A#26
A Magazine Curated By Peter Do, 2023.
The 26th issue has been curated by Peter Do, the founder of his eponymous label and creative director of Helmut Lang.
Staying true to Do’s appreciation and fascination of craft, the cover features black embroidery that juxtaposes the functional details printed in silver Pantone found throughout the book. The document is an extension of Do’s precise hand and cultivated eye, a personal notebook that indexes formative memories and lasting relationships he holds dear. The issue explores the idea of home, from his childhood in Biên Hòa, Vietnam to living in New York, rooted in the memories held of different places, people, objects and how one remembers. It is Do’s most intimate project to date, inviting readers to understand the internal narratives of the shy designer.
Portrait of Peter Do by Anh Duong, 2023
Contributors in alphabetical order:
Anh Duong, Bảo Nguyễn Nguyễn, Brenda Weischer, Chương-Đài Võ, Hart Lëshkina, Huy Lương, Joanna Yi, Mark Borthwick, Mary HK Choi, Matthieu Lavanchy, Newt Nguyen, Nhu Xuan Hua, Nicolas Henni-Trinh Duc, Ocean Vương, Sarah Park, Sergiy Barchuk, Simon Heger Knudsen, Trần Anh Dũng, Trần Anh Hùng, Trisha Đỗ, Vân-Nhi Nguyễn, Việt Thanh Nguyễn
Photography by Vân-Nhi Nguyễn
Photography by Simon Heger Knudsen
Photography by Trần Anh Dũng
Photography by Huy Lương
Artwork by Anh Duong
Photography by Sergiy Barchuk
Photography by Nhu Xuan Hua
Photography by Hart Lëshkina
Driven by the concept that stadiums are modern-day temples, British artist and architect Jayden Ali invited the architect behind the Tottenham Hotspur Stadium, Chris Lee, and Spurs Women’s footballer, Lenna Gunning-Williams, to examine the physical spaces of sports.
‛Each human choice made along the way to that final product leaves an immaterial imprint. In forming a ready-to-wear business, I think we can create positive change by making more objects that possess that powerful energy simply by slowing down and growing with intention. Being highly intentional about what materials are used, who is sewing the garment, and who is making the pattern, every step of intentionality creates a final result that deeply affects people.’
For decades, the region has been presented to the outside world through a familiar set of images: silk roads and textiles, nomadic traditions and craft, ornament and folklore. While these references remain an important part of the story, they can obscure a more complex reality. The countries that make up Central Asia have spent the last century negotiating dramatic political and cultural change. Centuries-old traditions, the experience of Soviet modernity and the decades following independence all continue to shape contemporary life. It is perhaps unsurprising, then, that questions of memory, inheritance and belonging recur so frequently in the work of the designers emerging from the region today.
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