Pablo Erroz. The new unseasonal collection.

Under the nostalgia of the late 80s, early 90s, “Up to you” was born. When the small and large screen raised without complexes how beautiful it was to live. Just like music and pop culture did in general, which distilled an innocence ignoring the tragedies of wars and imposed a mood as profitable as exaggerated. The equation of that addictive and superlative farce that was underpinned by the United States as a platform and adolescents as a speaker. The yuppies, protagonists of this collection, with an excessive ambition in full bloom, allow themselves to dream that the world you want and long for may be yours. “Up to you” returns to the era that consecrated the phenomenon of fans and idols, thus reviving the whole group, that which we probably know today as “multitaskers”. Moreover, from that idea of freedom, of breaking rules and crossing borders, “Up to you” gathers winter and summer under the concept of the same collection. Committed to collections that last longer in time, with a full year of life and which can bring together under the same umbrella and season markets as opposed as tropical or Nordic regions. The commitment to a timeless fashion, leaving behind the constant premise of SEASONLESS, INDIVIDUALISTIC AND GENDERLESS QUALITY CLOTHING MADE IN SPAIN FOR MULTITASKING WORLD CITIZENS. Relaxed silhouettes of a diluted gender (because it’s up to you), oversizes and with details that are characteristic of the traditional male wardrobe give shape to the most subtle part of the collection, combined with an explosion of colour reflected through different print mixtures, with emotional touches of an eternal summer mood and a free way of living. Frayed, prints on paillettes, nappas, cottons and viscose make up the main axis of fabrics, accompanied by a mixture of shades, among which yellow, browns, blacks, off whites and subtle points of water greens predominate, giving life to high winter garments, as well as those clothes dreamed of during the summer holid

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Palomo Spain presented last 18th June its SS2020 Pompeii Collection in the Spanish Embassy in Paris. 

Alejandro Gomez Palomo pays tribute to the Roman city and his eruption of Vesuvius history, establishing at the same time a temporary conversation between past, present and future. 

The Spanish designer stated that his intention, along with the collection, was to recover the culture that has been long forgotten and left under the ashes of Pompeii, and managing to make a direct parallel with menswear design of the last few decades. 

In the collection there is an important mix of messages and textures that bring the usual fantasy of the Palomo Spain universe to a more realistic world. It highlights the use of linen, silk, feathers and lace - very organic fabrics - mixed with psychedelic moirés, burlap and new elements to the house such as PVC or nylon. 

In a constant dialogue between the past and the future and the way in which they interact, these elements add a strong and faithful message to the particular imagination of the Spanish designer. 

Rectangular silhouettes are redrawn with tight waists and heavy collars in this exercise of punk craftsmanship, into which masculine corsetry is incorporated for the first time. With a vibrant palette of colours that is inspired by the four Pompeian styles, tones of white, beige and black are energized with injections of purple, coral and a dark aquamarine. On the other hand, checkerboard and fire prints, add the final brushstrokes to this imaginative amalgam, making it work in perfect harmony. 

The accessories of the collection enhance the looks with printed maxibags, headdresses, balaclava and charms.

Palomo manages one more time to break the fashion standards and again surprise the spectator with a very unique and artistic yet delicate collection.

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Creative director Alessandro Michele has created the magnificent idea behind the Gucci Campaign for the new watch collection, getting inspired by one of the most human interactions ever: the handshake.

This gesture of inclusion has quickly become the true symbol of the campaign. Ari Marcopolous manages to capture a very unique electoral candidate whom during the campaign meets and greets a variety of different personalities that help the camera address and dismantle the myth around power.

The main characters on the campaing are the two new versions of the G-Timeless Automatic watch and the timeless new model: the Grip, which name comes not only from the way fits perfectly to the wrist but also makes a nod to the skateboard slang using the same term with which it refers to how the shoes fit the skateboard's sandpaper, the griptape.

The Grip has been design by Alessandro Michele without a gender in mind making it suitable to every Gucci Lover.

One of the Grip models features three dials that indicate the time, minute and date, and a yellow gold PVD bracelet with the engraved GG logo. The other Grip model is characterized by a steel case and an interchangeable green strap in alligator leather. 

On the other hand, the G- Timeless Automatic makes the difference compared to its predecessors featuring Gucci’s already iconic bee motif overlaid on the onyx dials.

This campaign will be launch this month of June and you can discover all models here:

Freedom Thoughts - Exclusive Editorial with Martin

Martin from Fifth Models photographed by Yoye


In order of pictures: 1. Hat by Calvin Klein. Dress by Pablo Erroz. / 2. Kimono by Jnorig / 3. Blazer by  Andres Zurru. Trousers by 44Studio / 4. Hat by Jnorig. Shirt and boots by Andres Zurru. Underwear by Calvin Klein

Jess Farran pushes all boundaries

Photo by Jess Ferran

Jess Farran is a photographer and art director based in New York whose compelling work crosses both physical and metaphorical boundaries. She has previously worked with Milk Makeup, Allure, Wilhelmina Models and Teen Vogue, and she also has several self-edited projects. The images she creates gravitate from nightmares, to an exploration of the body, sex and individuality, to a parallel abstract world. Read below as Jess and Andrea Mena talk about honesty and taking action nowadays, growth and creative processes, and reaching high consciousness and joining the aliens.


I feel like your zines have been steadily changing from a darker, perhaps more chaotic place (as in "MEATEATER") to a more dreamy and romantic subspace, in "Habibi" and other recent photographs. Do you think this has happened naturally, depending on the place you're at in every moment, or has it been a more intentional change?

Transition from the dark to the light is definitely both intentional and natural. MEATEATER was made from really dark, dormant energy. It was just kind of festering inside of me and needed to get out. A month after I made MEATEATER I fell in love and learned to let the darkness of my past subside in the darkness. I don't want to forget those really chaotic and rough feelings, but I needed to create softer, more angelic images in order to survive.


Do you get inspired by external reasons, other artists, or do you work from your emotions/perspective? Maybe they can go together as well? Do you feel like you have to work hard towards getting a photography the way you want it or is it more of a natural process?

I definitely am inspired by other artists but I'm never focusing on trying to replicate anyone else's work, there's no point to that. I'm mainly inspired by their approach and concept to what they're making, and I try to use that as fuel in order to make my own work. My real muse though is definitely my past. I've lived a lot of really brief, intense lives and I've dealt with a lot of trauma along the way. The only real constant in my life has been photography. Not even my family is a 100% security, which is a scary and hard realization. It's also been a freedom, though. The more you loose in life the more you realize you don't have anything distracting you from your art, it's just fuel for the fire. Shooting definitely comes naturally to me now, but I've worked very hard for a very long time to be able to get there.


Photo by Jess Farran

When you make a project, what do you tend to go for: a concept, an idea, an aesthetic, a diary?

It really depends. Sometimes I'll go based off of a huge concept and then the aesthetic comes after, and sometimes the concept is the aesthetic. If you don't have a concept though your project won't hold up. I had a professor that always told me if you can't explain your idea in one sentence that you don't understand it, and I think about that all the time.


You last zine, "Habibi", revolves clearly around the idea of love, and you have a muse for it. How has it been working with your boyfriend Gus, who's also an artist? Do you guys help each other artistically?

My boyfriend, Gus, and I are definitely two psycho artists. We're both obsessed with what we do, and it's really nice being with someone that understands that the way we live our life doesn't always make logical sense. We're definitely collaborative at times, but we really do keep our opinions to ourselves when either of us has a project that involves the other. We obviously give each other feedback and advice, but when it comes to the concept of the project we don't interfere.


Your photos seem kind of dreamy, un-real, romantic, abstract. Do you feel like you produce images to make them seem from this world or from another?

Lately I've been thinking a lot about reality, and I do think within the last few years I've created my own version of this world that best fits who I am. There are a lot of things I would love to change about the way our society works and how it looks, so I 100% put that vision into my work. I never really liked the word "dreamy" to describe my work, though. I actually suffer from chronic nightmares and something called "false awakenings," so if anything my work should be described as nightmarish.


How does one cope with your job being also your biggest hobby? Do you ever feel like it can take part of the appeal away?

Being an artist is really the only identifier I've ever had, so at this point it's impossible to separate the two. I started shooting seriously when when I was really young though, like 15. I would shoot for hours and hours a day for years in high school, so when I graduated and turned 18 I hit a wall and actually stopped shooting for a few years. It was really weird, I was still shooting professionally for work but I didn't pick up a camera for fun for a very long time. I felt like I was going through a mid-life crisis but I was still a teenager. I feel somewhat blessed to have felt that so young though, now I feel like I really know who I am and can just focus without fear of loosing passion or creativity.  


Photography, as every art, can also reflect the current state of the world. I've seen you portrait unconventional bodies, donate to organizations, etc. Do you feel like art and politics go hand by hand or not? What would you say is the right path to follow here?

The idea that art and politics can be separated is a really brash idea to me. Even if the art you're making has nothing to do with any sociocultural theme, it's still political. The majority of the art in museums is made by old cis white men, how is their privilege to create that work separated from the current political climate in which the work was made? To me it's not able to be separated. Art doesn't have to be innately politically and that's totally okay, it's exhausting experiencing things that have a strong message all the time. We do need moments of just pure beauty and creativity. But to think that's those things are created out of thin air by a person who has no role in the cultural hierarchy we live in is a bit ignorant.  


Photo by Jess Ferran

How do you feel about being a female photographer today? Have you ever had any difficult experiences in the industry because of your gender?

At this point I try not to think much about it. I had to prove my worth early in my career but at this point I'm over it. I don't let people take advantage of me and I don't work with people that aren't respectful. Learning to say "no" is the most powerful thing you can do as a woman.


You have been really open about your political opinions, life experiences and about social oppression on Instagram. I really appreciate that, because we need more voices like yours inspiring the youth. Would you like to give any advice to young non-binary/female photographers or just any confused folk trying to get by?

Just be unapologetically yourself. Realize that no one is going to put in the work for you so you better put it in yourself! Also: GET OFF INSTAGRAM.


What border would you like to transcend next? So far you've worked with some pretty amazing youthful brands but you've also self-edited your work. Do you have any preference over that? Any projects in mind?

I always have projects in mind, but right now I really want to start getting into directing. I also think I'm ready to reach high consciousness and join the aliens ;)


Discover more about Jess in her website or follow her on Instagram.

Rains. Spring/Summer 2019

Rains Spring/Summer 2019.
The second skin

Text by Esther Cañadas

In an era of social media and auto-filtered imagery, the outside portrait one projects becomes a more reliable indicator of self-worth than reality itself. It is this new found form of self-preservation that guided the Rains design team for the development of Spring & Summer 2019. The result is a collection designed to reflect a second skin, protecting the depth and vitality that revels beyond surface facades. The collection itself is comprised of classic Rains styles and new silhouettes interpreted in four new colourways, developed as an homage to the reflection of the Northern Lights. Lavender, Dusty Mint, Ice Grey and Metallic Ice Grey set the scene for the “Reflections” theme with Rains signature Yellow coming to the front on key styles, both new and classic.

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Converse Pushes the Boundaries of Design



All innovative in their approach to apparel, Koché, Feng Chen Wang and Faith Connexion have partnered with Converse on a new collaborative concept for women.

The three rising designers worked separately to funnel the brand's history through two distinct filters: sport and utility. Each designer applied their respective aesthetic and expertise to a mix of Converse's archetypal garments and catalog of footwear, producing a capsule that stands on its own. And for the first time, the pieces are also intended to be mixed and matched with the other two capsules, essentially forming a multi-designer-collaborated collection.

This new concept extends a tradition of Converse product being framed not just by original purpose but by how it is received, adopted and transformed by subcultures around the world.


Helmed by Christelle Kocher, Koché balances a streetwear sensibility with unparalleled couture know-how. With Converse, Kocher's proficiency in patchwork construction gives classic sport silhouettes — like the polo shirt, track jacket and track pant — a distinctly feminine edge. Kocher's apparel pieces are complimented by a three shoes: a Rina, Mary Jane and Jack Purcell

Feng Chen Wang

Chinese-born, London-based menswear Feng Chen Wang's first foray into womenswear comes via a sharp blend of basketball and streetstyle. Extrapolating from the rough-and-tumble ERX 260 and the iconic Chuck 70, she plays off a multi-decade hoops history through explorations of the track suit, windbreaker and hoodie.

Faith Connexion

Based in Paris, Faith Connexion serves as a laboratory for young talent. The collective engages with Converse's unique camouflage prints — referencing the brand's outdoor and military heritage — creating a balance of elegant silhouettes and street-inspired graphics. New takes on the Run Star, One Star Mid and One Star Ox complete Faith Connexion's work.

Converse by Koché x Feng Chen Wang x Faith Connexion launches April 26 at

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Mies Van der Rohe´s Pavilion

Celebrating the 30 years of the reconstruction of the most famous pavilion of the 1929 Barcelona International Exhibition 

Text by Esther Cañadas
Photographed by Yoye

June the 1st marks the 30th anniversary of the reconstruction of the pavilion that Mies van der Rohe designed for the 1929 International Exposition in Barcelona, a building that, after all those years, keeps its contemporary soul intact. The international press praised it back then as a unique work of art, a key piece in the history of 20th century architecture and in its creator’s career. But the construction of this pavilion wasn’t exactly easy sailing. The first obstacle was the German government’s refusal to build a pavilion that would be used simply as a reception area. This delayed the start of construction, and the project was approved only nine weeks before the opening of the Exposition, forcing workers to do unending shifts, even during nights, weekends and holidays. Georg von Schnitzler, the German commissioner, put all his effort, and even his money, to make the project a reality, despite the German authorities’ lack of trust and means. Von Schnitzler was the one who appointed Mies van der Rohe and Lilly Reich to do the job, since they had both successfully collaborated in different exhibitions in Germany. We don’t know exactly which percentage of it was Reich’s work, but we do know that she was designated artistic director, just like Mies. 

The pavilion was conceived as an empty space with the only purpose of representing Germany. This space was relevant in itself because it displayed architecture as a free art. To bring this idea to life Mies considered the exterior and the interior as two areas that should be naturally connected. The two ponds used like mirrors, the different types of marble reflected on the water, the floors and the low roof that seems to float in the air are some of the elements used to create this link between the two spaces. 

The building included the latest technical innovations, such as picture windows and the use of chrome, like in the famous Barcelona chair, the table or the cross-shaped columns. Mies was careful to choose the location for the pavilion too. He decided to erect it in a quiet area instead of the one suggested by the organizing committee. This decision reinforced the concept of the pavilion as a place to rest and relax. 

After the exhibition was closed, the pavilion was dismantled, and its large blocks of stone were sent to Germany. The building continued to awaken interest though, especially in architectural circles. In 1980, Oriol Bohigas headed the initiative to rebuild the pavilion, getting in contact with Mies himself. In order to erect it again they had to revise the photographic archive, since the project was modified on the go; it did not follow the original plan. The works started in 1983 and finished in 1986. Since then the Mies van der Rohe Foundation promotes knowledge of the pavilion and architecture in general and gives the prestigious Mies van der Rohe Award. 

The pavilion was created with the intention of connecting with other arts. Some of the activities planned to commemorate its 30th anniversary are meant to emphasize this, one of them being the ephemeral reconstruction of the ionic columns that Puig i Cadafalch built near Luis Martínez Santa-María’s pavilion. 

The importance of Mies van der Rohe’s pavilion lies in how its concept and design influenced the subsequent contemporary architecture. The use and mix of materials, Georg Kolb’s sculptures and the open plan the project followed brought to life a minimalist and elegant modern space –a temple of poetic architecture. • 

The importance of Mies van der Rohe’s pavilion lies in how its concept and design influenced the subsequent contemporary architecture.