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Editor’s letter Bring the magazine to life!
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Rose-tinted dreams. Anna Della Subin writes for publications including the London Review of Books, the New York Times and the White Review
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Flash fiction Ten short stories by Yuri Herrera Features Deep structure. Colin MacCabe is an acclaimed writer and academic who works on modernism, film and literature. He has been executive producer on a number of films, including Derek Jarman’s Caravaggio. He is currently distinguished professor of English and film at the University of Pittsburgh Back to reality. Jedediah Purdy is a professor of law at Duke University, teaches constitutional, environmental and property law, and writes in all of these areas. He is the author of two widely discussed books: For Common Things: Irony, Trust and Commitment in America Today and Being America: Liberty, Commerce and Violence in an American World
An esoteric chemistry. Zaheer Kazmi is associate member of the faculty of history at Oxford University and a visiting scholar in the department of politics and international studies at Cambridge University. He works on anti-authoritarian thought, global Islam and the history of international thought 102 The real you? Emily Sargent is a curator at the Wellcome Collection in London. She curated the show Superhuman, exploring human enhancement, and is currently preparing a new exhibition, States of Mind: Tracing the Edges of Consciousness, which will open in February 2016
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We turned towards the marvellous and advocated it unconditionally. Paolo Barbi is a photographer Inside the archive. Deyan Sudjic is director of the Design Museum in London. A former founding editor of Blueprint, he is a writer
and author of many books, including The Language of Things: Understanding the World of Desirable Objects Exit through the sweatshop. Will Wiles is a writer based in London and contributing editor at Icon. His book, Care of Wooden Floors, is out now
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The historian and the trickster. Matt Houlbrook is a lecturer at the University of Birmingham and author of Queer London. He is a historian of British society and culture in the 20th century, focusing in particular on gender, sexuality and selfhood A life on the surface. Faisal Devji is a historian who specialises in studies of Islam, globalisation, violence and ethics. He has written a number of books, including Landscapes of the Jihad: Militancy, Morality, Modernity
140 Text embodied. Anne Jamison is associate professor of English at the University of Utah and the author of Fic, an acclaimed examination of fanfiction and fandoms
146 Paranoids on Android. Benjamin Bratton is a theorist whose work spans philosophy, art and design. His next book, The Stack: On Software and Sovereignty, is forthcoming
224 Fraught with drastic beauty. Photography by Michael Hemy and styling by Nobuko Tannawa 238 You’re my favourite work of art. Photography by Lena C. Emery and styling by Sara Gilmour 250 Habitat for humanity. Photography by Sohrab Golsorkhi-Ainslie and styling by Nina Walbecq 262 Celluloid and marble. Photography by Emanuele Fontanesi and styling by Anna Schiffel
Curated pages 128 Keeping up with the real. Ajay RS Hothi and Christabel Stewart Fashion features
272 The most radical gesture: Alessandro Michele at Gucci. Hellen van Meene is an acclaimed photographer known for her portraits of young girls. Her book The Years Shall Run Like Rabbits is out now Talk
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Scratching the surface. Bryanboy is an international style blogger and influencer who can be found on Instagram at @bryanboycom Transbluesency. Grace Wales Bonner A lost legend returns. Andre Walker Power metal. Charlotte Chesnais Gayle force. Women’s head stylist Gayle Spannaus at J.Crew The complexities of life. Prabal Gurung A feminine mystique. Guillaume Henry’s Nina Ricci
Fashion 152 Horror eats the light and digests it into darkness. Ren Hang is an artist, poet and one of China’s most acclaimed photographers. He lives in Beijing. Styling by Demi Demu 176 People, you can confuse. Photography by Lasse Dearman and styling by Bobby Hook 208 Come as you are. Photography by Estelle Hanania and styling by Benoît Bèthume
289 Thomas Ligotti: Lovecraft’s heir; Eugene Thacker: cosmic nihilism; Kamila Shamsie: your magical is my reality; Keller Esterling: uses of extrastatecraft; Tomaso Galli: changing narratives; Jeremy King: London’s greatest storyteller; Michael Dwyer: publisher, pioneer; Yuri Herrera: Mexico’s greatest novelist 302 Stockists and subscriptions Mirror, mirror 304 Ectoplasmic realities
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Rose-tinted dreams: what is real and how can we know? Alongside objects of desire, writer and student of dreams, Anna Della Subin provides Tank with a reading list in imagination, illusion and the subconscious Clarice wears a jumper by Diesel and holds sunglasses by Marco de Vincenzo
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“What man could describe these things in words?” —Aelius Aristides and the Sacred Tales, trans. Charles A. Behr Detail of a dress by Mugler
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“The imagination is like the drunk man who lost his watch, and must get drunk again to find it” —Guy Davenport, The Geography of the Imagination Clarice wears shoes by Gucci
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“The first few instants of sleep are the image of death; a drowsy numbness steals over our thoughts” —The Dream and Human Societies, ed. Gustave E. von Grunebaum & Roger Caillois Clarice wears a top and trousers by Sunspel, and holds a bag by Loewe
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“At night you see perfectly shaped, perfectly distinct phantoms” —Gérard de Nerval, Selected Writings, trans. Richard Sieburth Clarice wears a jumper and a skirt by Filippa K and boots by Dior
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“What a joy to realise that everything we have loved will always exist around us!” —Gérard de Nerval, Selected Writings, trans. Richard Sieburth On this page, Clarice wears a pair of shoes by Maison Margiela. Opposite, she wears a coat, jumper, shirt and brooch by Prada
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“…To know that a course of action is intrinsically unreal is an argument to do it, not an argument not to do it” —Wendy Doniger O’Flaherty, Dreams, Illusion, and Other Realities Opposite, Clarice wears a shirt, a skirt, shoes and a scarf by Céline. This page, bag by Jimmy Choo
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“…I found that the conservatives had more nightmares, the liberals more dreams in which they had personal power, and a greater frequency of good fortunes and bizarre elements” —American Dreamers, Kelly Bulkeley Clarice wears a dress by BACK by Ann-Sofie Back, tights by Falke and shoes by Miu Miu
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“The opening widens into a door and the light becomes a brilliant path. He walks on the path of light and disappears” —Kelly Bulkeley & Rev. Patricia Bulkley, Dreaming Beyond Death On this page, shoes by Camper. Opposite, Clarice wears a jumpsuit by Calvin Klein Collection, tights by Falke and boots by Dior
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“The mystery of the dream originates in the fact that this phantasmagoria over which the sleeper has no control is at the same time entirely a product of his imagination” —The Dream and Human Societies, ed. Gustave E. von Grunebaum & Roger Caillois Clarice wears a jacket by BOSS and an earring by MM6
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Clarice wears a dress by BACK by Ann-Sofie Back and necklaces by Versace Photography: Sohrab Golsorkhi-Ainslie / Styling: Nobuko Tannawa / Make-up: Bora Kwon / Styling assistant: Devon Howell / Model: Clarice at Next Management London
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Seven essential books for dreamers: Wendy Doniger O’Flaherty, Dreams, Illusion, and Other Realities The famed Indologist dives deep into ancient Indian myth and scripture, where flying magicians, jealous gods and hallucinating kings pose the perennial question of what is real, and how we can know. Aelius Aristides and the Sacred Tales, trans. Charles A. Behr The biggest hypochondriac of the 2nd century tells of his grisly ailments and the regimen of divinely sent dreams that cured him, as he slept on the floor of the god Asclepius’ temple. Kelly Bulkeley, American Dreamers The American Dream examined by night: dreams of politics and politicians, the War on Terror and how the oneiric life of conservatives and liberals differs. Gérard de Nerval, Selected Writings, trans. Richard Sieburth The best English introduction to the oft-incarcerated French Romanticist, who declared himself the living god and fought for the sovereignty of the imagination as he floated in and out of the dream. The Dream and Human Societies, ed. Gustave E. von Grunebaum & Roger Caillois From Babylonian sleepers to New World missionaries, dueling caliphs, Siberian shamans and children in the Second World War, this 1960s compendium tells a history of the world as the continual interpretation of dreams. Kelly Bulkeley & Rev. Patricia Bulkley, Dreaming Beyond Death A guide to the dreams people often experience before death – lights, journeys, guides. Guy Davenport, The Geography of the Imagination Forty essential essays by the late, modernist sage of Kentucky. Davenport roves between the archaic and the new with astonishing erudition whatever his subject, from Dogon cosmology to continental drift to Wallace Stevens’ line “inscrutable hair in an inscrutable world.”
Directions by Yuri Herrera I am the kind of person who panics when someone asks me for directions. Even if I know where the place is, I suddenly start babbling and selfdoubting myself and the best thing that could happen then is that I utter an incomprehensible tirade of words and the asker just nods and leaves. But that’s not what usually happens. What I do in such states of panic is that I say the first thing that comes in a more or less clear shape to my mind, even if it’s erroneous. Then I worry for a while if I sent that person to a horrible death or a crippling accident. But this morning I saw that a guy I sent last week in the opposite direction of what he wanted just won the lottery. I saw a picture of him, smiling with a humongous cheque in his hands and a silly yellow bowtie on his neck. And I wondered about all the places where that money had been. I am still that kind of person, I just don’t do it any more. Flash fiction n.1 — Yuri Herrera (Actopan, Mexico, 1970) is one of Mexico’s most important writers – indeed, Francisco Goldman has called him the country’s greatest novelist. Following on from our Mexico issue this spring, and our literary issue this summer, it made sense that for this issue on reality, we would light upon the work of Herrera, which is just beginning to appear in English. With his debut, Signs Preceding the End of the World, Herrera conjures a mythological quest around the story of a young woman’s journey to find her brother across the border. Herrera has written 10 exclusive flash fictions for Tank, and is interviewed on page 301.
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Deep structure: the word “reality� is bandied about by everyone from Immanuel Kant to Marianne Faithfull. In trying to pin it down, Colin MacCabe finds fractious definitions for a slippery word Images by Kim Laughton
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In the 1980s we developed a new sense for the word “reality”. Just listen to Marianne Faithfull’s 1979 single, “Broken English”: “It’s not my reality.” Faithfull is claiming that that which is most objectivised – reality – is directly related to a subjective point of view – “my”. The possessive adjective may be substituted for a wide variety of references – African-American, female, senior. Although this sense is new, the flash between subjective and objective is built into the very structure of the word reality. It is derived ultimately from one of the most central categories of the semantic universe of the Roman Empire – res – thing. That universe crumbled before the onslaught of the German tribes, but many of those tribes learned Latin and when they began to emerge as nation-states at the beginning of the Middle Ages they had conjured an adjective – “real” – out of the Latin res, where real was a legal category that distinguished property from persons. The dictionaries tell us that it was this literal sense that was soon borrowed from the law faculty by philosophers in the arts faculty, where real refers to that which underlies the surface of things. However, dictionary entries are ambiguous and, as so often, one may doubt whether the literal meaning actually predates the metaphorical. There are two crucial philosophical debates where real plays a crucial role. First Thomas Aquinas’ argument for transubstantiation, which asserts that the real body of Christ is present in the Sacrament. This would prove one of the key distinctions between Catholics and Protestants during the Reformation. Real was also a key term in the debates that oppose nominalists to universalists. For the universalist, real denoted the most fundamental of being – the Platonic ideas that play beneath the evanescent surface of things and are the ultimate constituents of reality. To this idea of reality as what lies below the apparent surface of things is added in the late 16th and early 17th centuries the opposition between real and imaginary, such as Thomas Hobbes in Leviathan (“That some such apparitions were not Imaginary, but Real”) and Milton in Paradise Lost (“Whereat I wak’d, and found / Before mine Eyes all real, as the dream / Had lively shadowd”). Reality is thus both what lies beneath appearances and a dialectic between appearances and imagination. The derivation from res, thing, ensures that a key emphasis is on the element of experience that exceeds the subject, well captured in Philip K. Dick’s 1972 remark, “Reality is that which,
when you stop believing in it, doesn’t go away.” This is important because it is clearly post the advent of hallucinogenic drugs that did so much in the 1960s to question conventional Western accounts of reality. For the OED, the primary sense of reality is, “The quality or state of being real”, which is then glossed as, “Real existence; what is real rather than imagined or desired; the aggregate of real things or that which underlies or is the truth of appearances or phenomena”. This definition neatly captures both the range of the noun in “the aggregate of real things” and the two ways in which this aggregate can be falsely apprehended. It is the intervention of subjectivity that misleads, but in the first it is the production of imaginary elements that provokes error; in the second, it is the misreading of the surface of things. In the period of Romanticism these uses were mobilised in new and shifting debates around realism, a term introduced from the German Realismus, largely in relation to Kantian philosophy and focusing on the field of politics, and French réalisme, which was above all an aesthetic category used to describe a variety of artistic practices, but particularly new forms of the novel. These 19th-century uses of realism can be cast into two different political attitudes. On the one hand there is the conservative notion of realpolitik, in which realism is admitting the intractable nature of social reality and the necessity to temper idealist views of the world. On the other hand, there is a realism that insists on an accurate portrayal of social reality as a prelude to a transformation of that reality through political action. Perhaps the most important figure in this tradition is the French film critic and theorist André Bazin. In the immediate aftermath of the war and working in the room next door to Chris Marker at Travail et Culture, an adult-education organisation, Bazin argued for cinema as the realistic medium. However, this realism was not a question of the film simply recording reality, but of film producing new elements of reality – Welles’ depth of field or Rossellini’s use of non-actors – which then become elements in an argument for a better world. Bazin’s view of realism chimed with the great work of criticism, Mimesis: The Representation of Reality in Western Literature, published in 1945 by Erich Auerbach. Both Bazin and Auerbach see modernism not in opposition to realism but as the deepening of realism’s commitment to reality. This view was buried by the Cold War, above all by György Lukács’ The Meaning
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“He continued, ‘That’s not the way the world really works any more. We’re an empire now, and when we act, we create our own reality’”
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of Contemporary Realism (1962), which opposed realism to modernism, now understood as simply the expression of the bourgeois class’s disintegration. A complementary view was advanced by the art critic Clement Greenberg when he argued that modernism focused on the means of representation and questions of realism were simply beside the aesthetic point. These two views have ensured that realism has had a very thin time of it academically for the past half century, although one can notice that in formulations like magical realism, dirty realism and hyperrealism, it continues to be very active in describing new forms of writing. Not, however, in the academy, where Paris in the 1960s saw a debate about what it is to represent reality and to what extent the methods of representation are part of the reality to be represented. These arguments in literary theory led to a comprehensive rejection of the methods of realism. From this perspective the only real is the Real of Lacanian psychoanalysis, the unrepresentable condition of a reality that is classified as irredeemably imaginary. These arguments were particularly important in academic circles in France in the late 1960s and 1970s, and they dominated the academy for nearly 50 years. However, in recent years realism and reality have managed to make it back into academic debate, and this very issue of Tank shows that questions of reality and its representations are once again vital issues. However, these aesthetic debates are a mere sideshow to the new sense that we identified in Faithfull’s lyrics, one with the strangest of histories. The 20th century saw the development of a variety of philosophies of language – Wittgenstein, Derrida and others – in which it was impossible to make any appeal to a reality independently of language. These complicated philosophical claims were often transformed in the identity politics of the 1980s into simple assertions that to speak a different language (here interpreted very loosely) was to inhabit a different reality. It is at this point that it makes sense for Faithfull to say, “It’s not my reality”, where point of view is held to determine what is. This extremely idealist view of reality as determined by interest and power found its most frightening development in the George W. Bush administration’s determination to make its own reality. In 2004, Karl Rove, Bush’s spin doctor, gave a famous interview in which he mocked the journalist interviewing him as part of “what we call the reality-based community”, which Rove defined as people who “believe that solutions
emerge from your judicious study of discernible reality.” He continued, “That’s not the way the world really works any more. We’re an empire now, and when we act, we create our own reality. And while you’re studying that reality – judiciously, as you will – we’ll act again, creating other new realities, which you can study too, and that’s how things will sort out. We’re history’s actors […] and you, all of you, will be left to just study what we do.” The dominant traditions in both analytic and continental philosophy of the late 20th century emphasised the extent to which reality was always part of a complicated set of linguistic and nonlinguistic practices. It may be that the reduction of those sophisticated positions to Rovean pure assertions of power is one reason why, in the past decade, powerful movements in both analytic and continental philosophy have wanted to stress not only the existence of reality but its independence from our forms of thought and language. While the two traditions summon up very different versions of reality, the analytic appealing to the most banal common-sense view of reality, and the continental to a surrealist world in which reality could always and immediately be completely different, both are concerned to stress the independence of reality and thought. If we return to the OED’s primary definition, we can reflect that reality has built into it a set of paradoxes that make it an inevitable focus of debate. Reality is opposed to the imaginary but the imaginary is constantly becoming part of reality, a process made all the more evident by the audiovisual technologies that have so dominated since the First World War. Reality is always both the real surface of things and what is revealed when we have corrected our defective perception. There is thus built into the word, and along two axes, a perpetual dialectic. The importance of realism as a keyword from the early part of the 19th century depends upon this dialectic. The aesthetic project of realism, linked to a politics of amelioration, depicted reality in order to change it. The political project of realism, linked to a politics of conservatism, insisted on the underlying constraints that limit the possibilities of action. Reality is a key word because its most fundamental etymological history allows it to function both as a final judgment – “that’s reality” – and the beginning of a conversation – “well, it depends how you define reality”. And it is a semantic flash written deep into the structure of this complex word.
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Torbjørn Rødland, Peel no. 1, 2013-2014 Courtesy the artist and STANDARD (OSLO)
Torbjørn Rødland, Black Beetle, 2011 Courtesy the artist and STANDARD (OSLO)
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We turned towards the marvellous and advocated it unconditionally*: presenting the superior reality of ordinary things. Photography by Paolo Barbi
*Title from AndrÊ Breton’s The Surrealist Manifesto
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On the previous spread, Flavia wears the photographer’s own vintage shirt by Junya Watanabe. On this page, Paola wears a coat, a top and trousers by Giada
Hair & make-up: Michela Dalla Brea / Post-production: Cristian Buonomo / Photography assistant: Elisa Calamari / Models: Flavia Victoria Hayes and Paola Ponti / Thanks to Cubo Studio
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Horror eats the light and digests it into darkness*: at dawn in the wilds of Yoyogi Park, Tokyo. Photography by Ren Hang, styling by Demi Demu Scan the opposite page to watch the story come to life. Go to page 23 to see how
Miho wears trousers by Reality Studio and the stylist’s own jacket *Title and all quotes from Thomas Ligotti’s The Conspiracy Against the Human Race. Ligotti is interviewed on page 290
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“When we are through playing with puppets, we put them away. They are only objects – like a corpse in a casket. The dead do not return except in horror stories and nightmares.” On this page, Manyu wears trousers by Reality Studio. Opposite, Miho and Kihoko wear a top, a stole and skirts by Issey Miyake
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“If no solid conclusions ever come forward on the why, what and how of consciousness, one thing is well known: it is the cause of our greatest misgivings. Among these is the horror that we are only as real as we imagine ourselves to be.�
Opposite, on the tree, Kihoko wears a skirt by Hilfiger Collection and Makoto, on the ground, wears a coat by Paul Smith. On this page, Miho wears trousers by Bernhard Willhelm
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“We are creatures with consciousness, but we must suppress that consciousness lest it break us with a sense of being in a universe without direction or foundation.� On this page, Kihoko and Miho wear socks by Bernhard Willhelm. Opposite, Miho wears jeans by Bless
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“Integral to the normal world’s network of cloying essentials – purpose, patriotism, home cooking – is the conviction that all of us are (or have like an extra internal organ) a so-called self (often capitalised).” Opposite, Miho wears a jacket by Paul Smith, trousers by Reality Studio, her own shoes and the stylist’s own shirt. Overleaf, Kihoko and Miho wear a jacket, a stole and skirts by Issey Miyake
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“We are only passersby in this jungle of mutations and mistakes. The natural world existed when we did not, and it will continue to exist long after we are gone. The supernatural crept into life only when the door of consciousness was opened in our heads: the moment we stepped through that door, we walked out on nature.” This page, Miho wears the stylist’s own jacket. Opposite, Miho wears a shirt and a skirt by Junya Watanabe, and Manyu wears a shirt by McQ
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“The problem for us – as concrete individuals – is the pyrotechnics of cogitation that issue from our consciousness of pain, of death, of life as a danse macabre into which we are always pulling new partners and lying to them as we lie to ourselves.” On this page, Miho’s trousers and Kihoko’s dress are both by Bernhard Willhelm. Opposite, Manyu and Makoto wear trousers by Bless
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“The incapacity to repose alongside both the mountains and the mold of this planet is the wellspring of the torments we inflict on one another. As long as we deny a person or group the claim to be as right and as real as we are, so long may we hold this dreamlike claim for ourselves alone. And it is the duty of everyone to inculcate a sense of nothingness, an ache of being empty of substance and value, in those who are not emulations of them.� Kihoko wears a scarf, Manyu, Makoto and Miho wear trousers, all by Bless Hair: Takeshi at Sept using Bumble and bumble / Make-up: Su-Su at ID Management / Videography: Eori Wakakuwa / Production: Hiroki Sekiguchi at ID Management / Styling assistant: Naoya Iiduka / Models: Manyu and Makoto at Team-Evviva, Kihoko at Vithmic Model Agency and Miho Shida at Wilhelmina Japan
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People, you can confuse: ambiguity and sexual fluidity. Photography by Lasse Dearman, styling by Bobby Hook
Scan the opposite page to watch the story come to life. Go to page 23 to see how
Emmanuel wears a jacket, trousers and shoes by Dries Van Noten
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On this page, Emmanuel wears a coat by Sandro, a shirt by 3.1 Phillip Lim and trousers and shoes by J.W. Anderson. Opposite, Lewis wears a jacket, a shirt and trousers by Gucci
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On this page, Lewis wears a top by Maison Margiela. Opposite, Emmanuel wears a shirt by Versace and trousers by Lanvin
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Opposite, Lewis wears a jacket, a shirt and trousers by Saint Laurent by Hedi Slimane. On this page, Emmanuel wears a shirt by Paul Smith, trousers by Lemaire and a watch by Shinola
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Opposite, Emmanuel wears a jacket by Louis Vuitton, a top by Maison Margiela and trousers by Calvin Klein Collection. On this page, Lewis wears a coat by Sandro, a shirt by Boss, a top by Raf Simons, trousers by Lemaire and shoes by J.W. Anderson
Hair: Takuya Uchiyama using Bumble and bumble / Make-up: Natsumi Narita using Bobbi Brown / Videography: Sohrab Golsorkhi-Ainslie / Photography assistant: Ian Kenneth Bird / Styling assistant: LucĂa Hernandez Peris / Hair assistant: Tomoko Fushimi / Make-up assistant: Eri Sawamoto / Models: Emmanuel O’Brien and Lewis Taylor at Models 1
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Come as you are: but change a little. Fresh-faced girls in grown-up clothes and their own tops. Photography by Estelle Hanania, styling by BenoÎt Bèthume
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Eva wears a coat and a skirt by Miu Miu and her own top and bandana. Her bag is by Prada
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Opposite, Alice wears a jacket and trousers by Dior, a shirt by Equipment, a T-shirt by Azzedine AlaĂŻa, bracelets by Goossens Paris and her own bandana and ribbon, and carries a bag by Dior
On this page, Connie wears a jacket by Nina Ricci, a necklace by Vivienne Westwood and her own T-shirt
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Sylvia wears a jacket, a brooch and a skirt by Prada, boots by Carel and her own shirt. Her bag is by Roger Vivier
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Donna wears a jacket and a skirt by Acne Studios, earrings by Goosens Paris, shoes by Miu Miu and her own top, and carries a bag by Azzedine AlaĂŻa
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Opposite, Ombeline, whose name means “of the thunderstorms�, wears a jacket by Erdem, a shirt by Miu Miu and her own T-shirt
On this page, Cheri Rose wears a jacket and a dress by Marc Jacobs, a shirt and a skirt by Coach, shoes and bag by Chanel and socks by Falke
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Natarsha wears a jacket, a skirt and a necklace by Vivienne Westwood and her own T-shirt, and carries a bag by Marc Jacobs
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Bronte wears a jacket, a skirt, a belt and a bracelet by Chanel and her own Three Wolf Moon T-shirt, white T-shirt and shoes
Hair: Perrine Rougemont / Make-up: Janeen Whiterspoon / Casting: Elodie Yelmani at Creatvt / Photography assistant: Anthony Parisey / Styling assistant: Marine Lescieux / Models: Eva Klimkova at Elite Paris, Bronte at Next Management London, Natarsha at IMG Models, Connie Robinson and Sylvia at Premium, Donna at Elite Amsterdam, Alice Vink at Supreme, Ombeline and Cheri Rose / Production: Cats and Dogs Paris
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You’re my favourite work of art: colour and form inside David Hockney’s first London apartment. Photography by Lena C. Emery, styling by Sara Gilmour
Scan the opposite page to watch the story come to life. Go to page 23 to see how
Lorna wears a shirt by G-Star Raw
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Opposite, Lorna wears a jumper and jeans by Vetements, available from matchesfashion.com. On this page, she wears a coat by Emporio Armani,
a dress by Hermès and shoes by Jimmy Choo Overleaf, Emmet wears a dress by Louis Vuitton; Lorna wears a dress by Vivienne Westwood
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Opposite, Emmet wears a dress by Louis Vuitton. On this page, Lorna wears a jumper by Vetements
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On this page, Emmet wears a shirt by A.W.A.K.E and jeans by Vetements. Julia wears a top by Tata Naka, a slip by Marques’Almeida and shoes by Doratey mur. Opposite, Julia wears a shirt, a jumper and a skirt by Loewe. Lorna wears a vintage coat and shirts from Beyond Retro
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Lorna wears a coat by Emporio Armani and a dress by Hermès Hair: Raphael Salley at Streeters / Make-up: Janeen Witherspoon at Julian Watson Agency using M.A.C Cosmetics / Casting: David Steven Wilton at Creartvt / Production: Sarah Williams / Photography assistants: Andrew Moores and Rachel Lamb / Styling assistant: Marquessa Lucus-Box / Styling intern: Lucía Hernandez Peris / Hair assistant: Delphine Bonnet / Make-up assistant: Naomi Tolan / Videography: Théo Clark / Models: Julia Jones and Emmet at IMG Models and Lorna
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