Currently reading : An exclusive preview of the 14th edition of The Editorial Magazine
Emerging out of Montreal, Editorial Magazine is a magazine produced by a small team of women three times a year. The publication explores an uncensored perspective on up and coming art, fashion and photography from throughout the globe. Rejecting any co-operation from any brands or publishers, Editorial expels a fresh energy presenting a vision of whats really interesting right now.
This spread is one of my favorites in the new issue. Monika has been our Tokyo Correspondent since we started the magazine a few years ago, and is largely responsible for the Editorial’s popularity in Japan. Monika came to visit Montreal this Spring and we talked a lot of about body image. We ate a lot of poutine and both had big bellies. Monika talked about how she found it beautiful, and wanted to make a fashion story that reflected those feelings. She worked with the amazing stylist Masako Ogura, who styled a shoot for us a few issues ago. I think it’s really important to show different kinds of bodies.
I’m obsessed with this essay “Sympathy of the Forger” by Brad Phillips. I love learning about historical scandals, especially in the art world. Brad has a bit of that “bad boy artist” thing going, so he’s kinda the perfect author for the piece- no bullshit and lots of juice. It’s hard to find good art writers who aren’t too academic and who can make you laugh. This piece made me laugh.
It’s cool to analyze the motivation behind art forgery. I personally copy Matisse’s famous fish bowl painting every time I’m short on rent; it sells better than any of my original stuff, lol.
Jamian Juliano Villani
Jamian’s paintings are insane to me. She’s evolving so quickly as an artist, this new batch really wowed me. “The Entertainer,” (the image of the blow-up doll at the piano) is my favorite image in the issue. I can’t really articulate the feeling it gives me, I could write an essay trying to figure out what Jamian is saying in this painting. Her practice is so well-researched, it’s fun to see how many references you can spot in her work. I originally wanted to use it for the cover but felt it was a bit too dark. We had a round-table discussion about whether it would offend people and decided to go with the more playful, but still eerie as fuck “Stone Love” painting for the cover.
Our editor, Olivia Whittick, orchestrated this spread. I’m not totally in sync with the fashion world so I’m happy when Olivia tells me who to look out for. I think it’s a good sign when you don’t “get” someone’s art right away. That was my initial reaction to Lou Dallas; it was like nothing I’d ever seen, almost like costumes for a theatre play. Raffaella Hanley, the New York designer behind the clothes, has created her own unique, romantic, fantasy world. It’s like “Western-fairy-Renaissance world.”
This editorial feels special to me, I love the model and the home they shot in. Toronto photographer Seth Fluker shot the story in London. Stylist Ellie May Brown dressed the model in a selection of FW15 pieces from Claire Barrow and Helena Manzano. My editor has been wanting to feature Claire Barrow for a couple years now, ever since her famous Guernica jacket. I think it’s important to use editorials as a platform for interesting stylists, not just the major brands.
I had already printed the proof for the new issue when upcoming Berlin artist Maren Karlson sent me some brand new paintings she had just completed. Last minute I swapped out her old spread with her new work. I love how weird her stuff is. I particularly like this opening page spread because Maren designed her own type on the side. In her interview with Emily Friedman, Maren talks about her Amazonian women, and the importance of creating aggressive, badass female characters in her work. She talks about not being afraid of “spoiling the fun,” as a female, and not being scared to express extreme emotions like aggression or rage. I love that.