly, how far in films we can push queer sexuality if movies don’t want to be sexual.

Do you think we are existing in the development of a Golden Age for queer represention in Hollywood?

It’s hard for me to believe, and I am someone who makes films. I think if the output is really shi**y, then the culture will suffer. So, I think in terms of the dawn of the golden age of queer representation, again, it comes back to what we were talking about earlier, which is, the stuff has to be good. I do think that right now people are taking more risks, putting their money where their mouth is, and giving more queer creators opportunities. But those opportunities have to work, and this remains to be seen. If the stuff is not commercially successful, then the pocket which opens will just close again. The input has to warrant a good output.” Yes, often there are cases of rainbow washing? “Yes! But corporations are going to “corporate”, you know? [laughs]. I think that the audience has to show up. If that support is not there from our own community, it’s also going to hurt the money situation for everyone, and nothing will get made. A rising tide lifts all ships. So, if one of us [the queer community] does well, they should leave the door open for the rest of us to come in.

Are you allowed to talk about the upcoming film?

Um, I can only say that it’s a far more commercial movie than this one. There’s no murder in it! [laughs]. It’s a romantic comedy!

Well, we’ll hold out hope for it when we see it on the screen. For young creatives making a space for themselves within the arts, what advice would you offer?

Well, the first thing I would say is that you can’t let your feelings dominate your life, okay? To be an artist, you have to be able to access your feelings. But to be able to do this as a job, you can’t have your emotions run over you because the amount of rejection that every single person faces is so overwhelming. So, I think if younger people are going to enter into this industry and not make short form content like they do on TikTok and Instagram, and actually step up to longer narrative storytelling, it takes a lot of work and it takes a lot of tries. Storytelling can be grunt work and you have to be fearless.

So do you think that failure may be one of the most important things?

“Yeah! It’s essential. And it’s not just failure. It’s like failing a lot! No one who did everything right ever learned anything. My dad used to say that to me all the time. Like, you say all the right things and everything goes well for you, who are you? You’re no one. Life is not fair. It’s easier for some people by virtue of luck or circumstance, but, to be an artist is to understand all of those things and accept them, but also use them. Use whatever you have.”

How has life been since the creation of ‘The Estate’?

Well, my wedding and the film were released within three weeks of each other. So my life just kind of drastically changed in a single month. I think I’ve been kind of riding that high since! In terms of opportunities that have come since, I would always love more, but I do think that writing and starring in a film that gets released in theatres, and on a major streaming service, really doesn’t happen often. I’m so proud that it happened. I really am. And I think that it’s even harder to do it twice. I really want to build a body of work because I have a lot of stories!

How has life changed for the married Chris Baker?

I feel more settled. I’ve been with my husband for eight years, but we’ve only been married for nine months. I think that a lot of people are like, “If you’re in a long-term relationship, and you get married, it’s the same” It’s not the same! [laughs] I feel like, as a couple, in terms of how we plan things, there’s more runway and we can settle in now. And that’s really, really special. I’m a creative person that does not thrive in chaos. My best work comes when everything is just smooth. Yes. So creatively, it’s been great for me [laughs].

Do you find pressure in thinking of the next move and your plans for the future?

Honestly, I think less about it than I used to. Pre-film release, I think I was overthinking everything. And now I just think it’s about getting stuff done. If one project doesn’t go, which happens 98% of the time, I have other projects lined up and ready. I think that it’s just about building a body of work… however long that takes. We live in a very volatile time. So, if I’m able to get anything done, in whatever order, that’s already a win.

With Emil, does it create a different atmosphere when working with other people who exist within the queer side of the industry?

Yes. I mean, I certainly felt more comfortable being in my underwear in front of another gay guy. I worked with straight male photographers before and sometimes they can’t understand what it is to sexualize a man. But I think that even if they appreciate it, it can be strange for them. Not for me! I don’t know what it is. I don’t know what went wrong in my life, but I’m okay with being naked in front of everyone! [laughs]. But Emil’s work is so incredible. And his work stands out so I was just so proud that he asked me and felt very lucky. And I’m so impressed with them!

What are the next plans that are emerging within your life? Will we see more of you on our screens?

So, I have a podcast that will be coming out in the fall. It’s about sex, and relationships, and advice. And it’s going to be really fun. Really funny! So, I’m very, very, very, excited about it. I haven’t been excited about a project like this in a long time. And I think it’s also because it’s a little bit like independent filmmaking, where you’re making stuff on your own terms.” It sounds like a time for your individualism, and how you want to approach your creativity. Will you have guests? “Yes, but it’s mostly a call-in show so everyone can interact with us. The director and producer of my film are shooting and producing it. And so it’ll exist on YouTube, TikTok and on all podcasts apps, so you can watch it or listen to it as you prefer.


Talent: Chris Baker (@bakerseebakerdo)

//

Photography: Emil Kosuge (@emil_kosuge)

Interview: Benjamin K. Johnson (@benjaminkjo)


Mugler X Mytheresa: A Feminine Future

Mugler X Mytheresa: A Feminine Future

The brand’s marked the release of their new capsule with a chic Parisian dinner


Julia Fox, Cindy Bruna, Tiffany Hsu, Hera Pradel, Tina Leung and Jazzelle

In celebration of their new exclusive capsule collection, French fashion house Mugler and luxury online retailer Mytheresa hosted an intimate dinner at the historical Parisian brasserie Le Grand Véfour. As well as leading figures from both brands, such as Pascal Conte-Jodra and Michael Kliger, the event hosted a star-studded guest list including Julia Fox and Nina Kraviz.

The 17-piece collection, which draws upon the traditional hyperfeminine bold spirit of the Mugler brand, is currently available globally. The collection is made up of second-skin silhouettes which feature unconventional cuts, sculptural shapes, and graphic details. Mugler’s Creative Director, Casey Cadwallader, characterized the collection as ‘an illusion as if it’s defying gravity’ incorporating ‘impossible fits and necklines’. With bodysuits, leggings, bodycon dresses and denim all included, the capsule offers the brand’s signature styles reinterpreted in the new shades of nude, bright blue, and pink.

Ever since Thierry Mugler founded his synonymous house in 1973, the brand has always championed a strong vision of women and the upholdal of that spirit by Cadwallader can be seen with this stunning new collection. The meticulous tailoring and striking silhouettes of the range demonstrate a contemporary vision of Mugler’s message of empowerment. The guestlist of the dinner can be seen to reflect this essence too, comprised of pioneering women who are leading in their creative fields and breaking down barriers for future generations.

Shop the ground-breaking collection now at mytheresa.com.

Jazzelle and Raya Martigny

Nina Kraviz

Michael Kliger, Mytehresa CEO, and Pascal Conte Jodra, Mugler Managing Director

Event Photography: Virgile Guinard (@virgile.guinard)

Editorial Photography: Max Vom Hofe (@maxvomhofe)

Creative Direction: Julian Paul

Modelling: Marie-Lou Gomis (@marielougomis)

Text: Harvey Byworth-Morgan (@harveybmorgan)


MOR Beach Club - A Luxurious Holiday Experience by Lake Como

The Como side of Lake Como might not be the top choice for hasty traveller’s day trip when they visit Northern Italy’s famous lake, but it is without a doubt favored by holidaymakers for a pleasant waterside sojourn. Dotted with historical mansions and luxurious villas, the viridescent coast between Cernobbio to Tremezzo is a beautiful crossing point where culture meets nature. Here is also where MOR Beach Club, the newly opened exclusive vacation spot run by Omnam Group and Bain Capital Credit LP, locates.

Situated a few steps along from the poetic village Tremezzo, MOR Beach Club utilizes the structure of the former Lido Cadenabbia, reinventing it into a chic and luxurious resort perfect for your holiday getaway. Renovated by design studio De.Tales, the colour palette of the architecture and interiors resonates with the natural surrounding, blending harmoniously with the picturesque lakeside scenery.

 

Inside the over 2,300 square meters area is a private beach equipped with cabanas, an outdoor swimming pool, a summery tiki bar, a restaurant and a terrace overlooking the panorama of Bellagio – Como’s famous touristic hotspot situated right across the lake. The impeccable balance between the Lake Como’s rich heritage and tradition, and MOR Beach Club’s innovative and sophisticated atmosphere is beyond description and can be experienced only in person.

The cuisine is another highlight of MOR Beach Club. Directed by Israeli Chef Sharon Cohen, the plates MOR Beach Club offers is a flawless fusion of Mediterranean and Middle Eastern cuisine. Combining local Italian Ingredients with Israeli flavors, chef Cohen creatively infuses elements from other cultures into his recipe. You can see Japanese sashimi drizzled with Argentinean Chimichurri sauce, caramelized pecan sprinkled on Italian snapper carpaccio, various Israeli breads (Lachoch, Non and Ash Tamur to name a few) to be dipped in Greek tzatziki, as well as Middle Eastern tahini and North African aubergine mashwia. The creative concept of Chef Cohen culminates when the food is served with mixology expert Emmanuele Broccatelli’s cocktail and pastry-chef Fabrizio Fiorani’s dessert proposals, taking the dining experience to another level of perfection.

 

If you also crave for a luxurious escape from the chaos of the city or your bustling life, MOR Beach Club might be a perfect destination for you. For more information visit their website
.


Text: Yves Tsou


Tainted Mediterranean Memories

Selen Botto: Tainted Mediterranean Memories

Selen Botto’s ‘Do You Sea?’ project reflects on the danger of plastic waste pollution on the coastlines of Europe.


After being displayed in various exhibitions across Europe, Selen Botto’s ‘Do You Sea?’ project, which first began in 2020, is now being released as a photobook in collaboration with graphic designers Adrián Beltrán and Mati Martí, with an accompanying text from Jorge Alamar. The work offers a commentary on the relationship between humanity and our surroundings, laying bare the consequences of over consumption.

The process behind Botto’s images began with long walks along the beaches of the Mediterranean coastline; on her walks, Botto took various photographs of the picturesque scenery whilst also collecting as many plastics and microplastics as she could find. Back in the studio, she superimposed the collected waste onto her photos in a way which dramatically altered their tone. Seemingly idyllic images become corrupted by swathes of garbage, forcing one to reflect upon the damning reality of our impact on the planet. Whilst the message of collection is bleak, it’s delivery has a comic quality which renders the project a ‘tragicomedy’ in the words of the artist.

With an Italo-Turkish heritage, Botto’s studying of the discipline of photography began in her native Turin and took her to various places across Spain. She is now settled in Valencia, where the collection of photos was first exhibited; since then, the set have been displayed at Milan’s Italia90 in Condominio, Tenerife’s Fotonoviembre 2021 and several other group exhibitions.

Following the success of the project’s exhibition tour, the ‘Do You Sea?’ photobook presents the photoset in tandem with excerpts detailing the statistical reality of plastic’s impact on the Mediterranean coastline. As well as this, the book closes with a whimsical anecdote from Jorge Alamar about a beach trip with his mother, in which he struggles to palate the mismanagement of waste, both figuratively and literally.

The publication of the ‘Do You Sea?‘ book has been funded by a Verkami campaign, which remains open until July 3rd.


Text: Harvey Byworth-Morgan


Daily Rhythms

look LORENZO MARTINEZ, bedding SANTA LIVING

look GEORGIELA STUDIO, bedding SANTA LIVING

looks GEORGIELA STUDIO, EÑAUT & WEEKDAY, beddingSANTA LIVING

looks PALOMA WOOL, EÑAUT & WEEKDAY, beddingSANTA LIVING


Photography: Edu Forte (@eduforte.studio)

Styling: Greta Macchi (@mccgrt)

Creative Direction: Santa Living (@wearesantaliving) – César Carcaboso, Josep Vicens

Make-up: Ester Vicens

Styling Assistant: Blai Carriet (@blaicarriet)

Models: César Carcaboso, Josep Vicens

Text & Interview by Matthew Burgos


PUCCI: The Beginning of a New Age

PUCCI: The Beginning of a New Era

Camille Miceli’s first collection for PUCCI marks the dawn of a new era for the Florentine fashion house.

Camille Miceli, the Florentine fashion house Pucci’s newly assigned Artistic Director

The launch of Camille Miceli’s debut as PUCCI’s Artistic Director was far more than just a new collection, it was a rebirth. The brand’s new direction focuses on the ultra-contemporary, both in terms of style and way of life. This vision sees past the restrictiveness of seasonal releases and embraces the ‘see now, buy now’ spirit of monthly drops. Whilst this new ethos is incredibly modern, Miceli has ensured that the house does not lose sight of its history, hence why the first destination of this new journey is Emilio Pucci’s beloved Capri, where the brand’s first boutique opened in 1951.

Titled La Grotta Azzurra’, this release took the form of an entire weekend experience comprised of dinner, a yoga class, a villa party co-hosted with Mytheresa, a gran brunch, and more. Brand ambassadors and contemporary creatives ranging from Vittoria Ceretti to Gunna were in attendance for the festivities on the island.

Miceli at the Capri Casual dinner with Katia Toledano, Nicolas Maury and Imruh Asha

The Pucci yoga class in collaboration with Mytheresa

The spirit of the collection itself completely defies the conventions of the fashion world; the nomadic wardrobe does not confine itself to any one season or destination, allowing it to be mixed and matched as desired. This mix-and-match concept is also embraced in the reworking of PUCCI’s iconic motifs. Typically kaleidoscopic prints such as Geometrico, Girandole, Marmo and more have been reinterpreted via patchworking, as well as experimentation with scale, offering a modern impression on the house’s roots.

The modernisation of the house’s roots can again be seen with its brand-new logo. Inspired by a 1953 ‘Capri Sport’ label retrieved from the archives, the houses new chapter is spearheaded with an intertwining dual fish, shaped as an emblematic P. It features in various forms, as a belt buckle, jewellery, adorning sweatshirts, and more. Drawing on the joie de vivre essence of Capri, the collection offers caftans, kimonos, miniskirts and more, with details of fringes and ribbons giving it a true sense of crafted luxury.

Designed for ‘the timeless simplicity of a fleeting moment’, this is a collection which manages to feel distinctly modern yet unmistakably PUCCI; pieces have graceful curvature, yet transcend the boundaries of gender. The triumph in Miceli’s first collection is its ability to feel simultaneously refreshing and familiar, and its just a taster of what’s to come from the Parisian designers tenure at the historic brand.

Miceli grooving with Gunna at the Bagni di Tiberio luncheon

(left) Tiffany Hsu, Fashion Buying Diector of Mytheresa  (right) Emmanuelle Alt and Carlyne Cerf at the Villa Belsito party


Text: Harvey Byworth-Morgan


The Digital Fashion Revolution

The Digital Fashion Revolution

The luxury upcycling brand Rave Review transports their craft to the metaverse.


Rave Review, the female-led, high-end upcycling brand from Stockholm have officially entered the NFT sphere with their brand-new collection Cryptopanties. The set of one-off collectible items has been released on the carbon-neutral blockchain Solana.

The Swedish fashion house, born in 2017, has rapidly emerged as one of the leading upcycling brands in the luxury market. In the physical world, they have made a name for themselves utilising pre-owned fabrics to produce bespoke high-end items with a rebellious spirit. Now they are bringing this very concept to the metaverse, keeping their core values of subverting norms and upcycling at the heart of the project.

One of the key goals of the campaign within the metaverse, an emerging digital space that has already become male-dominated. In order to achieve this, not only have Rave Review collaborated with several female led groups such as RedDAO, Boys Club and Women’s Tribe, but they have also partnered the project with leading female personalities like Arvida Byström and Tove Styrke. On top of this, each set of panties has been named after trailblazing women in the creative industries, such as Frida Kahlo, Madonna and Erykah Badu.

Not only acting as futuristic pieces of art, the Cryptopanties NFTs will provide their holders with a variety of perks, in both the digital and physical worlds. Via the community platform WERZ, the holders have access to a community vast in gender, interests, and expressions. Furthermore, ownership of the NFTs also allows early access to drops, collaborations, and exclusive events. These groundbreaking steps taken by the ever innovative Rave Review offer us a progressive picture of what the future holds in the metaverse.


Words: Harvey Byworth-Morgan