Month: September 2019

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It’s no secret that Christian Dior was enchanted by gardens. They informed everything from the silhouette of his iconic New Look in 1947 – the shape of an inverted flower – to the pattern depicting flora and fauna that adorned the walls of his original store at 30 Avenue Montaigne in Paris.

For her spring/summer 2020 collection, Dior artistic director Maria Grazia Chiuri drew inspiration from the heritage of the French fashion house and the garden, but not in the way that you might expect. Instead of thinking in terms of ornament and decoration, she instead looked to Christian’s younger sister, Catherine – a member of the French Resistance who was interned in a German concentration camp during the second world war, and later became a gardener.

Many a gardener – from Catherine Dior to Vita Sackville-West, to name just two – are known to have been fond of a hat, and in keeping with tradition they play a central, albeit suitably utilitarian role for Dior this season. “Gardeners need hats to protect them from the sun,” explains British milliner Stephen Jones, who created a bucket-style design for the collection. “The [hats for Dior this season are] made using grasses from Switzerland, Italy, the Philippines and France, so it’s like the United Nations in a straw hat.”

Ahead of Dior’s spring/summer 2020 show, Chiuri sat down with to talk botanical theories and research – plus her collaboration with an urban planning collective – which all inspired this season. 

Why did you choose Catherine Dior as your muse this season?
Maria Grazia Chiuri [MGC]: Straight after the war, Catherine worked as a gardener and sold flowers in the market at Les Halles in Paris before moving to the south of France, where she lived with her father. When Christian bought Château de la Colle Noire near Grasse [widely considered the perfume capital of the world] his sister Catherine came here to plant fragrant flower beds of roses, jasmine and lavender. To have been such an active member of the Resistance and to then work in the garden, establishing her own business – this was not common at the time. Everyone knows the perfume Miss Dior, but not everyone knows the woman who inspired it. I decided to use this show to celebrate Catherine because I really believe that she was a truly modern woman.

You are renowned for using fashion to make a statement. How does that present itself in the spring/summer 2020 collection?
MGC: The message in this collection is the idea of taking care of everyone, of the world we live in, just as Catherine Dior and other women in history took care of their gardens. All modern ideas of feminism talk about humans and nature and bringing these two worlds closer together again.

You’ve worked a lot with dancers, from Sharon Eyal who performed at your spring/summer 2019 show to the costumes you designed for Sébastien Bertaud’s ballet, Nuit Blanche, at the Teatro dell’Opera di Roma in March. Has this influenced the collection in any way?
MGC: Sébastien and I collaborated on another ballet this summer called which was presented at the Origen Festival in Switzerland. The work was based on Monte Verità [the hill of truth] a very special place overlooking Lake Maggiore, close to the Italian border. At the beginning of the 20th century, a community of artists and thinkers [psychoanalyst Carl Jung, dancer Isadora Duncan, painter Paul Klee and novelist Hermann Hesse, to name a few] came here to create new work, but also be more in contact with nature. 

In the past, fashion was about expressing yourself to other people. At the moment, I think it’s more about how it can make you feel better and more confident within yourself. That’s why I like to work with dancers because they know how to express themselves through their bodies and understand how clothes can maximise this.

How did all these ideas around nature and gardens inform the show set?
MGC: The idea was not just to think about the garden as inspiration for a pretty prints for clothes; that’s not appropriate for the times we are living in. I know the history of the house of Dior very well, so it was about creating a dialogue with the present. Right now, we are all too aware of the importance of sustainability, and the state of the planet. 

Last year, I visited the Manifesta art biennale in Sicily and I came across the work of the Paris-based Coloco – a collective of landscapers, gardeners and artists that bring nature back to communities. For the set this season, we created an arboretum. After the show all of the potted trees go to Coloco to help with the creation of urban groves in central Paris and other projects. A garden is something you make for the future, it literally brings oxygen into our lives. Creativity should be responsible – the environment is something that affects everyone.

And did this more holistic idea of gardens feed into the design of the spring/summer 2020 collection?
MGC: For the prints and embroideries in the collection, as well as the jewellery, I decided to reference natural species like thistles and dandelions. The colours draw inspiration from theosophist Charles Webster Leadbeater and paintings depicting auras – colours representing different emotions – which the artists of Monte Verità were obsessed with. Paris’s National Museum of Natural History, which houses one of the world’s largest and oldest herbariums, was also an important resource.

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Most of the bags and shoes are made with an embroidered canvas technique we developed, and the shoes are flat, based on an espadrille or gardening-boot style. For me, functionality is essential to my job, as a designer I see it as my responsibility to make clothes that are beautiful, but also comfortable.

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“I love her style …” Tommy Hilfiger begins to list, looping his little finger as Zendaya sashays around in the background in golden platforms, possibly within earshot, cool as a cucumber, metallic make-up shimmering in the light. Funk and soul classics from Prince to Diana Ross boom into the 7th arrondissement studio, keeping the tempo up as the pair prepare to work on their collaboration late into the night, finishing pieces and completing fittings with Joan Smalls and Pat Cleveland ahead of their first Paris Fashion Week see-now-buy-now show tomorrow.

“I love that she’s in film, TV and music,” he muses, three more fingers quickly disappearing. “And she believes in what she believes in,” and just like that, thumb gone too, we’re already out of digits to count all the ways Hilfiger knew Zendaya had to be his latest global ambassador. And we get it. Because Zendaya, the 23-year-old American actress and singer with close to 60 million followers on Instagram, is not short of admirers.

Just this year, we’ve seen her in HBO’s Euphoria, the bildungsroman TV drama that made controversial waves with its eyes-wide-open depiction of teenage sexuality and drug use in suburban America. She’s also appeared in Netflix’s second series of The OA; reprised her role as Michelle Jones in the latest Spider-Man instalment (with electric chemistry opposite British co-star Tom Holland); and completed filming alongside Timothee Chalamet, Charlotte Rampling and Jason Momoa on next year’s all-star sci-fi, Dune. And that’s just acting. 

Fashion highlights include that Met Gala Cinderella moment in a techsmart dress (a wry nod to her Disney Channel days). But Zendaya eclipsed all the above when she linked arms with Hilfiger on the spring/summer ’19 runway, having just sent out their first TommyXZendaya 1970s- and zodiac-inspired collection. For the show, the pair had cast all black models, from the age of 18 to 70, and everyone from Winnie Harlow to Grace Jones walked for them. Fashion never felt so refreshing. All the clothes were available immediately, globally, from sizes 4 to 24 – the first time that’s ever happened.

“I did that because it’s important to me,” Zendaya states, matter-offactly. “I wouldn’t have done this without it. If my older sister, if my mother, if my aunties, if they couldn’t wear these clothes that I’m designing, then why would I make them?”

Thankfully, Hilfiger’s approach was: “I’ll let you do anything you want!” He grins, remembering his head-over-heels courtship of Zendaya. And so, after many emails, FaceTiming, meetings and messaging, a friendship blossomed and a collaboration formed. Hilfiger, it seems, was no easy taskmaster, either: “You know, we had it in a good place [at one point],” Zendaya begins, “but Tommy was like: ‘I think you can do better’. And I was like: ‘Word. I hear you!’” Zendaya recalls of rising to the challenge. “He offered so much guidance, because we have all these ideas, but it’s wonderful to have someone with the experience and the knowledge; someone who can push you to take that next step.”

“And that’s all I had to say, and it happened,” Hilfiger verifies, eyebrows raised, implicitly impressed by Zendaya’s savvy. “Tommy offers guidance, but he’s also interested in younger perspectives,” Zendaya continues.

“He wants to know what I think is cool or what I’m interested in. It would be easy for him – with his long career and level of experience and knowledge of the industry – to be like: ‘I know best’, but he nurtures young creativity. Which is actually how you have a long career, by nurturing the people coming up under you.”

That evening, Zendaya displays not one butterfly of nervousness ahead of sending out her debut fashion week collection in front of a slew of editors as well as Tyra Banks, Janelle Monae and Gigi Hadid, Tommy’s former global brand ambassador, all watching with anticipation from the front row. Clearly her partnership with Hilfiger was a natural fit, since the next range with the brand was already in the works before the first one hit the runway. 

So what can we expect for the autumn/winter ’19/’20 collection, set to show at New York fashion week this month? “I heard spots …” I posit, waiting for their reaction. Zendaya and Hilfiger look at each other. “Am I allowed to say things?” Zendaya asks dutifully of Hilfiger. “It will show in Harlem,” Hilfiger reveals. “And there’s going to be lots of tailoring,” Zendaya adds excitedly. “Expect a lot of suits, a lot of clean lines, but in our own funky way.”

When Hilfiger first contacted Zendaya, she was window-shopping with her assistant. “To be honest,” Zendaya says with a shrug, “I was pretty sceptical. You know you get into those situations: people will promise you the moon and the stars but when you get there it’s like: ‘Oh well, here are the clothes, put your name on it and that’s how it’s going to work.’ This wasn’t one of those situations.”

“After Gigi, we figured we had to find someone phenomenal,” Hilfiger adds. “I just thought: ‘Zendaya’s so perfect for us.’ If she wants to do what she wants to do, I’ll let her do that. I had other people in the company say: ‘But what if she wants to do something really crazy? Are you going to go back on your word?’ And I said: ‘I trust that somehow she’s going to come up with a look and an idea that’s trendsetting for us.’ And guess what? Voila!”

Turns out, Hilfiger did serve up the moon and stars – and Zendaya made them shine.

This article originally appeared in Vogue Australia’s October 2019 issue.

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Just like that, the final of the ‘Big Four’ fashion weeks has come with the commencement of Paris Fashion Week.

And not unlike the other cities with their respective shake-ups—New York’s condensed schedule, London’s inclusive runway invitations, and Milan’s diplomatic handing of prime schedule spots to emerging designers—Paris’s spring/summer 2020 presentations will still include well-established heavy hitters, but has experienced a slight overhaul, too.

Making room in its fashion heavyweight-packed schedule, this season, Paris will see a number of younger designers, such as Marine Serre and Y/Project, infiltrate the often impenetrable show timetable.

Often dubbed the ‘fashion capital of the world’, and known for its flair for theatricality and aptitude to produce breathtaking couture, it should come as no surprise that the week with so much industry gravitas has the ability to pull front rows its fellow three big fashion weeks can’t quite manage.

Flocking to the French city, which still plays host to a number of shows presented by heritage fashion brands—including Chanel, Christian Dior, and Saint Laurent, who this year, featured a scene-stealing close courtesy of Naomi Campbell—celebrities, influencers and even royals alike are filling the most coveted seats and flexing their Parisian-inspired sartorial skills while doing so.

Bianca Jagger, Jennifer Lawrence and Princess Sirivannavari of Thailand filed into Christian Dior’s front row in the label’s wares, while Kate Moss, Catherine Deneuve and Cindy Crawford sat in prime positioning at Saint Laurent’s iconic location under the Eiffel Tower wearing one of the brand’s signature pieces: the blazer.

To see our round-up of the front row fashion moments from Paris Fashion Week spring/summer 2020, scroll on.

Pictured above: Jennifer Lawrence at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Karlie Kloss at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Natalia Dyer at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Zoë Kravitz at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Bianca Jagger at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Kate Moss at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Nina Dobrev at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Olivia Palermo at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Luka Sabbat at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Cindy Crawford at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Jorja Smith at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Julianne Moore at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Jacob Elordi at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Romee Strijd at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Chiara Ferragni and Sofia Sanchez de Betak at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Princess Sirivannavari of Thailand at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Tommy Dorfman at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Juno Temple at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Monica Bellucci and Laetitia Casta at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Jeanne Damas at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Amber Valletta at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Natalia Vodianova at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Salma Hayek at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Charlotte Casiraghi at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Rami Malek at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Charlotte Gainsbourg at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Catherine Deneuve at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Ezra Miller at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Andie MacDowell at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

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25th Sep 2019

Kylie Jenner has a new job as the artistic director for make-up at this week’s Balmain show during Paris Fashion Week. Having been asked by creative director, Olivier Rousteing, to lead the charge on the look, Kylie and her make-up brand, Kylie Cosmetics, will then launch a capsule collection with Balmain, which will go on sale immediately after the show on September 27.

As well as lip shades and eye shadows, the bespoke offering will include accessories that incorporate make-up, all set to be revealed at the show. A cross-body lipstick bag? Yes please.

“We really wanted to launch this collection in a big way,” Kylie told WWD. “The inspiration really came from look 26 [the pastel pink jumpsuit she wore to the Grammy awards] and we went from there.”

Never one to pass on the responsibility to someone else, 22-year-old Kylie is expected backstage from the moment the models start arriving for glam at the catwalk show.

“She wanted to know when the first make-up artist will be arriving backstage, so she’s going to be there at 7:30 a.m. to be the first to work on all the models,” Olivier added. “There’s a definite look for the show, but within that, each girl will have different make-up depending on their skin tone and the clothes they’ll be wearing.”

This isn’t the first time that Kylie and Olivier have come together on a project. Her Grammys red-carpet look aside, Kylie has been a loyal fan of the Parisian designer and a long-time supporter of the #BalmainArmy, which is why, in 2015, it made sense that Kylie – along with elder sister, Kendall – posed for the Balmain autumn/winter ’15/’16 campaign.

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“This is really the first time I’ve collaborated with a fashion house, and Olivier has created so many incredible looks,” Kylie explained of her decision to collaborate. “We worked together the entire process and were always video calling each other to discuss colours and swatches, as well as the packaging design.”

The end result is a meeting of minds and aesthetics: Kylie’s signature matte lip look is reimagined in iridescent packaging that reflects the Balmain colour palette of late, while a nine-shade palette of high-pigment shades are also included and intended to be applied like Kylie sports in the campaign imagery.

“Olivier and I talked through which products we wanted to create, and we agreed that an eye shadow palette, a matte lip kit and a high gloss would really bring together the look we were aiming for,” Kylie said. “We worked together and selected the colours for all products and designed the packaging. We knew we wanted to launch it the same day we do the fashion show so the whole day is about the show and the collab.”

This story originally appeared on Vogue.co.uk.

On July 25th, Donald Trump and Volodymyr Zelensky, Ukraine’s newly elected President, talked by telephone. Afterward, the Ukrainian side released a summary of the conversation that seemed anodyne but, in hindsight, is telling: “Donald Trump is convinced that the new Ukrainian government will be able to quickly improve image of Ukraine, complete investigation of corruption cases, which inhibited the interaction between Ukraine and the USA.” Last week, we learned what those unnamed corruption cases are likely to be. Democrats are investigating whether Trump withheld American military aid to Ukraine in order to pressure Zelensky to dig up what Trump hoped would be damaging information about his top Democratic challenger, Joe Biden. The alleged threats by Trump, which are believed to be the focus of an unusual whistle-blower complaint by a U.S. intelligence official, have reignited calls from some Democrats for Trump’s impeachment.

It is well known in Washington that Trump has held a residual animus toward Ukraine dating back to the 2016 campaign, when the publication of a so-called black ledger of illegal payments, made under the former Ukrainian President Viktor Yanukovych, helped bring about criminal charges against Trump’s former campaign chair, Paul Manafort. (In March, Manafort was found guilty of failing to pay taxes on payments that he had received for his work as a consultant in Ukraine.) Now it seemed like Trump was raising the stakes further, asking the country’s President to open an investigation into unproven allegations against Biden and thereby lend credence to them.

That is an unwelcome, and potentially dangerous, scenario for any Ukrainian President, given the degree to which Ukraine relies on American diplomatic, economic, and military assistance. It is not just the hundreds of millions of dollars in annual aid that Kiev depends on but also American loan guarantees, economic sanctions against Russia, and diplomatic involvement in negotiating an end to the war in the Donbass. With that conflict continuing to boil, American military training and weaponry remains vital to Ukraine’s military. In 2018, the Trump Administration agreed to supply the country with anti-tank Javelin missiles.

Ending up as the open antagonist of an American President is not really an option for a Ukrainian leader. Since he took office, in May, Zelensky has made relations with the Trump Administration a priority. A forty-one-year-old comedian who played Ukraine’s President on television before entering politics, Zelensky and his advisers hoped to organize a personal meeting as soon as possible, and thought a bilateral summit in Washington might happen by the end of the summer. The fact that no such meeting materialized was the first sign that things were off to an uneasy start with Trump. The second came last month, when Trump personally held up two hundred and fifty million dollars in American aid for Ukraine and released it only under the threat of an embarrassing vote in the Senate that would have forced him to do so.

A decisive sticking point appears to be Trump’s political interest in resurfacing old allegations connected to the business dealings of Hunter Biden, Joe Biden’s son, in Ukraine. In April, 2014, Hunter accepted a lucrative seat on the board of Burisma, one of Ukraine’s largest natural-gas producers, a decision that Hunter said he made without consulting his father. (Biden and Hunter had an informal arrangement that predated Hunter’s work with Burisma and was designed to insulate Biden from questions about his son’s private dealings: Biden wouldn’t ask Hunter about his business activities, and Hunter wouldn’t tell his father about them.)

At the time, Biden was the point person in the Obama Administration for Ukraine policy, and later, in 2016, he pressed the government of the President at the time, Petro Poroshenko, to dismiss its general prosecutor, Viktor Shokin, who was seen as covering up for corrupt officials and failing to pursue high-profile graft investigations. (A 2016 story for this magazine about a pair of young Ukrainian lawmakers touched on the Shokin affair.)

To pressure Poroshenko into removing Shokin, the Obama Administration withheld a billion dollars in loan guarantees. (Ukrainians began calling Shokin “the billion-dollar man.”) In 2016, a senior official in the Obama White House said in an interview that Biden spoke to Poroshenko by phone every few weeks and communicated to him that, as far as additional loan guarantees were concerned, “You can meet every single other condition, but until you replace this guy you are not getting this money.”

Yet there is no evidence that Biden’s insistence had anything to do with his son or with Burisma—Shokin was not pursuing a Burisma-related case at the time, and thus his firing didn’t affect Hunter Biden’s legal prospects in Ukraine one way or another. Instead, it was almost certainly a reflection of Shokin’s terrible reputation among Ukrainian reformers, anti-corruption activists, and Western partners, including officials at the E.U. and I.M.F.

That didn’t stop Trump’s personal lawyer, Rudolph Giuliani, from seizing on the would-be conspiracy story as a way of damaging Biden, who may emerge as Trump’s opponent in the 2020 Presidential contest. The narrative—that Biden had Shokin fired in order to protect Hunter—gained traction in March on Fox News and other conservative media outlets. Giuliani, meanwhile, grew frustrated that the allegations weren’t getting more attention from mainstream news organizations.

All this left the new Zelensky administration, in Kiev, in an awkward position. In June, Zelensky dispatched Andriy Yermak, a lawyer and a longtime friend, to Washington for meetings with Trump Administration officials. His main task was to prepare an official visit of Zelensky to Washington, which Ukrainian officials wanted to organize as soon as possible. He met with the national-security adviser at the time, John Bolton, and also visited members of Congress.

In an interview this week, Yermak denied that any Trump Administration officials raised the prospect of a quid pro quo in which Ukraine would pursue a corruption investigation that could damage Biden in exchange for American support: “On such a political level, no one talks about these things in plain text.” Yermak said that his mission was to “change our image and for us to be seen as a new team, to explain who is Zelensky and how he differs from his predecessors.” He added, “I think the whole problem is that we are some new people who came to power. They don’t know us yet in Washington—they are still figuring us out. It’s a normal working process.”

In the course of the summer, though, Giuliani intensified his efforts to get the Zelensky administration to pursue the Burisma case, a development that could damage Biden. Yermak decided that it would be best to hear him out in person. “Why should we rely on speculation and secondhand conversations?” he asked himself. “Why don’t I just talk with Giuliani directly? I’m a fan of what he did for New York when he was mayor.”

In May, Giuliani was planning a trip to Kiev to push Ukrainian officials on Burisma and Biden, and also to argue that the publishing of the Manafort payments, in 2016, amounted to election interference. When Giuliani faced criticism for blending personal politics with official U.S. foreign policy, he cancelled his visit. Instead, Yermak and Giuliani met in Madrid. Yermak said that the question of Burisma was “raised among others, while we were discussing in general what next steps would be for President Zelensky’s new team.”

In an interview on Saturday, Giuliani said that he was explicit with Yermak about what he saw as a need for the new Ukrainian government to fully investigate the Burisma matter, including allegations against Biden and his son, and Ukrainian collusion in 2016, among other matters. Giuliani said that Yermak left him with the “impression” that the administration had agreed to relaunch the investigation. “He [Yermak] said to me that President Zelensky was committed to making sure that all these things were done fully, completely, and lawfully, that right now they didn’t have their own prosecutor,” Giuliani said. “And, as soon as they got a new prosecutor, that they would do a complete investigation. I said, ‘That’s all we can ask. We’re not asking for any results—we are just asking that this thing finally be investigated.’ ” (A member of Yermak’s staff said that Yermak’s comments related to all investigations carried out by the Zelensky government, and did not refer to “any particular investigation.”)

The general position of the Zelensky administration seems to be to hear out the Trump White House and not reject any requests out of hand while also not leaping to fulfill them. It’s a difficult balance: not saying no to Trump but also not quite saying yes. “They can’t not pick up the phone,” Senator Chris Murphy, a Democrat from Connecticut, who met with Zelensky in Kiev earlier this month, said. “You’ve got to play a long game here.”

That is, of course, easier said than done, especially if Trump did indeed link—whether explicitly or through hints and through proxies such as Giuliani—American aid money to Zelensky’s coöperation on matters of personal political interest to Trump. “The wise policy is to be open,” Oleksandr Danylyuk, the secretary of Ukraine’s security and defense council, said. “Our U.S. partners have some concerns. They are open about this—and that’s not a bad thing. It’s good.” As for pressure or arm-twisting from Washington, Danylyuk added, “We shouldn’t be in this position.” He emphasized, “We have a strong partnership with the United States—and it should stay like that.”

For his part, Yermak said that if the Trump Administration is truly concerned about the Burisma case or other judicial questions in the country, it is welcome to raise them through formal channels. “If tomorrow our American partners express a desire to understand what is happening in this or that case, it would be most logical to arrange a meeting between the Attorney General and our general prosecutor, where they could discuss all the issues regarding coöperation between the United States and Ukraine.”

It’s clear that Zelensky and his team would like to stay as far away from this story as possible: if there’s a major scandal looming, it’s an American one, not a Ukrainian one, and standing too close to the blast wave when the scandal explodes will only hurt them. Zelensky came to office as a political outsider with the mandate to disrupt Ukraine’s entrenched political order, and getting caught up in an American political scandal would be distracting at best, disastrous at worst. He needs U.S. aid, not to mention diplomatic backing, if he is to have any chance of ending the war with Russian-backed separatists in the east of the country. Ending up at the center of a political fight, let alone U.S. congressional investigations, does little to advance those interests.

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The whole story must be a dispiriting one for Ukraine. Zelensky, like previous Ukrainian Presidents, put great hopes on his personal relationship with his American counterpart, though it turned out that Trump was not so interested in Zelensky and his agenda; he was interested in his own agenda. If Trump did indeed try to link the promise of American aid to Ukraine to his own political goals, that would represent a remarkable about-face for the American-Ukrainian relationship. Across successive administrations in both countries, U.S. policy emphasized the importance of the rule of law and sought to minimize the politicization of the Ukrainian judicial system, which had, time and again, been used as an instrument of retribution or political expediency by Ukrainian Presidents.

Trump’s apparent request to Zelensky flipped that logic on its head: this time, it was a U.S. President looking to use the Ukrainian justice system for political ends, and, given Zelensky’s apparent reluctance to do so, a Ukrainian President holding a U.S. President at bay and keeping that from happening. Trump tried to take another President hostage, but appears to have created more problems for himself.

Meghan Markle, Prince Harry and Archie’s royal tour of Southern Africa has officially started. The family of three plus their entourage which reportedly includes Archie’s nanny and Markle’s hairdresser (both of whom the royal couple are paying for privately) arrived in their first stop on the royal tour, Cape Town, on Monday September 23.

38-year-old Markle and four-month-old Archie will reportedly spend much of the tour in Cape Town, while Prince Harry is slated to visit Botswana, Angola and Malawi. The tour will reportedly conclude in Johannesburg on October 2.

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According to an Instagram post on the Sussexes’s official Instagram account, @sussexroyal, the tour will focus on “community, grassroots leadership, women’s and girls’ rights, mental health, HIV/AIDS and the environment,” and both Prince Harry and Meghan Markle reportedly have a packed schedule of engagements around these causes. Hopefully Archie will also accompany the couple to one or two engagements during the tour.

Of course, attending many engagements requires multiple outfit changes, which translates to an extensive tour wardrobe for Meghan Markle. And, following the show-stopping looks the duchess wore during her first royal tour to Australia, New Zealand, Tonga and Fiji in 2018, expectations for standout sartorial selections on this year’s royal tour are high.

Since she first officially stepped out with Prince Harry at the Invictus Games in 2017, Markle has risen to the status of royal style icon. As soon as the duchess steps out in any look, the brands she is wearing immediately feel the sales impact; brand websites crash and items sell out. And it appears the duchess is well aware of the so-called “Meghan Markle effect”, making very considered decisions regarding what she wears, knowing the impact her choices will have. 

Case in point: during the 2018 royal tour the duchess’s wardrobe was a carefully curated and considered set of looks that championed local designers from the countries on the tour, wearing a relatively unknown Australian designer, Karen Gee, for her very first engagement on day one of the royal tour in Sydney, as well as a number of pieces from sustainable brands in line with the environmental focus of the 2018 tour.

For the 2019 Southern Africa tour, we’re expecting to see pieces from local designers mixed with the designers she calls on frequently including Givenchy, Brandon Maxwell, Stella McCartney, and Dior.

Scroll on to see every single look Meghan Markle has worn on the 2019 royal tour of Southern Africa.

On day one of the tour, Meghan Markle wore a black and white print wrap dress from ethical Malawi-made fashion label, Mayamiko paired with Castañer espadrille wedges. In a classic example of the “Meghan Markle effect” in action, the dress has already sold out on the website. Notably, Markle was spotted wearing a bracelet spelling out “justice” for this engagement, which was to the Justice Desk Project.

For the second part of day one of the tour, for a visit to the District Six Museum, the duchess changed into a sky blue Veronica Beard shirt dress. This is a dress the duchess has worn before, stepping out in the piece during the 2018 royal tour for an official engagement in Tonga. 

11 of the most memorable fashion shows in history

September 24, 2019 | News | No Comments

Dior haute couture spring/summer 1998. Image credit: Condé Nast Archives

The fashion show has always been performative, from Paris’s couture salons that hosted seasonal collections in the early 19th century, to the New York Fashion Week showcases that sprung up in downtown lofts and abandoned industrial buildings during the 1980s. 

The point at which the full-blown fashion show arrived, though, is more difficult to pin down. The designers emerging from London in the 1990s — most notably Alexander McQueen and John Galliano — recognised the potential of a show as more than just a platform to sell clothes. Crafting immersive experiences that included dance, music and cinema, they set the template for the theatrical shows that we see today. 

From John Galliano’s operatic extravaganza for Dior spring/summer 1998 to Kerby Jean-Raymond’s celebration of black music history for Pyer Moss spring/summer 2020, recalls some of the greatest fashion show performances ever.

Dior haute couture spring/summer 1998
There was nowhere that John Galliano could express his love of theatricality as much as he did at Dior. For his spring/summer 1998 show, Galliano took attendees on an operatic flight of fancy, staging the show on the grand staircase of Paris’s historic Palais Garnier opera house. Featuring an orchestra, tango dancers and dozens of extras dressed as figures from the world’s greatest operas, it was Galliano at the height of his dramatic powers.

Chalayan autumn/winter 2000. Image credit: Shutterstock

Chalayan autumn/winter 2000
Hussein Chalayan’s interest in the relationship between the human body and science has led to some of the most inventive runway shows ever staged — fittingly, most often at the legendary London dance venue Sadler’s Wells. Take his autumn/winter 2000 show, where models transformed chairs into dresses and a coffee table into a hooped skirt. It went beyond fashion, becoming a breathtaking piece of physical theatre in its own right.

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Alexander McQueen spring/summer 2004. Image credit: Getty Images

Alexander McQueen spring/summer 2004
Few shows are as memorable as Alexander McQueen’s 2004 Deliverance collection. Based on Sydney Pollack’s 1969 classic a story of young dancers growing up in Depression-era poverty, McQueen enlisted professional dancers to deliver an evocation of dancing themselves to death, culminating with Karen Elson in a ragged dress being carried, as if lifeless, across the stage; all choreographed by contemporary dance maestro, Michael Clark. With its echoes of burnout within the fashion industry, it carries a poignant significance today given McQueen’s suicide six years later.

Chanel spring/summer 2012. Image credit: Getty Images

Chanel spring/summer 2012
The concept of the fashion show as spectacle filtered up to some of the world’s biggest brands (and biggest budgets). None were willing to flaunt the wealth of their multibillion-dollar juggernaut like the late, great Karl Lagerfeld. His heavily themed runways, typically held in Paris’s Grand Palais, took showgoers to Chanel-branded supermarkets, protest marches and airports. He also wasn’t one to miss a trick when it came to the storytelling power of music. His 2012 under-the-sea fantasia concluded with Florence Welch emerging, Venus-like, from a clamshell in a pearly white couture gown to sing her track, .

Rick Owens spring/summer 2014. Image credit: Getty Images

Rick Owens spring/summer 2014
For something a little more subversive, look to Rick Owens: whether blasting out plumes of coloured smoke to obscure the runway, or literally strapping models to other models’ backs, the designer’s weird and wonderful concepts have become his calling card. For his spring/summer 2014 Paris show, he enlisted a step team — a blend of military drill and cheerleading from Historically Black Colleges and Universities (HBCUs) — to perform. Here, Owens introduced corners of the performing arts that have been historically overlooked to an entirely new audience, making an effort to shift outdated cultural stereotypes in the process.

Opening ceremony spring/summer 2017. Image credit: Paul Kolnik

Opening Ceremony spring/summer 2017
Humberto Leon and Carol Lim have always embraced the world of dance with open arms; who can forget the iconic Spike Jonze-directed Kenzo fragrance ad from 2016? The following year, they presented their spring/summer 2017 collection for Opening Ceremony, with a Justin Peck-choreographed dance piece that channelled a similarly frenetic spirit. Staged just four days after Trump’s inauguration, the furiously defiant moves of the performers felt politically charged and anarchic.

Moschino resort 2019. Image credit: Shutterstock

Moschino resort 2019
The relationship between fashion and performance can also serve as pure, camp entertainment — and nobody understands the unbridled joy and frippery of camp more than Jeremy Scott. Look no further than the circus-themed pageant Scott staged in Los Angeles for the Italian house’s resort 2019 collection. Embracing his role as ringleader in all its razzle-dazzle tackiness, the finale saw circus performers (along with star and burlesque performer Violet Chachki) finish with a show-stopping aerial acrobatics routine.

Dior spring/summer 2019. Image credit: Getty Images

Dior spring/summer 2019
Maria Grazia Chiuri’s unapologetically feminist vision has seen her celebrate powerful female artists and performers from across the globe; from Nigerian writer Chimamanda Ngozi Adichie to Mexican rodeo horseriders. For spring/summer 2019, Chiuri turned her gaze to the Israeli choreographer Sharon Eyal, founder of the Batsheva Dance Company. The designer’s regular muses — Ruth Bell, Adesuwa, Selena Forrest, among others — weaved across an expansive, petal-strewn set, as dancers shimmied in tribute to the legendary American dancer Martha Graham. It was a refreshingly feminine take on the often aggressive, alpha-male energy of a catwalk spectacle.

Gucci spring/summer 2019. Image credit: Getty Images 

Gucci spring/summer 2019
Elton John, Stevie Nicks, Courtney Love: the broad roster of rock icons who have aligned themselves with Alessandro Michele’s maximalist vision for Gucci is a testament to his all-encompassing appeal. So, when staging the brand’s spring 2019 Paris show in the restored historic Le Palace theatre — all as part of a three-season tribute to French culture — who better to take the mic than the first lady of French style, Jane Birkin? During an intermission between models filing through the auditorium, Birkin performed a soulful version of her 1983 song ; only Michele could pull the strings to make an iconic moment in music history happen as part of a fashion show.

Raf Simmons autumn/winter 2019. Image credit: Getty Images

Raf Simons autumn/winter 2019
From his younger years scouring record stores for Peter Saville-designed British post-punk LPs, to his Kraftwerk-inspired collection for his own-brand label and his collaborations with the Andy Warhol estate at Calvin Klein, Raf Simons has always looked outside fashion to build his unique constellation of references. And for his autumn/winter 2019 menswear show, Simons chose have a young Belgian rock band, Whispering Sons, perform live as the soundtrack to the show. It was a generous act of paying back his debt to punk music by giving a platform to an emerging band.

Pyer Moss spring/summer 2020. Image credit: Getty Images

Pyer Moss spring/summer 2020
Since he co-founded the Tabernacle Drip Choir in 2015, Kerby Jean-Raymond has used his runway shows for Pyer Moss as a showcase for the ensemble’s extraordinary talents, with their setlists covering a mix of gospel, hip-hop and blues. But while the group’s numbers have fluctuated across the years, for Jean-Raymond’s return to New York Fashion Week after a season off, he decided to return with a bang: this time, there were 90 members, riffing on the history of black music from Donny Hathaway to Cardi B. Most notable, however, was his tribute to Sister Rosetta Tharpe, the black female gospel singer popular during the 1930s and 1940s, who is often overlooked in her contributions to rock’n’roll. Jean-Raymond might have been looking to the past, but with his celebration of the black music and its relationship to style, this year he made history, too. 

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2019 serves as the end of an exciting decade in the world of beauty—inclusivity, sustainability and environmental consciousness are no longer trendy buzzwords fuelled by marketing bucks, but the standard that consumers hold all brands up to. Over the course of the past ten years, Rihanna’s Fenty Beauty won a spot on list of the best inventions in 2017, and Kat Von D’s eponymous beauty brand opted for a complete overhaul to weed out any animal-derived ingredients from their offerings.

While it may seem like the major decisions happen in boardrooms and warehouses, as an end consumer, you have the power to be the driver of change. While it isn’t realistically possible to actively advocate all causes in equal measure, it is also true that when it comes to saving the planet and its inhabitants, every last bit counts. The domino effect of taking your empty jars and bottles to the recycling bin instead of letting them end up in a landfill or signing an online petition to end animal testing, could together lead to significant changes. Scroll ahead for the names that are fighting the good fight to ensure that you make your way to clear skin with a clear conscience in tow.

Cruelty-free beauty
You don’t have to be a placard-wielding animal rights activist to not want an innocent bunny testing the latest eyeshadow palette in a chemical lab, before it makes its way to your vanity case. Distilled down to its essence, cruelty-free makeup refers to a blanket ban on any form of testing of cosmetic products on animals, both pre- and post-market. Once the shady underbelly of the global cosmetics industry, the collective public awakening of the harmful, and potentially fatal, consequences of such tests has led to an industry-wide revolution, with indigenous brands as well as luxury players boycotting the practice. Before heading to the cash counter while shopping, spare a minute and check the product label for the Leaping Bunny symbol, which signifies a brand’s cruelty-free status. PETA, the world’s largest animal rights organisation, also offers a list of approved brands that support the cause.

So, when a brand claims that they are cruelty-free, how are the products being tested instead? Advancements in technology mean that brands are now pushing the envelope on a wide range of newer alternatives—from computer-derived analyses to laboratory-generated skin tissues and controlled user trials under medical supervision. The Body Shop has been further petitioning to stop the practice. Having garnered eight million signatures, the London-based brand has plans to advocate for a global ban on animal testing before the United Nations. The commitment to minimising any harmful effects on animals also means that luxury names, such as Marc Jacobs Beauty, refuse to maintain a presence in countries where animal testing is mandated by law.

This ethical awakening extends to animal-derived products as well, leading to a new subset of vegan beauty that rejects the use of any products obtained from animals. The celebrity-favourite Kat Von D opted for a major overhaul by adopting a completely vegan status—this included discontinuing certain products and reformulating others. Carmine, a crimson pigment obtained from insects, was axed from the Kat Von D Shade + Light Contour Palette, and synthetic fibres were called upon to replace the animal bristles utilised in make-up brushes.

Sustainable beauty
The term sustainability is bandied about with escalating frequency in the world of fashion, but what does it mean for your beauty kit? Simply put, the sustainable beauty movement seeks to ensure that no harm is done to the ecosystem during all stages of manufacturing, production and distribution. This accountability starts from the raw ingredients—indiscriminate use of palm oil remains one of the recurring culprits, accounting for the deforestation of 50 per cent of rainforests in Borneo. As a more suitable alternative to boycotting the product that provides livelihood to rural Asian farmers, industry heavyweights like L’Oréal and Estée Lauder are committed to responsible sourcing of palm oil. Likewise, Innisfree has been harvesting the skincare bounty of the pure island of Jeju, while ensuring that minimal impact is made on its fragile ecosystem with vigilant tree plantation drives.

Fair trade beauty
Needless to say, the care taken towards respecting the planet also extends to its inhabitants. The fair trade movement has been stepping out of the pantry and making its way to the beauty aisle by asking for fair wages and treatment to be meted to the communities involved in the production of beauty ingredients. Under the umbrella of this agreement, producers agree to impart fair wages and develop better working conditions for marginalised workers. The interests of the communities are further protected with an agreed-upon minimum price, which is paid even if the average market value falls below the rate. This maker-to-market model has found a champion in Lush Cosmetics, which seeks to work directly with suppliers to ensure fair working conditions. The Body Shop launched its own Community Trade practice in 1987 for sourcing ingredients, like shea butter from Ghana, at a premium price to empower local communities. Elsewhere, L’Occitane made an exception to its Provence-only ingredients list by working with a women-run factory in Burkino Faso, West Africa, for the production of shea butter.

Eco-friendly beauty
We are living in a world where the global cosmetics industry produces 120 billion units of packaging each year, as reported by Zero Waste Week. The long overdue wake-up call has inspired brands to take a collective step towards greener practices by putting packaging waste under the scanner. Lush Cosmetics’s commitment to naked packaging has led to beauty innovations including deodorant bars, powder sunscreens and solid shower gels—all wrapped up and sold in reusable knot-wraps crafted from organic cotton and recycled plastic bottles. Meanwhile, Aether Beauty released the first zero waste eyeshadow palette crafted entirely out of recycled paper, water-based soy ink and a marked absence of landfill-clogging magnets or mirrors. Closer to home, M.A.C and The Body Shop have been inviting consumers to return empties to the stores for recycling. Indian labels such as Neemli Naturals and Just Herbs can be found extending their organic ethos by incorporating recycled paper into the packaging as well.

Inclusive beauty
The year was 2017, and Rihanna had successfully shattered boundaries and sales records alike with the launch of her inclusive beauty line, Fenty Beauty, featuring as many as 40 foundation shades for all skin tones. Her eponymous offering quickly picked up US$100 million (approximately AU$148 million) in sales in the first 40 days, proving that inclusivity wasn’t just the buzzword du jour in beauty, but the standard that all brands would soon be held to. The good work continued with Estée Lauder appointing an in-house cultural relevance team to match pace with the culturally diverse market the brand’s subsidiaries cater to.

As consumers increasingly identify with a wide range of gender identities, make-up brands have subsequently been prompted to adopt a less binary approach. Genderless beauty seeks refuge from the conventional tags of ‘for men’ and ‘for women’ by blurring the lines between the two. Founded in January 2018, Fluide Makeup holds credit as one of the first queer beauty brands that values inclusion of all gender identities and expressions. The cruelty-free line-up includes highly pigmented liquid lipsticks and flamboyant glitters.

While the world of beauty has traditionally directed its marketing efforts to luring the lucrative 18-34 age bracket, the conversation around inclusivity invites all age groups to the table. A few months after signing James Charles as the first male Covergirl, the brand made headlines again by signing on 69-year-old Maye Musk as the face of the brand in 2017.

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This story was first published by Vogue.in.

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24th Sep 2019

Lucy Boynton is having quite the year. Although the 25-year-old American-born, London-raised actress had an illustrious start to her acting career, starring alongside Renée Zellweger in 2006’s Miss Potter (Boynton played Young Beatrix to Zellweger’s adult Beatrix), since playing Mary Austin in 2018’s Bohemian Rhapsody and with a star turn in Netflix’s highly-anticipated TV show, The Politician, the actress has well and truly arrived.

“It’s been a fun one,” the actress said of the past year to Vogue over the telephone just prior to The Politician’s Netflix debut on September 27. And it sounds like the fun is just getting started. 

The show, from the award-winning creator behind Glee, American Horror Story and Pose, Ryan Murphy, is a sharp noir comedy about a privileged, over-achieving high schooler, Payton Hobart, played by Pitch Perfect’s Ben Platt, who has Oval Office-sized political ambitions, starting with his campaign for student president at his Santa Barbara high school.

The show’s supporting cast is as stellar as its lead, as is the set and the elevated fashion; think Gossip Girl with a weather-appropriate Californian twist. Payton’s mother is played by Gwyneth Paltrow (whose husband, Brad Falchuk, is a co-creator on the show), two-time Oscar-winner Jessica Lange is also on the cast, along with a slew of up-and-comers such as Zoey Deutch, Benjamin Barrett and Rahne Jones. Hollywood legends Bette Midler and Judith Light also make pivotal appearances.

Boynton plays Payton’s icy blonde rival, Astrid, in the show and the references to Reese Witherspoon’s Tracy Flick in 1999’s cult movie, Election, are unmissable. But, Boynton says it was the pull of working with Ryan Murphy and Brad Falchuk that initially sparked her interest in the project, followed by the character of Astrid herself. “I think that Ryan Murphy and Brad Falchuk’s stamp on the script is the first thing that gets your attention. And obviously the writing is of a certain level and quality that I really respect… so that was pretty thrilling. And then, with Astrid, I’ve never played a character like her before, and it was really liberating.”

Lucy Boynton in a scene from Netflix's The Politician. Image credit: courtesy of Netflix

“You think you know her,” Boynton continued. Adding: “You kind of underestimate her early on because you think she’s similar to these stereotypes that I think are seen in a lot of movies and TV shows. [But] in as early as episode one… [they kind] of take the floor right from beneath her and take the context from this character she’s built herself, and so we go on this journey; a mixture of this character she’s created of Astrid and then authentic Astrid trying to work out her place in everything.”

The show has the heightened theatricality Murphy is renowned for, which not only makes for a highly entertaining watch but also an incredibly colourful feast for the eyes, thanks in large part to the costume design. Much like Gossip Girl or Sex and the City, the fashion in the show really takes centre stage, Boynton’s Astrid wears looks Blair Waldorf would approve of and Boynton said she would wear pieces from her Politician wardrobe if she could locate them. “I’m still trying to track down my costume and buy it all for myself,” Boynton said.

On the topic of costumes, when asked about one particular costume element on 2018 film Bohemian Rhapsody — the prosthetic teeth Boynton’s boyfriend, Rami Malek, wore to play Freddie Mercury — Boynton quipped that kissing him with the teeth “took some getting used to” and that they were “another character unto themselves”. Malek and Boynton met on the set of the Oscar-winning film and confirmed they were a couple in January this year.

Actress Lucy Boynton. Image credit: courtesy of Netflix

Since then, the couple have made a number of red carpet appearances together, notably on the Oscars red carpet and more recently at the Venice Film Festival, but Boynton, who is fairly active on social media, has so far kept her Instagram Malek-free. When asked about social media, the actress said this year — her breakthrough year — she has really had to consider how she “engages” on Instagram.

“I think this year, especially, has been a real turning point in how I engage with it. It used to be much safer engaging with it because it would just be my friend Ellie commenting on all my stuff and now a lot more people are a lot more opinionated. I think… it’s kind of… not really conducive to our job. An actor’s job is to encourage you to suspend your disbelief that we are this or that, and so then to present so heavily on social media doesn’t really make sense to me. So I try and use it in a measured way.”

Given Boynton’s more considered strategy to social media, it’s ironic that Boynton has unintentionally also found fame in the Instagram world of beauty influencing. Working with make-up artist Jo Baker, Boynton’s boundary-pushing red carpet beauty looks are so ‘Gram-worthy it’s almost as though they were created specifically for the social media platform. From glitter teardrops to extreme eyeliner, nothing is off-limits.

“I think Jo Baker can pretty much convince you to do anything,” Boynton revealed. Adding: “When we [Baker and Boynton] were in Venice together recently for the Venice Film Festival we were walking down the street, we were like, ‘That’s an inspiration, that’s an inspiration’. We always send each other pictures and stuff. It’s always very free and easy and no pressure. And it’s exciting when she’s drawing on my face. Whatever Jo Baker is doing, count me in.”

And it seems whatever Boynton is doing, count audiences and her growing legion of loyal fans in.

The Politician will premiere on Netflix on September 27, 2019.

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Christoph Niemann’s “Evolution”

September 24, 2019 | News | No Comments

This year’s Technology Issue includes pieces on TikTok, robotic surgery, and the rise of the Impossible burger. It also features a cover by Christoph Niemann, a regular contributor to the magazine, who, given the theme, chose to depict man merging with his creation. We recently talked to the artist about his work and his feelings about technology.

You’re known for producing streamlined images, a hybrid of cartoon and design. Has the economical approach always come naturally to you?

Definitely not when I was growing up. My formula for great art was: the quantity of elaborate highlights and drop shadows per square inch is directly proportional to the quality of a painting. During my studies, I’ve learned—with some reluctance—that using style to support an idea often produces results that have a greater effect on the viewer.

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You often experiment with new technologies, like augmented reality, but in other projects, like your Sunday Sketch series, you make the most of simple materials: paper, pen, or found objects. Do these two approaches feel related to you?

Not really. I love to play with different styles to experiment with different versions of abstraction. Technological experiments with A.R. and V.R. are really about curiosity for a new medium. The interesting question in those fields is whether they can redefine storytelling. (The jury is still out, in my opinion.)

What recent technological developments have affected your life, both positively and negatively?

The digital tools I use for my work (computer, cameras, etc.) are incredible. Ten years ago, I would have needed a support team of five specialists and thousands of dollars in rental equipment to produce work that, today, I can do at my desk in thirty minutes. On the negative side: Big Tech companies.

This cover depicts a complete merger of body and machine. Joking aside, where do you think the marriage of humans and tech is headed?

The most obvious direction seems enhancing the body and mind through artificial organs and chips connected to the nervous system. I’m sure we’ll be seeing mind-boggling leaps with great moral predicaments in this area very soon. The more immediate predicament is the smartphone, though. Although I try to fight it, that thing is basically a part of my body. It has some powerful work tools, it’s magic for communication, but I can’t help feeling that it is specifically designed as a digital parasite whose primary goal is to suck time and attention away from the host body.

For other innovative covers by Niemann, see below: