Editorial: Under the Sicilian Sky

Stories of Sicily.
Editorial - License to Shoot - The Godfather 

The Editorial: thoughts, short stories
or essays about the world of cinema

While in Berlin several summers ago, we stopped for lunch at a restaurant and I realised, by the accent, that the waiter was Italian. Eager to exercise my Italian after I had found out, to my despair, that my German had become rustier than I had expected, I asked him if he was indeed Italian. “No, Sicilian,” his answer came promptly and proudly. I ended up by apologising to him for calling him an Italian and struck up a nice conversation. Here is the simple truth: there is nothing higher to Sicilians than the ties of blood, heritage and honour.

“You see, Sicily was always invaded, and over the centuries, the Sicilians discovered the only way to survive the invasions was to trust only their own families and never break that trust,” said Al Pacino, as noted in the book The Godfather Family Album, which chronicles the making of the trilogy. The roots of The Godfather originate in Sicily (where some notable scenes from the Coppola’s saga were also filmed) and organised crime, but the unmentionable words, the Mafia, are never heard, because this film is first and foremost a mythic exploration of family. “I want to show how two men, father and son, were born into the world innocent, and how they were corrupted by this Sicilian waltz of vengeance,” said Francis Ford Coppola.

“In Sicily, it was like a merger of families – everyone had family there,” recounts still photographer Steve Shapiro in the afore-mentioned book about the cast and crew’s filming days on the Italian island. And it was in fact Francis Ford Coppola’s Italian origins that sold him to the producers (at the time, Coppola was known as an artsy, film-schooled young director). “The reason Mafia films had never worked was they were made by Jews, acted by Jews, and written by Jews. We want to smell the spaghetti, and only an Italian can do it,” was how producer Robert Evans managed to bring the director on board. “Francis was the only second-generation Italian in the entire industry.”

“Though I have never been here before, I have been here before,” wrote journalist Barbara Grizzuti Harrison for Life magazine in 1990 about Castillo degli Schiavi in Taormina, Sicily, when she went on the location of Godfather III. It is the place where, in Godfather I, the young wife of Michael Corleone (Al Pacino) was killed in a car bomb that was meant for the exiled son of Vito Corleone. “I feel as if Godfather I and II are part of my history, my unconscious, vehicles for primary themes of good and evil (and family), and sin and redemption (and family) and communion and alienation (and family), of power and honour (and family).” Could this also be a universal truth?

photo: film still from The Godfather, Sicily | Paramount Pictures

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Room to Dream

Room to Dream David Lynch

“I don’t go by nighttime dreams because it’s daydreaming that I like.”

The moment I saw the title and cover of David Lynch’s memoir, I fell in love with it. Room to Dream. It’s all in that title. The possibilities that title holds. The mysteries it eventually further deepens. I didn’t expect anything less from David Lynch. Room to Dream does not demystify. What movie lover would want that? A deconstruction of David Lynch’s films? Art does not need explanation, but to be felt and experienced and interpreted by each individual differently. The Lynchian universe remains an enigma.

It’s the personal journey of the artist that you look for instead in this sort of book. Here is one truth I already knew, but which is worth repeating again and again and again: David Lynch is a creator who does not compromise, does not sell out, a filmmaker who does not make movies for critics “but answers to the higher authority of his imagination”. And there are many random things I took away from the book, the kind of things I’m looking forward to in an autobiography the most, the little details and contours and the personal stuff teasing that take you a little closer to the artist and the man, without intruding. You’ve been invited in and you take this chance, a brief splash of insight, because the door will not remain open for long.

His childhood shaped him. He’s got a sense of humour. He was a happy child and has a happy personality, but has always been drawn to dark things. In high school he already had a well defined style and he still dresses the same way as he did back then. Appearantly, every woman he has met finds him attractive. He discovered meditation in 1973 and it changed his life. His films don’t really make money, but he does what he believes in. He values his privacy and his favourite thing to do is to be home working. He loves Billy Wilder’s Sunset Boulevard and The Apartment. He thinks Grace Kelly and James Stewart’s kiss in Rear Window is one of the best in the history of cinema (the other one is Elizabeth Taylor and Montgomery Clift’s in A Place in the Sun). For Laura Dern’s character in Twin Peaks: The Return, he created his own lipstick palette and mixed colours until he found the pink shade that he wanted. He loves Los Angeles light. He works with actors, not stars. Work always comes first. He gives himself room to dream.
Room to Dream David Lynch  

The book is different from traditional memoirs and the approach is extremely engaging. Each chapter is divided in two parts. The first part is written by co-author Kristine McKenna, consisting of biographical accounts of Lynch’s life, including interviews with people who know him well, from family and friends to colleagues and his loyal group of collaborators. The second part is David Lynch’s autobiographical first-person account. “What you’re reading here is basically a person having a conversation with his own biography,” writes McKenna in the introduction. It’s a conversation you want to take part in. I’m currently revisiting his films. I’m not looking to understanding them, but to look deeper into my own imagination. Mr. Lynch, thank you.

“Not carrying what other people think is a good thing.”

“Kids then had a lot of freedom to run around. We went everywhere and we weren’t inside in the day, ever. We were out doing stuff and it was fantastic. It’s horrible that kids today don’t get to grow up that way anymore. How did we let that happen? We didn’t have a tv until I was in the third grade, and I watched some tv as a child, but not very much. The only show I really watched was Perry Mason. Television did what the internet is doing more of now: it homogenized everything.”

“I learned about failure, and in a way
failure is a beautiful thing because when the dust settles
there’s nowhere to go but up, and it’s freedom.”

“If Mel Brooks walked down the street today, anybody under twenty five probably wouldn’t even know who he is, and that kills me.”
Room to Dream David Lynch

photos: 1-Classiq / 2-Donald Lynch | David Lynch and his younger brother, John, in Spokane, Washington, c.1953 (from the book) / 3-Dean Hurley

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One Day That Summer: Classic Americana

Kyle Petrozza photography - Arizona

Spaghetti, Arizona, 2018

The great outdoors. The wide open road. Freedom. Freedom to run around, to get moving, to imagine, to think, to day-dream, to dream big. We may not know where the story is going, but it’s the moment and the journey that are fascinating. And what is equally fascinating is when a photograph awakens all those feelings in you at once. The landscape photography of Kyle Petrozza does that. I have recently talked to Kyle about image-making, about the best road trip in America and about how living a simple life away from the city lights can foster creativity. But the beauty of a conversation is that you never truly know where it will take you, just like that open road in front of you when you set out for a trip; and Kyle’s honesty and unreserve about his life and work and artistic journey have reached much further than to my deeper appreciation of his photography, and they have made me better appreciate certain things in my life, question other things more acerbically and properly acknowledge some of my own struggles for the very first time – it’s probably why I chose not to follow on the question about that place called home.

“The lightness of not having to be creating
something important reminds me of the joy
I discovered when I first picked up a camera.”

What’s the story behind this photo?
​This past May, I was booked on a ten-day job in LA. I would normally fly from my home in Virginia to the West Coast and back. The day the job confirmed, I was in conversation with a good friend who asked a simple, but poignant question: when was the last time you traveled solely for the sake of traveling? The next morning, I decided to drive out to LA and back, instead of flying.

​On the way back East, a travel partner and I were headed to the Apache Trail in Arizona when we passed by a kitschy, for-profit adaptation of an old mining town-cum-amusement park. I would normally steer clear of places like this, but my partner being from the Netherlands wanted the “full American experience” as she put it. I’m a fan of the desert’s patina, texture, and hardness of light, but the gimcrack surroundings really bummed me out.

​I found myself focusing on the surrounding landscape of which this little roadside attraction was a part, instead of the attraction itself. This image was one that was carefully composed and edited to eliminate most elements that would not have been there when this mine was in operation. A practice in escapism, you could say and an illustration of the power we have as image-makers in deciding what we want to say by choosing what to show.

A few images from that day intentionally juxtaposed the landscape with elements of modernity, but I felt those elements controlled the narrative of the images more than I had hoped they would. Those new narratives were constrictive and I feared that they would lead the viewer someplace too intentional instead of allowing the viewer freedom of interpretation.

Do you always carry a camera with you?
​Technically speaking, yes. The phone that resides in my back pocket is indeed a camera. And I use it, often. As for cameras of the larger variety, I go through phases. Lugging around a modern DSLR, even with a Zeiss prime gets to be a bit unwieldy and intrusive. When the mood hits, I’ll carry around an old AE-1 for fun.

Is it make or take a photograph? Do you wait for a good photo? Are there times when you simply witness the moment without shooting any picture?
​I always strive to be making photographs. However, I realize that there are times, many of them, when simply taking photographs is more fun. The lightness of not having to be creating something important reminds me of the joy I discovered when I first picked up a camera back in 2005.

​If I’m covering an event or shooting on the street, yes, I will definetly wait for the moment when the scene matches what I think I see in my head or when all the elements fall into place. Forcing things, in any aspect of life, misses the point.

​I had to laugh at this question and will explain why. There are definitely times when simply witnessing a moment is more important, respectful, and magical than trying to photograph it. Apparently this is something I had to learn as I would routinely be reprimanded by an ex to “put the camera down and be more present”.

While some may see this as a discouragement toward my picture making, I was glad for it. There are moments in life when a camera simply won’t do a moment justice. Or, when an ever changing interpretation of a memory of a moment is more favorable, in the long run, than that of a photographic image.

You have lived in different parts of the world. How has that influenced you creatively?
​It has fostered a deeper sense of empathy within me. As a photographer of people and to a greater extent, a storyteller, I hope the importance of that needs no further explanation.

Do people make the place?
Very much so, yes. But, only after the place has helped make those people. The best I can do to explain this is point to the experiences of traveling through extremely impoverished places as well as very affluent places. Place and circumstance surely effect how one is raised, what one values, and where one chooses to place their attention and actions. While this isn’t a blanket statement applicable to all people, internationally speaking, I’ve found that the kindness and generosity of the impoverished have made their places that much more memorable to me than those of the more affluent communities I’ve visited.
One Day That Summer - Interview with Kyle Petrozza

New Mexico, NM-52


“The best road trip
is the one you are currently on.”

What made you leave New York City and move to a farm?
​The answer to that question would require pages and would bore your readers. Suffice it to say that I was desirous of a break from the photo industry since I wasn’t furthering my own creative goals; I grew tired of my social life in the city; I had become very interested in regenerative agriculture and wanted to see if life as a farmer was enjoyable, sustainable, and profitable; and lastly, the universe presented an opportunity that was hard to pass up.

In what ways has living in the country changed your life?
​Living in the country has given me the time and space to evaluate my life up to and at this point. To figure out what has worked and what hasn’t. To feel what I need more of (nature, community, simplicity) and what I haven’t missed (small apartments, the dating scene, concrete). It’s afforded me daily reminders that the country of which I’m a citizen is more sharply divided than it would appear in its major cities and has forced me to confront those realities. Most importantly, I think, is that it has allowed me to feel less pressure to create perfect, city-worthy work. The consistent work schedule and bright lights of New York no longer dim my own creative bulb.

Do you feel at home in Virginia?
I’m not sure I feel at home anywhere, to be honest. That said, I feel more “at home” in my current home here in Virginia than I’ve felt in most other places I’ve lived. But, the town and surrounding countryside where that home is located does not bring with it a feeling of being home.

You have criss-crossed America and travelled to and lived in different parts of the world. What is the best road trip one could take in America, and worldwide?
The best road trip is the one you’re currently on. That’s how I really want to answer. But, I’d be remiss if I passed up the opportunity to inspire someone who hasn’t yet traveled this vast land.

​In America, if you have the time, resources, and stamina, there’s simply no better way to experience the country than by making the great loop: East coast to the West coast via the northern or southern route and using the entire West coast as your U-turn. Keep off the interstates, out of chain hotels, and an ear to the ground for local knowledge. If you can do it in a convertible that was produced sometime during 1950 – 1975, all the better. ​If you can’t afford to do all that, I’d suggest a trip across the top of the nation (the Dakotas, Montana, Idaho, Oregon, Washington, Wyoming) in spring or late summer and dropping down into your favorite mountain range.

​As for a trip in other parts of the world, abandon the car and get on a train or a boat.

What is your favourite moment of the day for shooting? Do you swear by the golden hour?
​I don’t think I have a favorite moment of the day to shoot. Of course, the sun at a low angle filtering through layers and layers of atmosphere and smog is gorgeous light, but maybe that’s not the best light for the story you’re trying to tell.

In this time and age, you wish people appreciated more:
Each other.

If you could be anywhere in the world right now (old or new location), preparing to make a photo, where would you want to be?
​My lack of an answer to this question is indicative of my current creative struggles.
Kyle Petrozza photography

Arizona, 2018


Website: KylePetrozza.com | Instagram: @kylepetrozza

Classiq Journal - One Day That Summer interviews

More photographer interviews: One Day That Summer: The Dune, Hossegor / One Day That Summer: Torres Del Paine, Chile / One Day That Summer: Little Dreamer, Paris

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A Return To Simplicity: Summer Style in Movies

I’ve made a habit of watching some of my all-time favourite summer movies this time of year and I feel compelled to have you join in the fun. So here are ten films which provide some good summer viewing, as well as some serious schooling in summer style. Relax and dress to feel good, and carry that feeling with you throughout the year.
Summer style - Tilda Swinton in A Bigger Splash

Tilda Swinton and Ralph Fiennes in ‘A Bigger Splash”

Tilda Swinton in A Bigger Splash (2015)

Loosely based on Jacques Deray’s La piscine, Luca Guadagnino’s A Bigger Splash also references Roberto Rossellini’s 1954 Viaggio in Italia. One of the looks worn by Tilda Swinton (an ample black and white checkered skirt and matching top), who plays the protagonist, Marianne, was in fact inspired by one of Ingrid Bergman’s outfits in Journey to Italy, said the costume designer Giulia Piersanti, who collaborated with Raf Simons and Dior to create something more modern and summery.

A rock star recovering from throat surgery on the island of Pantelleria, Italy, Marianne is often seen in effortless, oversized shirts over swimsuits and short pants, or shirt dresses, but does not forget to remind the viewer, and herself, that she’s a star, by wearing a couple of glamorous pieces (but keeping a neutral colour palette). She goes grocery shopping or to the piazza overly dressed, in a white flared skirt and black blouse ensemble or in an elegant white jumpsuit. However, she retains a sense of effortlessness that seems to set her apart without taking her out of place. Like a true star would. Marianne’s mirrored sunglasses have a story of their own, too.
Summer style in movies - Romy Schneider in La piscine

Romy Schneider and Alain Delon in “La piscine”


Romy Schneider in La piscine (1969)

André Courrèges designed the costumes for Romy Schneider in La piscine and they perfectly embody the best of 1960s style. His clothes are considered to be magical in their simplicity. In the ’60s, Courrèges became the man who put women in trousers: dispensed with front pleats and cuffs, side pockets, fly-fronts and even belt-tab waists. Romy’s wardrobe included both trousers and a trapeze-shaped dress, one of Courrèges’s signature designs, but how about those swimsuits? Whether one- or two-pieces, her bathing suits come in either black or white. Yes, there is such thing as a timeless swimsuit. Noteworthy mention: men can draw sartorial inspiration from the movie as well, both from Maurice Ronet and Alain Delon, their wardrobes ranging from swim trunks to classic grey suits.
Natasha Richardson in Armani-The Comfort of Strangers

Natasha Richardson in “The Comfort of Strangers”


Natasha Richardson in The Comfort of Strangers (1990)

The entire leading cast in Paul Schrader’s The Comfort of Strangers, from Natasha Richardson and Helen Mirren, to Rupert Evert and Christopher Walken, were dressed in Armani. But it is Natasha’s character’s wardrobe that truly takes you away, to a summer vacation in Venice (the location of the movie). It is a harmony in colour and fabric, and Mary looks at ease, free, like herself in her clothes. It’s a journey into the glorious Armani style of the 1990s and it’s irresistibly alluring – here is my article covering Richardson’s entire wardrobe.
Carey Lowell as Pam Bouvier in Licence to Kill

Carey Lowell in “Licence to Kill”


Carey Lowell in Licence to Kill (1989)

Like The Spy Who Loved Me (1977) before it and Casino Royale (2006) after it, Licence to Kill introduced us to one of the best and one of my favourite James Bond girls, Carey Lowell. She saves James Bond’s back the first time they properly meet, wears her hair cut short and her Berretta up her not one, but two heart-stopping evening dresses and downs a vodka martini in one go, so wouldn’t you agree? Those two black gowns I mention above are indeed some notable fashion in film moments, but let us pause on this little greige dress for now. It’s summer, it’s hot. You can keep your cool and sense of style in this dress (as opposed to, say, cut-offs and tank top). And for that special occasion you might be attending this summmer, do check out Carey’s other dresses, too.
Summer style - Lauren Hutton in The Gambler

Lauren Hutton and James Caan in “The Gambler”


Lauren Hutton in The Gambler (1974)

But let’s face it, the cut-offs are very much part of summer style, too. They are even a classic of sorts – it’s denim, after all. And nobody does denim better than Lauren Hutton. In denim shorts and Hawaiian shirt tied at the waist, she embodies the pinnacle of cool American sportswear.
Summer style - Call Me By Your Name

Timothée Chalamet and Armie Hammer in “Call Me By Your Name”


Timothée Chalamet and Armie Hammer in Call Me By Your Name (2017)

There’s much to be said about Call Me By Your Name, one of the best films of last year. And the sense of style exhibited by the protagonists, Elio and Oliver, is one of them, emphasized by the overall aesthetic and settings of the movie. A great immersion into a sun-dappled Italian summer in the 80s – “Somewhere in Northern Italy”, we’re told in the opening credits. Eighties preppy style, Ralph Lauren shirts, pastel colours, striped t-shirts, polos, jean shorts, swim trunks, boat shoes, classic sunglasses. It’s simple, timeless summer style, and I don’t mind the eighties accents at all, quite the contrary, especially that they are very subtle. And, frankly, men today could do with a looser shirt fit, especially in the summer.

There is much more meaning in these clothes than what meets the eye, as they are woven into the narrative, reading into Oliver’s self-confidence and American-ness, or into Elio’s youthfulness and age of carefree thinking and self-discovery. The beauty of these wardrobes however truly is in their complete ease, catering to the best summer impulses, like jumping in the nearest body of water, reading a book on the lounge or taking the bike into the cobbled-street town. “I wanted to communicate a sense of summer heat and sensuality very subtly”, said costume designer Giulia Piersanti, a long-time friend of Luca Guadagnino, at her second collaboration with the director.
Summer style in movies - Jean Seberg in Bonjour Tristesse

Jean Seberg and David Niven in “Bonjour tristesse”


Jean Seberg in Bonjour Tristesse (1958)

Givenchy made Jean Seberg’s gowns for the movie based on Françoise Sagan’s novel by the same name, Bonjour Tristesse. And may I say that Cécile’s black cocktail dress overshadows Audrey Hepburn’s Sabrina black dress designed by the same Givenchy? Seeing it next to a man’s tuxedo proves its flawlessness. Be that as it may, it’s the shirts I want to talk about. Because even if we all do need an elegant summer dress in our wardrobes, what summer truly calls for is the carefree, coastal living that Seberg so effortlessly embodies in her bare feet, short hair-cut and passion for denim shirts stolen from her dad and which she wears tied at the waist with everything from one-piece bathing suits to white capri pants or shorts.

In his book, The Films of My Life, François Truffaut wrote: “When Jean Seberg is on screen you can’t look at anything else. Her every movement is graceful, each glance is precise. The shape of her head, her silhouette, her walk, everything is perfect; this kind of sex appeal hasn’t been seen on the screen.” It’s when Seberg is in her simplest outfits that she’s the most attractive and that’s the Cécile described by Truffaut.
Summer style in movies - Alain Delon in Plein soleil

Alain Delon in “Plein soleil”


Alain Delon in Plein soleil (1960)

Summer style does not mean just jeans, khakis, shorts and plain t-shirts, and nobody is on an endless vacation. And no one does smart summer style better than Alain Delon in Plein soleil, where he embodies easy elegance – appreciating the classic codes of menswear, but with a relaxed, even rebellious feel. But I believe that it is these beltless pleated grey trousers, white shirt and white suede loafers that represent the height of men’s summer style. Nobody has embodied French style like Delon in the 1960s. His sartorial portrayal of Tom Ripley is as relevant today as ever.
Summer style in movies - Keanu Reeves in Point Break

Keanu Reeves and Patrick Swayze in “Point Break”


Keanu Reeves in Point Break (1991)

Keanu Reeves in white t-shirt, blue jeans and bare feet. Enough said.
Summer style in movies - Thelma and Louise

Susan Sarandon and Geena Davis in “Thelma and Louise”


Susan Sarandon and Geena Davis in Thelma and Louise (1991)

I do believe that Keanu Reeves in white t-shirt and blue jeans in Break Point qualifies as inspiration for men and women alike, but given my love for, in my opinion, the two most democratic clothing items, jeans and t-shirts, I had to include Thelma and Louise on the list. With their disheveled and dusty looks, weather-beaten tan, high waist blue jeans, white or graphic rock’n roll tank tops (their t-shirts become symbols of rediscovered sisterhood), cowboy boots, neckerchief made of the sleeves of a denim shirt, and cat-eye sunglasses, they “become more and more natural, but more and more beautiful as it goes on and by the end… just these mythical looking creatures”, as director Ridley Scott said of Susan Sarandon and Geena Davis’ characters. It’s very simple, free-spirited, sexy, and timeless. Summer at its best.
photo credit: 1-Frenesy Film Company, Cota Film, StudioCanal / 2-Société Nouvelle de Cinématographie (SNC), Tritone Cinematografica / 3-Erre Produzioni / 4-United Artists / 5-Paramount Pictures / 6-Frenesy Film Company, La Cinéfacture, RT Features / 7-Wheel Productions / 8-Robert et Raymond Hakim, Paris Film, Paritalia / 9-Largo Entertainment, JVC Entertainment Networks / 10-Pathé Entertainment

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Print Lives On: Six Indie Magazines to Find at the Newsstand

Print is not dead-The best magazines to find at the newsstand
Ever since I bought the book Bohemians, Bootleggers, Flappers & Swells, a collection of essays written by an incomparable slate of literary names during the 1910s-1930s in Vanity Fair (a literary and visual treasure of the Jazz Age in those times), I have been thinking about the present status of the print magazines. First of all, is print dead? Of course it isn’t. The real question is, which are the best indie magazines you can find at the newsstand? Because therein lies the revival of the print magazine.

The indie magazine – the alternative to the mainstream, mass-produced, ad-based, product-oriented magazines, choosing instead a more personal approach addressed to a deeper, cultured readership, rich in writing and visual storytelling, quality journalism and elegant design. Magazines that surprise, question our ideas and assumptions, offer us a new experience, different from the homogenized content of the traditional magazines and of the online. So here are my first choices of indie magazines you can find at the newsstand – I myself can have access to some of them only by subscription, but one of my greatest pocket joys is finding a new issue of my favourite publication at the newsstand. There are other worthy titles, I am sure, but these are magazines I myself have browsed, read, savoured or collected. Additionally, I have chosen to steer away from other magazines from this spectrum which are more frequently talked about, like Kinfolk, Cereal and The Gentlewoman.
Sidetracked magazine - Classiq Journal

The journey is more beautiful and more important than the destination. Sidetracked is for travellers, not tourists. Travellers immerse themselves in the experience, choose the offbeat track, are eager for discovery and discovering themselves. It takes curiosity, passion, free spirit, and a little bit of craziness to do that. Sidetracked encourages you to take the plunge and enjoy the ride.
Racquet magazine - Classiq Journal

I remember how enthusiastic I was when Racquet launched two years ago. I still am every new issue. “A journal that celebrates the art, ideas, style and culture that surround tennis”, they say. That’s exactly what I love about tennis, the whole picture, not just the game. And Racquet understands and celebrates that. Beautifully.
Standart magazine - Classiq Journal

You can never underestimate the importance of good coffee. Are you with me? I am sure you have had more than just a few interesting conversations over a good cup of coffee. Standart is about people and coffee. In today’s world, when the virtual is taking more and more hold of our lives, Standart celebrates individuals and the beauty of the coffee culture from around the world that brings them together.
Beneficial Shock magazine - Classiq Journal
Beneficial Shock!

Naturally, I had to include one solely about cinema. I go with Beneficial Shock!. THE indie film magazine out there. Pushing boundaries, triggering the eye and intellect, taking the whole cinematic experience a step further. It is a bi-annual publication with a very conceptual approach, as each issue revolves around one theme. So far, it’s been Food, Mind and Sex.
The Idler - Classiq Journal
The Idler

I spotted this one in a bookshop and two articles read later, I was subscribing to the magazine. The Idler was launched in 1993 and it had the sub-title “literature for loafers”. It’s about how to live the good life, well-cultured. “How to live, that was the question. How to be free in a world of jobs and debt? And curse this alarm clock.” – that’s how the idea of the magazine came to co-founder Tom Hodgkinson. I couldn’t find a better reason for taking a leap of faith.
Selvedge magazine - Classiq Journal

This one is available only by subscription, but I had to include it here. Polly Leonard, the founder and visionary mind behind the magazine, and whom I had the pleasure to interview a little while ago, has a passion for fabric, for storytelling and for the way textiles can weave our own lives. Selvedge is a textiles magazine that sets the standard in the design field and which inspires and encourages us to take the road less travelled and to look at the world differently, and appreciate culture, beauty, fashion, tradition and folklore in a wider context.

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