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From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
“Act One _ Bruce LaBruce film stills”
All images courtesy of the artist
Production stills from ‘Saint-Narcisse’ [2020]
Cinematographer Michel La Veaux

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
“Act One _ Bruce LaBruce film stills”
All images courtesy of the artist
Production stills from ‘Saint-Narcisse’ [2020]
Cinematographer Michel La Veaux

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
“Act One _ Bruce LaBruce film stills”
All images courtesy of the artist
Production stills from ‘Saint-Narcisse’ [2020]
Cinematographer Michel La Veaux

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Gossip
Date / 1992

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Gossip
Date / 1992

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Gossip
Date / 1992

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Gossip
Date / 1992

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

Doesn’t Exist’s Take: The Cinematic Line Behind Rei Kawakubo — SS1997 “Lumps and Bumps”

DAVID LYNCH
*Eraserhead* (1977)
│
│
cinematic distortion of the body
│
▼
REI KAWAKUBO / COMME DES GARÇONS
*Body Meets Dress, Dress Meets Body*
(Spring Summer 1997, Paris)
│
│
silhouette as new anatomy
│
▼
JONATHAN GLAZER
*Under the Skin* (2013)

body as alien architecture / distortion

#ReiKawakubo
#AvantGardeFashion
#DoesntExistMagazine
#JonathanGlazer
#DavidLynch

Before SS1997: David Lynch — “Eraserhead” 1977
_ Our view: Lynch’s swollen, uncanny body feels like the emotional blueprint for Kawakubo’s collection.
_ Why it resonates: distorted forms, asymmetry, interior turned exterior, the body behaving like architecture. For us, it is the closest cinematic cousin to ‘Body Meets Dress, Dress Meets Body’.

Rei Kawakubo — SS1997 “Lumps and Bumps”
_ Our view: a collection that creates new anatomies rather than new clothes.
_ Why it resonates: padded bulges, sculptural silhouettes, humour and strangeness woven into the body’s architecture. Fashion thinking like cinema: character through shape.

After SS1997: Jonathan Glazer — “Under the Skin” 2013
_ Our take: Glazer inherits Kawakubo’s logic of estrangement.
_ Why it resonates: the body as alien sculpture, identity expressed through form, not expression. For us, it is the clearest cinematic descendant of SS 1997.

///////////////

Lynch distorts the body → Kawakubo rebuilds the body → Glazer reimagines the body on screen.

Doesn’t Exist’s Take: The Cinematic Line Behind Rei Kawakubo — SS1997 “Lumps and Bumps”

DAVID LYNCH
*Eraserhead* (1977)
│
│
cinematic distortion of the body
│
▼
REI KAWAKUBO / COMME DES GARÇONS
*Body Meets Dress, Dress Meets Body*
(Spring Summer 1997, Paris)
│
│
silhouette as new anatomy
│
▼
JONATHAN GLAZER
*Under the Skin* (2013)

body as alien architecture / distortion

#ReiKawakubo
#AvantGardeFashion
#DoesntExistMagazine
#JonathanGlazer
#DavidLynch

Before SS1997: David Lynch — “Eraserhead” 1977
_ Our view: Lynch’s swollen, uncanny body feels like the emotional blueprint for Kawakubo’s collection.
_ Why it resonates: distorted forms, asymmetry, interior turned exterior, the body behaving like architecture. For us, it is the closest cinematic cousin to ‘Body Meets Dress, Dress Meets Body’.

Rei Kawakubo — SS1997 “Lumps and Bumps”
_ Our view: a collection that creates new anatomies rather than new clothes.
_ Why it resonates: padded bulges, sculptural silhouettes, humour and strangeness woven into the body’s architecture. Fashion thinking like cinema: character through shape.

After SS1997: Jonathan Glazer — “Under the Skin” 2013
_ Our take: Glazer inherits Kawakubo’s logic of estrangement.
_ Why it resonates: the body as alien sculpture, identity expressed through form, not expression. For us, it is the clearest cinematic descendant of SS 1997.

///////////////

Lynch distorts the body → Kawakubo rebuilds the body → Glazer reimagines the body on screen.

Doesn’t Exist’s Take: The Cinematic Line Behind Rei Kawakubo — SS1997 “Lumps and Bumps”

DAVID LYNCH
*Eraserhead* (1977)
│
│
cinematic distortion of the body
│
▼
REI KAWAKUBO / COMME DES GARÇONS
*Body Meets Dress, Dress Meets Body*
(Spring Summer 1997, Paris)
│
│
silhouette as new anatomy
│
▼
JONATHAN GLAZER
*Under the Skin* (2013)

body as alien architecture / distortion

#ReiKawakubo
#AvantGardeFashion
#DoesntExistMagazine
#JonathanGlazer
#DavidLynch

Before SS1997: David Lynch — “Eraserhead” 1977
_ Our view: Lynch’s swollen, uncanny body feels like the emotional blueprint for Kawakubo’s collection.
_ Why it resonates: distorted forms, asymmetry, interior turned exterior, the body behaving like architecture. For us, it is the closest cinematic cousin to ‘Body Meets Dress, Dress Meets Body’.

Rei Kawakubo — SS1997 “Lumps and Bumps”
_ Our view: a collection that creates new anatomies rather than new clothes.
_ Why it resonates: padded bulges, sculptural silhouettes, humour and strangeness woven into the body’s architecture. Fashion thinking like cinema: character through shape.

After SS1997: Jonathan Glazer — “Under the Skin” 2013
_ Our take: Glazer inherits Kawakubo’s logic of estrangement.
_ Why it resonates: the body as alien sculpture, identity expressed through form, not expression. For us, it is the clearest cinematic descendant of SS 1997.

///////////////

Lynch distorts the body → Kawakubo rebuilds the body → Glazer reimagines the body on screen.

Doesn’t Exist’s Take: The Cinematic Line Behind Rei Kawakubo — SS1997 “Lumps and Bumps”

DAVID LYNCH
*Eraserhead* (1977)
│
│
cinematic distortion of the body
│
▼
REI KAWAKUBO / COMME DES GARÇONS
*Body Meets Dress, Dress Meets Body*
(Spring Summer 1997, Paris)
│
│
silhouette as new anatomy
│
▼
JONATHAN GLAZER
*Under the Skin* (2013)

body as alien architecture / distortion

#ReiKawakubo
#AvantGardeFashion
#DoesntExistMagazine
#JonathanGlazer
#DavidLynch

Before SS1997: David Lynch — “Eraserhead” 1977
_ Our view: Lynch’s swollen, uncanny body feels like the emotional blueprint for Kawakubo’s collection.
_ Why it resonates: distorted forms, asymmetry, interior turned exterior, the body behaving like architecture. For us, it is the closest cinematic cousin to ‘Body Meets Dress, Dress Meets Body’.

Rei Kawakubo — SS1997 “Lumps and Bumps”
_ Our view: a collection that creates new anatomies rather than new clothes.
_ Why it resonates: padded bulges, sculptural silhouettes, humour and strangeness woven into the body’s architecture. Fashion thinking like cinema: character through shape.

After SS1997: Jonathan Glazer — “Under the Skin” 2013
_ Our take: Glazer inherits Kawakubo’s logic of estrangement.
_ Why it resonates: the body as alien sculpture, identity expressed through form, not expression. For us, it is the clearest cinematic descendant of SS 1997.

///////////////

Lynch distorts the body → Kawakubo rebuilds the body → Glazer reimagines the body on screen.

Doesn’t Exist’s Take: The Cinematic Line Behind Rei Kawakubo — SS1997 “Lumps and Bumps”

DAVID LYNCH
*Eraserhead* (1977)
│
│
cinematic distortion of the body
│
▼
REI KAWAKUBO / COMME DES GARÇONS
*Body Meets Dress, Dress Meets Body*
(Spring Summer 1997, Paris)
│
│
silhouette as new anatomy
│
▼
JONATHAN GLAZER
*Under the Skin* (2013)

body as alien architecture / distortion

#ReiKawakubo
#AvantGardeFashion
#DoesntExistMagazine
#JonathanGlazer
#DavidLynch

Before SS1997: David Lynch — “Eraserhead” 1977
_ Our view: Lynch’s swollen, uncanny body feels like the emotional blueprint for Kawakubo’s collection.
_ Why it resonates: distorted forms, asymmetry, interior turned exterior, the body behaving like architecture. For us, it is the closest cinematic cousin to ‘Body Meets Dress, Dress Meets Body’.

Rei Kawakubo — SS1997 “Lumps and Bumps”
_ Our view: a collection that creates new anatomies rather than new clothes.
_ Why it resonates: padded bulges, sculptural silhouettes, humour and strangeness woven into the body’s architecture. Fashion thinking like cinema: character through shape.

After SS1997: Jonathan Glazer — “Under the Skin” 2013
_ Our take: Glazer inherits Kawakubo’s logic of estrangement.
_ Why it resonates: the body as alien sculpture, identity expressed through form, not expression. For us, it is the clearest cinematic descendant of SS 1997.

///////////////

Lynch distorts the body → Kawakubo rebuilds the body → Glazer reimagines the body on screen.

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Saint Laurent — Spring/Summer 2026

Under the Eiffel Tower, Anthony Vaccarello presented a collection built on control, surface, and seduction. Sharp leather jackets, sheer nylon, and sculpted silhouettes created a tension between exposure and defence: women walking like they know the frame they’re in.

Through our lens — reading fashion as cinema — we see echoes of ‘The Hunger’ (1983) for its vampiric polish, ‘The Bitter Tears of Petra von Kant’ (1972) for its emotional architecture, ‘Body Double’ (1984) for its voyeuristic precision, and ‘Madame Bovary’ (1991) for its restrained desire.

Each look feels like a scene about control and longing: glamour filmed in real time, Paris as the set, power as the script.

#SaintLaurent
#AnthonyVaccarello
#FashionAsCinema
#DoesntExistMagazine
#MadameBovary
#PetraVonKant
#TheHunger
#BodyDouble

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Radar _

Hussein Chalayan’s ‘After Words’ (AW 2000) turns fashion into cinema: a coffee table becomes a skirt, chairs unfold into garments, and the runway becomes a stage of memory, migration, and domestic ritual.

In our view, its quiet intensity mirrors the atmosphere of Chantal Akerman’s ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ (1975): every gesture tells a story, every space hums with tension. On a set by Alexandre de Betak, with hair by Eugene Souleiman and makeup by Pat McGrath, garments, furniture, and bodies collide in a choreography of displacement.

Here, fashion is no longer just worn: it moves, it performs, it narrates. Architecture, objects, and silhouettes merge into a cinematic flow, blurring the line between runway and storytelling.

#HusseinChalayan
#AvantGardeFashion
#FashionAsCinema
#RunwayAsFilm
#ChantalAkerman
#ConceptualFashion
#DoesntExistMagazine

Moodboard _

‘Notebook on Cities and Clothes’
Wim Wenders
1989

This “diary film” as Wenders called it, investigates the similarities of his craft, filmmaking and that of the Tokyo based fashion designer Yohji Yamamoto. In the early 1980s, he shocked and revolutionized the fashion world. Wenders shot the film mainly on his own as a one-man team. During the shooting, which stretched over the course of a year, Yamamoto and Wenders became friends.

Extracts from Wenders narrating voice of the film: “Fashion. I got nothing to do with that. At least that was my reaction when the Centre Georges Pompidou in Paris asked me if I would like to make a short film about a fashion designer.”

“The world of fashion. I am interested in the world, not in fashion. But maybe my judgement was premature. Why shouldn’t I try to approach the topic without prejudices. Why not look at fashion like any other industry, the film industry for example?”

“Filmmaking…should sometimes just be a way of life. Like going for a walk, reading a newspaper, writing something down, driving a car, or making this film. From day to day it writes itself, driven by the curiosity for the topic.

FORMAT
West Germany/ France 1988/89
Length: 81 min, 2216 m
Format: 35mm; color, 1:1.37; stereo
Language: English, Japanese

4K Restoration 2014, 4K DCP

CAST AND CREW
Production: Road Movies Filmproduktion GmbH (Berlin) Director: Wim Wenders Producer: Wim Wenders, Ulrich Felsberg Script: Wim Wenders Director of Photography: Robby Müller Editor: Dominique Auvray Sound: Jean-Paul Mugel Music: Laurent Petitgand Cast/Participants: Wim Wenders, Yohji Yamamoto

#WimWenders
#YohjiYamamoto
#FashionAndCinema
#DoesntExistMagazine
#IndieMagazine

Moodboard _

‘Notebook on Cities and Clothes’
Wim Wenders
1989

This “diary film” as Wenders called it, investigates the similarities of his craft, filmmaking and that of the Tokyo based fashion designer Yohji Yamamoto. In the early 1980s, he shocked and revolutionized the fashion world. Wenders shot the film mainly on his own as a one-man team. During the shooting, which stretched over the course of a year, Yamamoto and Wenders became friends.

Extracts from Wenders narrating voice of the film: “Fashion. I got nothing to do with that. At least that was my reaction when the Centre Georges Pompidou in Paris asked me if I would like to make a short film about a fashion designer.”

“The world of fashion. I am interested in the world, not in fashion. But maybe my judgement was premature. Why shouldn’t I try to approach the topic without prejudices. Why not look at fashion like any other industry, the film industry for example?”

“Filmmaking…should sometimes just be a way of life. Like going for a walk, reading a newspaper, writing something down, driving a car, or making this film. From day to day it writes itself, driven by the curiosity for the topic.

FORMAT
West Germany/ France 1988/89
Length: 81 min, 2216 m
Format: 35mm; color, 1:1.37; stereo
Language: English, Japanese

4K Restoration 2014, 4K DCP

CAST AND CREW
Production: Road Movies Filmproduktion GmbH (Berlin) Director: Wim Wenders Producer: Wim Wenders, Ulrich Felsberg Script: Wim Wenders Director of Photography: Robby Müller Editor: Dominique Auvray Sound: Jean-Paul Mugel Music: Laurent Petitgand Cast/Participants: Wim Wenders, Yohji Yamamoto

#WimWenders
#YohjiYamamoto
#FashionAndCinema
#DoesntExistMagazine
#IndieMagazine

Moodboard _

‘Notebook on Cities and Clothes’
Wim Wenders
1989

This “diary film” as Wenders called it, investigates the similarities of his craft, filmmaking and that of the Tokyo based fashion designer Yohji Yamamoto. In the early 1980s, he shocked and revolutionized the fashion world. Wenders shot the film mainly on his own as a one-man team. During the shooting, which stretched over the course of a year, Yamamoto and Wenders became friends.

Extracts from Wenders narrating voice of the film: “Fashion. I got nothing to do with that. At least that was my reaction when the Centre Georges Pompidou in Paris asked me if I would like to make a short film about a fashion designer.”

“The world of fashion. I am interested in the world, not in fashion. But maybe my judgement was premature. Why shouldn’t I try to approach the topic without prejudices. Why not look at fashion like any other industry, the film industry for example?”

“Filmmaking…should sometimes just be a way of life. Like going for a walk, reading a newspaper, writing something down, driving a car, or making this film. From day to day it writes itself, driven by the curiosity for the topic.

FORMAT
West Germany/ France 1988/89
Length: 81 min, 2216 m
Format: 35mm; color, 1:1.37; stereo
Language: English, Japanese

4K Restoration 2014, 4K DCP

CAST AND CREW
Production: Road Movies Filmproduktion GmbH (Berlin) Director: Wim Wenders Producer: Wim Wenders, Ulrich Felsberg Script: Wim Wenders Director of Photography: Robby Müller Editor: Dominique Auvray Sound: Jean-Paul Mugel Music: Laurent Petitgand Cast/Participants: Wim Wenders, Yohji Yamamoto

#WimWenders
#YohjiYamamoto
#FashionAndCinema
#DoesntExistMagazine
#IndieMagazine

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@heavens_o
@mistral.guidotti

Garments
@palomospain

Jewellery
@schiaparelli

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@heavens_o
@mistral.guidotti

Garments
@palomospain

Jewellery
@schiaparelli

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@heavens_o
@mistral.guidotti

Garments
@palomospain

Jewellery
@schiaparelli

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@heavens_o
@mistral.guidotti

Garments
@palomospain

Jewellery
@schiaparelli

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Shocked Divine
Date / 1998

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Shocked Divine
Date / 1998

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Shocked Divine
Date / 1998

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Shocked Divine
Date / 1998

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

From issue four
A tribute to #JohnWaters
@john_waters_divine_trash_page

Artist / John Waters
Title / Shocked Divine
Date / 1998

All images courtesy of the artist and @marianneboeskygallery

#JohnWaters
#DoesntExistMagazine
#CinemaAndFashion
#IndieMagazine
#Divine

Radar ___

Pandora’s Box / Die Büchse der Pandora [1929]

Louise Brooks and G. W. Pabst created a film where character and visual style are inseparable. The wardrobe was overseen by Gottlieb Hesch [with several costumes possibly sourced from Jean Patou].

#LouiseBrooks
#PandorasBox
#JeanPatou
#SilentFilm
#FashionAndCinema
#DoesntExistMagazine

Radar ___

Pandora’s Box / Die Büchse der Pandora [1929]

Louise Brooks and G. W. Pabst created a film where character and visual style are inseparable. The wardrobe was overseen by Gottlieb Hesch [with several costumes possibly sourced from Jean Patou].

#LouiseBrooks
#PandorasBox
#JeanPatou
#SilentFilm
#FashionAndCinema
#DoesntExistMagazine

Radar ___

Pandora’s Box / Die Büchse der Pandora [1929]

Louise Brooks and G. W. Pabst created a film where character and visual style are inseparable. The wardrobe was overseen by Gottlieb Hesch [with several costumes possibly sourced from Jean Patou].

#LouiseBrooks
#PandorasBox
#JeanPatou
#SilentFilm
#FashionAndCinema
#DoesntExistMagazine

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

From Doesn’t Exist Issue #1 ___
A non-official tribute to #ReiKawakubo marking the magazine’s first exploration of fashion and cinema in dialogue.

ph @ilkerakyl
hair @juliendys

@commedesgarconsparis AW19

#ReiKawakubo
#CommeDesGarcons
#DoesntExistMagazine
#IndieMagszine
#IlkerAkyol

Issue Seven __
A Tribute to Federico Fellini

Extract from Act XIV
Inspired by #FelliniSatyricon [1969]
Featuring ___________

Ph @giovannirombaldoni
Styling @alex_babboni
Hair @cmstanley13
Makeup @charliemurray
Casting director @federicomosi
Movement director @rhyskosakowski
Fashion consultant @johnfoleyperfumes
Talent @aaronjames._
Hair assistant + BTS photography @emwajones
Stylist assistant @jessiesilver__
Shot at @models1
Featuring the following @jordanluca@nationaltheatrecostumehire

#Fellini
#DoesntExistMagazine
#FedericoFellini
#CinemaMagazine
#ArtMagazine
#Satyricon

Issue Seven __
A Tribute to Federico Fellini

Extract from Act XIV
Inspired by #FelliniSatyricon [1969]
Featuring ___________

Ph @giovannirombaldoni
Styling @alex_babboni
Hair @cmstanley13
Makeup @charliemurray
Casting director @federicomosi
Movement director @rhyskosakowski
Fashion consultant @johnfoleyperfumes
Talent @aaronjames._
Hair assistant + BTS photography @emwajones
Stylist assistant @jessiesilver__
Shot at @models1
Featuring the following @jordanluca@nationaltheatrecostumehire

#Fellini
#DoesntExistMagazine
#FedericoFellini
#CinemaMagazine
#ArtMagazine
#Satyricon

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@valentinlekeux
@heavens_o

Garments
@gucci

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@valentinlekeux
@heavens_o

Garments
@gucci

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@valentinlekeux
@heavens_o

Garments
@gucci

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion

From issue 5 _
A tribute to @brucelabruce

Issue 5 is a tribute to Canadian filmmaker #BruceLaBruce. It explores his career through interviews, written articles, illustrations, art and fashion

Extract from
A Fashion Story inspired by ‘Theorem’ [1968] by #PierPaoloPasolini

Models
@valentinlekeux
@heavens_o

Garments
@gucci

Ph @brucelabruce
Production @elspethjenkinsnr1
Art Direction @alex_babboni
Styling @tomeerebout
Hair @gladysferro
Makeup @sabinepeetersmakeup / @sabinepeeters
Ph Assistant @lukavandercruyssen_backup / @lukavdc / @lukavdc.analogue
Set Designer Coordinator @johnathonc89
Styling Assistant @vincentvlaeken
Makeup Assistant @_fransiske

Shoot in Antwerp at @metal.antwerp

Big thanks to _
@elspethjenkinsnr1
@sofiecoreynen
@metal.antwerp
@tomeerebout
@nobabes.agency
@morganegielen
@sabinepeetersmakeup
@sabinepeeters
@gladysferro
@_fransiske
@heavens_o
@mistral.guidotti
@rosebmodel
@valentinlekeux
@fck.face
@johnathonc89
@mark.hancock.london
@victorfragalondon
@dmovies_org
@lukavandercruyssen_backup
@lukavdc.analogue
@lukavdc
@brucelabruce
@hoteljulien

#BruceLaBruce
#DoesntExistMagazine
#CinematicPhotography
#CinemaFashion