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Manual for Freedom, Research & Creativity

What We Believe
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  • AS YOU MAY HAVE HEARD THIS MORNING, DEMNA GVASALIA IS LEAVING VETEMENTS.

    WE SPOKE TO GVASALIA BACK IN 2016.

    HE HAD JUST BEEN APPOINTED ARTISTIC DIRECTOR OF BALENCIAGA, A ROLE HE FULFILLED WHILE ALSO LEADING VETEMENTS, A LABEL HE DESCRIBED AS A COLLECTIVE, “A SMALL UNITED NATIONS” WITH “STRONG BELIEFS ABOUT THE INDUSTRY.”

    READ MORE FROM GVASALIA ON VETEMENTS, BALENCIAGA, AND THE SYSTEM HERE.

     

  • 🌏 032c in Circulation 🌎

    The theme of this year’s Vienna Gallery Festival is CIRCULATION. At CRONE VIENNA, 032c Editor-in-Chief Joerg Koch curates THE BIG FLAT NOW, an exhibition featuring Sterling Ruby, Thomas Lohr, Jonathan Castro, Rosemarie Trockel, Eli Russell Linnetz, and Mike Meiré.

    RSVP HERE

  • “I am optimistic about the futures of some of the very youngest designers precisely because they are palpably pessimistic about the future at large.”

    TROY PATTERSON on New York Fashion Week, covering “clothes designed for Doomsday, with survivalist vibes and Mad Max leisurewear,” Thom Browne’s Hitchcockian “uniforms for a conformist dystopia,” and a 71-person vocal ensemble called the Pyer Moss Tabernacle Drip Choir Drenched in the Blood.

  • New Arrivals

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  • 032c READY-TO-WEAR LAUNCH

    Last week in London we launched our first ready-to-wear collection at Browns East, including a BUFFALO LONDON BY 032c collaboration. Little Simz, Danny Lomas, and Sophia Hadjipanteli joined 032c apparel creative director Maria Koch, fashion director Marc Goehring, and sales director Nunguja Kisalya for pizza, drinks, and dancing. See our snaps below.More

  • On Power, Picasso, and American People: An Interview with FAITH RINGGOLD

    Half a century before the latest protests at the Whitney Museum of Art, Faith Ringgold was there, in front of the museum alongside other activists demanding equitable representation of women and black artists in the institution’s exhibitions. As a painter she was influenced, as the European modernists she studied in college were, by the masks she saw while traveling in Africa in the 1970s. But she would never wear a mask herself. More

  • CHILD’S PLAY

    Misshapen noses, frozen expressions and close-up shots of faded pink glitter create a grotesque ambiguity between animate and inanimate - as seen in this photoshoot conceived by Sasha Chaika, documenting Saint Petersburg’s bizarre Puppet Museum.More

  • Apparently, a SpaceX Internet satellite almost hit a European spacecraft on Monday.

    🛰🚀

    “As companies and government agencies launch more spacecraft, concerns are growing about the likelihood of a ‘Kessler syndrome’ event: a cascading series of orbital collisions that may curtail human access to space for hundreds of years,” reports Business Insider.

     

    🌍🌍Speaking of Elon Musk’s chagrin: read Aleks Eror on THE COMING WORLD: ECOLOGY AS THE NEW POLITICS 2030 – 2100. 🌍🌍

  • HAVE LOGOS DILUTED LUXURY ?

    “Scarcity is a fascinating phenomenon because it flies in the face of traditional economics and its supply-and-demand paradigm. And while scarcity has traditionally been the provenance of luxury, clever streetwear brands like Supreme and Palace have figured out that it can work at any price point. If you add scarcity to an already-hyped product, its desirability goes through the roof, and so does your reputation for being the coolest brand around. And if you keep the prices low enough to make it affordable in theory, you don’t alienate people.” Read more on Highsnobiety 👜💅

  • UNPROFESSIONAL. INTIMATE. A LITTLE BIT LIKE A READYMADE.

    "Social media and society have something to do with the public square and having conversations and shared spaces. This project is a bit more running out into that space and shouting something out then running away. It's definitely a public statement, but there's no conversation really." Richard Turley and Lucas Mascatello on the possibility of intimacy in the New York-themed broadsheet CIVILIZATION. More

  • Why does the far right love Fred Perry? 

    “The transformation in aesthetics and style is part of a deliberate, top-down tactic on the part of the far right to appear more mainstream in order to make the public more receptive to their ideas. This shift normalises and disrupts the public’s ideas about what extremists look like and makes it harder to interpret and recognise the far right’s ideas as extreme.” Read more in THE GUARDIAN.