AnOther Magazine

Editor-in-chief Susannah Frankel Group editorial director Jefferson Hack Fashion director Katie Shillingford Art director Sarah-Jayne Todd Editor Sophie Bew Photographic director Helena Whelan Deputy and literary editor Hannah Lack Fashion features d

To reveal. It's an idea integral to the mechanism of a magazine: the turn of each page is, in a sense, a reveal of a new perspective, a different point of view. So too is the premiere of a film, the opening of an art exhibition, the launch of a book

What was the most surprising thing that happened on this shoot? Simply a revelation. A surprise to be invited. A magnificent feeling. To have been given the finest opportunity to collaborate with Kim after all these years. And to have had the luxury

Benny Safdie Tala Madani Karis Jagger and Fabienne Toback Charles Melton Elaine Kahn Harry Dodge Lulu Wang Charles Fine Graylen Eastwood Eli Russell Linnetz ■

LE LABO Artwork by Katrien De Blauwer JIMMY CHOO Photography by Milo Reid Sittings Editor Precious Greham HERNO Photography by Parker Woods Styling by Molly Shillingford GIVENCHY Photography by Letty Schmiterlow Styling by Jordan Duddy CHRISTIAN LOUB

I give myself to pleasure / Since pleasure is the best medicine for my ills Photography by Oliver Hadlee Pearch and styling by Isabelle Sayer I always thought it would be better to be a fake somebody than a real nobody Photography by Charlotte Stouve

Julianne Moore Paul Mescal Kim Gordon Steven Yeun Sophie Wilde Miuccia Prada & Raf Simons ■

Frankly, my dear, I don't give a damn Photography by Carlijn Jacobs and styling by Katie Shillingford There ain't no sin and there ain't no virtue. There's just stuff people do Photography by Anthony Seklaoui and styling by Robbie Spencer I was under

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In the May 1935 issue of the American Mercury, William Faulkner published one of the few pieces of fiction he set in California, a short story he called Golden Land. Golden Land deals with a day in the life of Ira Ewing Jr, age 48, a man for whom “25

These complexities are given their most significant exploration in the central scene of 36 fillette: the hotel room encounter between Lili and Maurice. She vacillates between desire and dread throughout the scene. As they approach his hotel room, Lil

The noise of the city is very loud, in recollection it's like the soundtrack of a film turned up too high, deafening. I remember clearly, the room's dark, we don't speak, it's surrounded by the continuous din of the city, caught up in the city, swept

Five hours’ New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm. It is that flat and spectral nonhour, awash in limbic tides, brainstem stirring fitfully, flashing inappropriate r

“Nothing fancy,” I tell him. “The bulbs are very dim …” “Bulb. There's only one bulb.” I relieve my purse of its bulge in the bathroom and discover that the administration of this motel, meaning some sneaky relation of the Señora's, has also been loo

As she sat there devouring her bucatini con le polpette, she somehow made an associative leap and found herself wondering whether abstract painting wasn't due for a spaghettiandmeatballs recuperation. After all, it had enjoyed a history similar to th

[Robert] Johnson's vision was of a world without salvation, redemption or rest; it was a vision he resisted, laughed at, to which he gave himself over, but most of all it was a vision he pursued. He walked his road like a failed, orphaned Puritan, lo

by Elaine Kahn Today my therapist suggested I try lying down on top of graves She had a leaf stuck to her cheek But I didn't tell her I'm depressed because my orgasms alone are uninspiring And the most money I have ever made was when I got hit by a c

PEANUTS © 1959 Peanuts Worldwide LLC Dist by Andrews McMeel Syndication. Reprinted with permission. All rights reserved ■