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Creativity in lockdown with Dan Thawley

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Name's done thoroughly and I am. The editor in chief of a magazine curated by fashion and odds journalists based in Paris mistrial like I was born in Sydney and moved over to Europe in two thousand nine. And I've been working on this magazine since two thousand nine is its digital editor in two thousand and ten. I became the editor in chief. It's a magazine that was started in Antwerp in two thousand one with the mission of creating Belgium's first name fashioned title and it quickly became something quite different as the concept is to invite one fashion designer to curate each each issue of the magazine at say cut blonde to them to express their interests their that loves their obsessions and all about the universe in around two hundred pages and it is something that has really done a a world to a in nearly twenty years with designers from France and Italy from Japan from England and from the United States and really a covering a very very broad aesthetic scope as well so it started with designers like Martin Majella and had Iraq common and alleviate tastes skins people that were really based in that late nineties Belgian aesthetic And then moving forward. We've we've worked with the many many different types of designers like Alexandra mckelway at Gucci. We've worked with Palo Pitcher Lee at Gallon Tina and almost issue which is just about to hit newsstands. In the coming days and was announced last week is with. Luke and Lucy mayor who are the Co curated directors of Joe Sanders Milan. I'm such a fan of theirs. I'm really excited to read this. But I'm I'm wondering Dan. How how. How do you put together a print magazine while in confinement? How did you make that work? We're very impressed so we have. I mean it's always a long process in this initiative. We've been working on for many months. So certain parts of it were very luckily finished. Just before legal confinement and other parts of it was still in the process as we as we were shutdown lockdown here in France so I was very lucky to have program this issue more or less to come out around this Around this time but it was slightly delayed. But I'm what we don was actually done most of the physical productions in the months of January to March already. So what was the biggest challenge for US was That we usually design the magazine together without team in Cologne as we work with a wonderful office codes Marais and Mirae in a column and so usually we would have gone there with looking Lucia and whichever designer we were with the time for a couple of days and we sit in the office with them and we design all the pages and we go through all of the process of of the structure and putting everything together in person. And this time we were unable to do that. As actually there was a case of covid nineteen in the in the office in Cologne in the earlier. Part of of quarantine. It was really off the table before travel was actually Was actually restricted. So we were forced to do everything. And and work from home as as were everybody else. What we were lucky was that we'd had most of Al Photo shoots finished so I'm one of the challenges was that we had photographers rushing to their lab. Zola the All over the place to get prints developed in time and we did shoot Many different cities New York Bacelona Paris. I slammed we. We really were all over the place. Summer talk of traveled others were in their in their hometown during their own country where they could drive and and do something locally which was nice. It wasn't all baked productions Anyway but it was many small things happening at once and and so we did have the risk of getting some of our images in time and then everything was luckily through except for one or two things that we really had too late by the wayside and we set to work designing the magazine from fall which was very challenging. Because we had people in time zones on my colleagues Blake was in Vancouver with his family so he was able to come over for the design periods so we had people working from Vancouver to France to Cologne and Milan only lockdown so it was quite a juggling act but al lost real stroke of luck in the middle. That was that in fact we would for the first time printing with an Italian printout because they work with a special technique where the side of the magazine is actually invisibly bound. So it's bound with stitches. Which then all these small booklets stitch together and then glued on the side so you have this invisible spine with the stitches showing through and they were actually considered an essential service in Italy. Even though they were northern Italy area that was very very heavily affected by the virus and Due to their Status as an essential services provider we were able to print in April saw so that was really interesting and as I said a very serendipitous experience. The putting the print magazine together nut time of course like putting any media together in that period. It was something that had to be done very sensitively. It had to be done with a lot of thought to the well that we were living in at a particular time as well as The That we're going into and We were also very prescient with that because Lucy and Luke's same for the issue that was decided last. July was the idea of human nature and Mother Nature and the interactions between those things that have been decided way before because I feel it so APP. Yes so we've found ourselves with the same that we'd already been working on for months. It was already very much connected to current events. In a way you know we're looking at indicted environments. We were looking at different kinds of architecture that was linked to people's domestic lives the process of them creating work. We were looking at also different elements of of race. We were looking into also things that sort of pivoted around the way we deal with nature and environment. It was something that I of course have to think about when riding my editor's letter which is one of the loss things that goes into the magazine and A very timeless publication. We're not the kind of magazine like You were discussing earlier. The whether it's vogue or New York Times it has to be on the on the point of of the actually of the news and really making strong statements Thereabouts but what we did have in wanted to do. He was still a really acknowledged the fact that we were coming out in this time and in this year Wanted that we will never forget in our in our

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