Miu Miu Spring/Summer 2024 Fashion Show

“What if I told you, you aren’t the hero in your own story but the villain in someone else’s?” In this special project for Miu Miu, artist Sophia Al-Maria offers us an old story with a new twist. Gravity ∞ Grace is a fairy tale ending (of the world) about a court jester and a royal guard who can’t agree if life is a tragedy or comedy. The pair gaslight, gate-keep and girl-boss each other in an epic battle over POV. Featuring original music by musicians Takiaya Reed and Scarlett Viney of Divide and Dissolve and starring stuntwoman Ayesha Hussain as archetypal twins, this one-minute recap formed the introduction to the unabridged story which played out during the Miu Miu Spring/Summer 2024 show in the Palais d’Iéna on October 3rd, 2023. Sophia Al-Maria’s expansive work across art, publishing, film and TV is united by an urgent question of perspective: if language and stories form our POV, how can we tell fantasy from reality?




Yaeji - easy breezy

Assistant Editor: Zaafir Camera Operators: Zaafir, Becky , Mike Shane




Filip Custic en BIBLI




Dj Raph - Ikondera

Ikondera was produced by Raphael Kariuki in Nairobi, Kenya & Bayreuth, Germany. All ethnographic recordings used on this record are part of the Unesco World Heritage with friendly support of Klassik Center, Kassel. During marriage celebrations in the Kisenyi (Lake Kivu) region, Hutu women and girls sing and dance an imbyino or popular song. This particular song is responsorial, with unison choir and soloist in alternation. An infectious, joyful feeling is transmitted through the soloist, the choir and people in attendance through the song-and- response pattern. Original recording: Ikondera (Song of bride’s friends) – An Anthology of African Music Disk 2, The Music of Rwanda, no.11

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LOEWE x On—the Cloudtilt

A lifestyle shoe made to move, the Cloudtilt blends meticulous design with Swiss engineering. Campaign film featuring Amna Al Qubaisi, Cindy Dos Reis, Hortense de Gromard, Liu Hong, Roy Morel Kaneza, Stefan Crainic Casting People File Hair Karim Belghiran Make up Erin Green




The Machine Stops

Set in a world where the majority of the human population has lost the opportunity to live on the Earth’s surface, individuals now dwell in isolated underground rooms, with their physical and spiritual needs managed by the omnipotent Machine, created by humanity to sustain its population. However, the role of the machine is now being questioned. Eventually, the Machine collapses, leading to the downfall of “civilization” itself. Genial found this topic inspiring and chose to interpret it in a deeply personal manner. As a young boy discovers a way to introduce a flower into the machine, the system starts to break down, triggering a transformative event and inspiring a fresh start for a natural world. creative technologist Rémi Grosson @mire.dev mix Loris Bernot @lorisbernot line producer Gaelle Bijani @agentbadkitty production manager Laura Alday @sol_____eil Joana Dacheville @joana_dacheville Agathe Philipart @agathephilippart assisted by Leo Rouault @leorouault producer Sylvain Obriot @sylvainobriot 2D artist Quentin Kadlub @barbiche_quentin colorist Baptiste Vieillard @baptistevieillard edit assist. Romain Beltran @romainbebel Raphael Perez @raphael_perez_de_barradas post production Everest Lab @evrstlab creative director Florent Canale @anomaly_spectre lead supervisor Thomas Espinosa @thomas_espinosa 3D artist Victor Jonckheere @briquetagram post producer Sonlan Tran @sonlan_pics models Ajuma @ajumanasanyana, Nyadeng @nyandeng_makur Robin @robinterzone, Ajak @ajakdengchol, Eduarda @bretaseduarda casted by Maria Pablo Feliz @aurevoirlami voice over Christopher Taylor @christophermtaylor Lauren Marshall @itslaurenmarshall casted by Charley’s angels @charleys_angels_voices 1st assistant director Balthazar Blanlot @jean_sanspeur 1st assistant caméra François Pallud – pas d’instagram key grip Dino Fey @dinofey assisted by Léa Sorrenti @leasorrenti key electro Louis Jamaux @siuol_xuamaj assisted by Hubert Eudeline @hubert.edl steadycamer Matias Sahnoune @matiashnn makeup artist Axelle Jérina @snakeyez assistant makeup artist Ophélie Mirambeau @mirambeau.ophelie_mua agent makeup and hair artist Louise Aguilar @louiseoffduty hair artist Gor Duryan @gorgeousduryan nail artist Magda S @nailsbymagda.s set designer Clément Pelisson @accoudoir assisted by Paul Thomas @paulplehrthomas Samuel Bardaji @samuel.bardaji Maud Guyon @maud_guyon flower artist Garden of Bruce @gardenofbruce scan Scan Engine @scanengine making off Marthe Pitous @la_machu type designer Yann Linguinou @yannlgn script advisor Toby Merrington @toby_merrington




PAM/PUMA BIO/VERSE SS23 — Ft. Thaiboy Digital & Cartoon

For this season’s campaign, Thai-Swedish rap legend Thaiboy Digital and his paramour, Cartoon, venture to North Sumatra, Indonesia, to explore a world of creativity, evolution and change-making with PUMA and P.A.M. Sounds of the Sumatran Rainforest recorded via real-time, remote, cloud-based audio sensors are remixed by Tsuzing and Suda into a ‘Jungle Sonics’ soundtrack used for the film.




Max Cooper - Forgotten Places

Max Cooper: 'Forgotten Places' began as a feeling, chord progression and an idea to make an audio visual project about the lost places in our built environment and the beauty of nature starting to take hold again. For me these sorts of places have always been important for some time away from the city grind when there’s no time for escaping the city. There’s something special about unkept spaces and the form of complexity that emerges along with a reassuring feeling that nature will persist beyond us. I chatted to Kathrin about the ideas and she made an on the spot improvisation for the vocals in the way that only she can, full of expression. I then started looking for imagery of the idea and found Jonk’s amazing photographs of abandoned spaces. He was interested in experimenting with how we could use his work as the basis for a music video so the next challenge was how to turn stills into moving image. The next stage of the project happened with AI art specialist Xander Steenbrugge. In the era when there are often issues around ownership and crediting of AI generated art I was interested in how we could base a project on one artist as the source, Jonk. Xander created predictions of frames linked to the photographs so sometimes we see the spaces before they were abandoned or interpolations between them. Finally, I started chatting to Ukrainian artist Nick Motion about how we could take all of the stills and downstream generated video and combine it with his style of particle work and editing to yield the final audio-synced sequence. So overall it’s a collection of different human and machine approaches as an experiment, to hopefully celebrate the photography of Jonk and capture some of the feeling and merit of our forgotten places. Nick Motion: Every project is a journey. And Forgotten Places is such a special one. For me it was fun deep dive into new software, coding and mathematical concepts. I tried to unleash forces of randomness to create a memorable visual narrative. My main challenge was to create an empty container, interesting enough visually for viewers to interact with. Almost a simulation of a narrative. I believe in the ultimate power of abstraction and chaos. Because it enables the viewer to participate in an act of art. You can only see things you already know, feel, and experience. If you listen carefully you`ll find out — the whole world is a reflection of yourself, and it can't be different. This was my first experience working with AI closely. Thanks to the developers community I have access to useful AI models, without leaving a native work environment. This is amazing how far we can get in the simulation of reality. This gives the opportunity to discover interesting parallels between nature and manmade structures. both physical and abstract




Swwart Wovlve Wolve

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James Blake - Playing Robots Into Heaven

WARNING: This video may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.

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Max Cooper - With Me

'With Me' is a little trip around New Zealand with a spacetime bending alien. For the ‘Motif’ EP, I wanted to explore a range of typical club structures and genres with a bit of my own spice. Musically on “With Me” I went down a chord driven operatic garage experiment with Kathrin deBoer, with a theme of togetherness. I started chatting video ideas with Michael McAffee and we decided to present the themes visually as us spending time with some otherworldly entities, usually invisible, living alongside us, but now revealed. These aliens of sorts also don’t experience time and space as we do, so as we hang out with them, living from their perspective things start to get a bit weird. Michael had a trip planned to New Zealand so his travels formed the basis of the setting with some epic results. It was a fun project to work on - many thanks to Kathrin and Michael for working on it with me. Michael McAfee: Max and I wanted to explore the idea of entities that travelled between & altered space and time with this piece -- As the video progressed, the severity of the rift in space-time would magnify. It seemed appropriate for the visual style of the creatures I design and it allowed me to experiment with compositing my creatures into live action footage. To convey the idea of bending space and time visually, I found that capturing photogrammetry scans and HDRi images of the environment yielded very usable 3D geometry that I could manipulate in CG. Different parameters of the morphing environment are driven by audio stems of the track that Max provided, which made for some nice audio-visual moments. 3D debugging UI elements made their way into the glitch segments, which gave the feeling that these seemingly real scenes are actually the constraints of time & space that are breaking down. A good chunk of this was done in Unreal Engine thanks to the help of Vince McKelvie. Doing these segments in a video game engine allowed us to use custom-made shaders that generate feedback loops in realtime. Everything is filmed handheld on a phone, on location in New Zealand - I wanted it to feel as if the footage captured were isolated sighting of these creatures. You’ll notice that lots of lens flares, handheld shakes, and general visual artifacts are retained in the footage which I thinks help sell the compositing work as well as the ‘random creature encounter’ vibe.






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Dua Lipa for Modern Weekly by Daniel Sannwald.


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