Fear and Loathing in Mexico
SSENSE
Oct 26 2019
Three days in San Miguel de Allende, Mexico. An ATV of designer pieces. And a guy named Miguel. This is Fear and Loathing in Mexico.
For an editorial feature, SSENSE sent photographer Maxime Ballesteros to San Miguel de Allende, a central Mexican city known for its UNESCO World Heritage architecture, as well as a pink cathedral modeled after a postcard of Gaudí’s Sagrada Família in Barcelona. Along with designer Jen Gilpin and model Masumi Rioja, he spent three days exploring the surrounding area, riding on ATVs with trunks packed full of pieces from Dolce & Gabbana, Alexander McQueen, Balmain, Marni, Junya Watanabe, and Chloé.
How Massimo Osti Re-Engineered Menswear Exploring the Legacy of The Prolific Italian Designer The modern history of sportswear is archived in a restored 1930s farmhouse in Bologna. It houses more than 6,000 garments and 55,000 textile samples, each possessed with the story of a past life. The majority have been meticulously collected, studied, dissected, and resurrected under the hands of Massimo Osti. 
Glimpses of Practice with Dev Hynes and Wales Bonner The Musician and Designer Discuss Their New Collaboration In April, Grace Wales Bonner and photographer Harley Weir travelled to South Africa to research and shoot a campaign for Wales Bonner’s Fall/Winter 2017 collection entitled “Spirituals II.” They also began work on a new film as an extension of the collection. The outcome, , scored by Dev Hynes (aka Blood Orange), explores a broad spectrum of dance via its protagonist, Leroy Mokgatle, a 17-year-old ballet dancer from Pretoria. The film collages scenes from Johannesburg and Cape Town, reflecting the artists’ time spent time between the two cities working with local musicians and dancers. 
The SSENSE Fall/Winter 2017 Womenswear Trend Report A Guide to the Future and Next Season’s Products POST-HUMAN, PRE-CRYSTAL Out of the sea of sequins in Alessandro Michele’s unisex Fall/Winter 2017 Gucci show emerged a complete amalgamation of human and crystal. Who needs strobe cream when you’ve got a completely prismatic face? If masks became ubiquitous, the playing field might be more level than makeup could ever make it. Post-human, pre-crystal, we are on the cusp of a cyborgian future that’s glowing right before our eyes.