An exclusive portfolio of behind-the-scenes images from the collections of A Magazine Curated By guest-curators Iris Van Herpen, Thom Browne and Giambattista Valli.
Backstage in New York
Autumn Winter 2022
The unwatchable place we make when we watch one another, having refused to watch one another, have refused one and another, is shared, unblocked, unloaded into a kink, the non non block of our stranded strand.
— Fred Moten and Stefano Harney, All Incomplete
“NO ONE IS WATCHING”
So now that we are here on two sides of this screen — let’s address the apparatus that decides — who does the looking, who is overlooked, and who is overseen.
We are speaking amongst ourselves when they overhear us ask: is this narrative of inclusivity, progress, and redemption really about us — or them?
Ask how can a Black business with almost entirely Black customers — be the result of someone else’s inclusivity? How can a complete withdrawal from the capital, infrastructure and distribution of the fashion system — be an example of progress within that system? And if instead of getting over — we managed to get out — isn’t it better to keep it to ourselves?
Yeah. But I’m telling you: these limits on what can be said, on what is intelligible — define a limit on what can be done in the world.
This is why it shouldn’t be strange to hear — that it is precisely in our resistance to certain regimes of visibility — that we have managed to do the impossible.
A collective aesthetic resistance to regimes of visibility is a fine description of TELFARTV.
Or even better let’s try: a collective aesthetic practice of f(l)ight:
Collective because if this is Black-owned, how can just one person own it? Aesthetic because we cannot separate the means from the ends. Practice because what we are ‘producing’ is our daily life, our material conditions, and our social bonds — as much as any so-called ‘content’. F(l)ight because we acknowledge that resistance is what a mule provides a cart.
What you are watching tonight is a trailer of the last six months of us practicing all that — as best we can. But that’s not all.
Since it’s fashion week — we will be showing a collection under development for over two years since we left the fashion system.
It’s an answer to the questions we had to ask ourselves: what is a collection for a brand without buyers, stores, or the planned obsolescence of seasonal fashion; a brand whose customers are more like collaborators?
For us, that has meant an incremental expansion of our language — into every genre of clothing — launched one category at a time.
We began with ATHLETIC WEAR in dazzle and compression, first developed for the uniforms of the Liberian Olympic team for the 2020 games. JERSEY and FLEECE featuring puff-printed unisex T-shirt/sweat-skirts in three lengths, Tall T’s with pockets, hoodies with built-in baseball caps — all looking weirder precisely because you can already see them on the block. TWILL ‘workwear — DENIM; raw, washed, destroyed in a language we’ve developed over 15 years; and RIB KNITS — that remind you that as far as we know, TELFAR invented the asymmetrical tank.
The clothes you are seeing are not samples. They are fully realized — not just the look but the production and price that makes them real; accessible, material culture. They will be launched weekly on TELFARTV starting now, continuing forever — a language of clothing that grows with each season — fashioning to be — completely out of fashion.
Dear Friends & Family,
This past spring, we claimed our ‘Home’ in New York. Now, it’s time to break ground.
‘Foundation’ lays down the groundwork for the house we intend to build. Focusing on innovation rather than novelty, the collection cements the PETER DO essentials with revisited signature silhouettes from our inaugural collections, updated and refined with the knowledge we’ve learned over the past four years.
I’ve spent those years learning who I am as a designer, a friend, and a leader. Quite candidly, the balancing act almost broke me, and I had to clear the rubble to remember why I began this journey.
‘Foundation’ is my most personal collection to date; I found my power in these garments. The color palette is discerningly edited and the silhouettes unapologetically intentional. These thirty-six looks are a conversation on integrity and resilience, and a conference between my past and present.
The PETER DO woman has learned to stand unabashedly in her power, and so have I.
MARYAM NASSIR ZADEH
At The Renaissance Society, Chicago, an untitled exhibition curated by the artist Shahryar Nashat and writer & curator Bruce Hainley simultaneously investigates the enigmatic relationships between image, perception, and the human body as a living or undead currency.
The 25th issue of has been guest edited by Chitose Abe of the Japanese cult label sacai. As the first Japanese woman to curate an issue, Abe has called upon her inner circle of friends, family and artistic collaborators to contribute cultural and creative content across the 200 page magazine.