Held for the very first time in November 1997, Ukrainian Fashion Week was the first real, runway-based, event dedicated to fashion within Eastern Europe. With more than 50 shows -as well as presentations- on its calendar, this dynamic fashion week keeps introducing a new wave of Ukrainian designers within the heart of Kyiv, its vibrant capital city.

 Trying to understand the essence of Ukrainian fashion is no easy task, despite brands such as Litkovskaya, Paskal and Vita Kin enjoying international growth and success. If simplicity and construction appeal to the industry’s most prominent names, a subversive touch is also part of the local fashion jargon, avoiding sartorial clichés and promoting individuality. More cerebral and conceptual than their Russian or Georgian peers, Ukrainian designers like to play with contradictions while avoiding gimmicks and gratuitous effects.

This season, the best collections turned gender on its head, underlining the strength of ambivalence and exchange. Womenswear toughened-up -mainly through sharp and oversize tailoring- while menswear became tactile and more delicate, with transparency and embroidered motifs catching the eye. Artem Klimchuk did not disappoint with his precise and confident show. He has an actual following in Ukraine and his menswear looks were the best, emphasizing a subtle balance between soft and hard. At Flow The Label, Viktoria Balaniuk focused on intricate cuts and androgynous styles, from utility-inspired overalls to beautifully-cut pantsuits. Her dresses had an innocent country girl feel, fastened with contrasting lacing. A similar focus on cut and minimalism defined Przhonskaya’s striking collection, which illustrated the subdued and controlled appeal of Ukrainian fashion best. Sticking to a few fabrics only, such as checked wool, faux-fur, patchwork tweed and jersey, Helen Przhonskaya proved that modesty dressing can be directional and sensual. Eccentric statements are, in fact, not what you will find in Kyiv, but new designers showed they also have a sense of humor. SIX, launched in 2017 by Julia Bohdan, delivered a sleek and inspiring show, where she managed to make beige alcantara and crocodile print satin desirable. Pants were wide and high-waisted, while jackets remained manly and loose, advancing the ongoing male/female discussion. Asked about the complex nature of Ukrainian fashion, Lilia Litkovskaya offered her own analysis: “There is definitely a specific taste in our culture, which you can also find in fashion. Respect for quality, beautiful fabrics and a sense of irony may define some of the designers here. I properly launched my brand in 2009 and went international from the very beginning. I was honestly surprised to see how instinctively and positively people responded to what we did.” We can only wish the newest names on the calendar as bright -and promising- a future as Litkovskaya has enjoyed so far.


/ Review by Philippe Pourhashemi /

// CAN'T SAY //


Saint Laurent releases Travis Scott’s music video for ‘Can’t Say’ featuring Don Toliver, following his performance at the Super Bowl LIII halftime show. Directed by Nathalie Canguilhem and produced by Saint Laurent, with fashion entirely from Saint Laurent by Anthony Vaccarello. ‘Can’t Say’ is featured on Travis’ critically-acclaimed 2x RIAA certified platinum album ASTROWORLD, which garnered three 2019 Grammy nominations and scored the second-largest debut of 2018.



Behind_The_Blinds_Stella Tennant photographed by Colin Dodgson for Burberry c Courtesy of Burberry _ Colin Dodgson alongside `Still Water' by artist Nic Fiddian-Green photographed by Peter Langer for Burberry c Courtesy of Burberry _ Peter Langer.jpg

Riccardo Tisci revealed his debut ad campaign for Burberry. The campaign presents the British house's SS19 collection, which celebrates the melting pot of creativity and style traditions the city of London is.

 To bring his vision for Burberry to life, Tisci assembled a multigenerational cast of photographers and models, saying: "The thing that excites me the most about Burberry is how inclusive it is - it appeals to everyone no matter their age, their social standing, their race, their gender.”

 The campaign was shot by photographers Nick Knight, Danko Steiner, Hugo Comte, Colin Dodgson, Peter Langer and Letty Schmiterlow, all of whom make their Burberry campaign debut. Creating a collection of contrasting imagery, the six creatives portray Tisci's diverse and inclusive vision, whilst translating the new cues and codes for Burberry in their own inimitable style.


/ Words by Laura Bonne /

// ABS by CAMPER //

Behind_The_Blinds_Magazine_BTBonline_Camper-ABS (3).jpg

All-new for s/s 2019, ABS is a technically advanced alter-sneaKer with sculpted volumes and a fluid, rounded outsole. LinKed to the brand's ACS line from the late '90s, the camperLab Exclusive style represents Camper's connection to the worlds of industrial design and architecture, boasting a sophisticated no-stitch construction and clean, minimalist uppers made from an elastic material similar to neoprene. For its debut season, ABS is presented in both slip-on shoe and boot styles and is offered in two distinct colorways - blacK with an acid yellow outsole and blacK-on-blacK. Extra lightweight and with a futuristic science fiction inspiration, the new urban offering from Camper combines the brand's design-driven approach to footwear with the lat est in real world, sport-inspired innovation.

More on Camperlab

/ Photography by Florian Joye /

    / Creative Direction Romain Kremer /

    / Art Direction by Novembre x Florence Tétier /

    / Assistant Kim Saskia Alaux /


First look at Virgil Abloh’s first campaign for Louis Vuitton, shot by Inez van Lamsweerde & Vinoodh Matadin.

// ALESSIO BOLZONI / Abuse II, The Uncanny //

Continuing the themes of his book Abuse, the acclaimed Italian photographer Alessio Bolzoni presents Abuse II, The Uncanny, the second part of the photographic project that he started in 2017.

 Abuse II, The Uncanny is a study of the human form, in which Bolzoni explores concepts of abuse and discomfort. The subjects’ bodies are photographed in an objective, almost scientific way, sprawled across the floor in various states of contortion, made even more disconcerting by their heads and faces being invisible. Without this ‘identifier’, the viewer is unable to place their age, gender, or the colour of their skin, creating a feeling of the uncanny that is extended through the sense of an unknown viewer.

Presented in the form of a fanzine inserted inside the publication is a further series of images, entitled Abuse II, Event, which is comprised of photographs of clothing.

The motivation for these works arose from a Syrian refugee who Bolzoni met on a Milanese street in the summer of 2016. He was selling the clothes he had worn during his hazardous journey to Southern Europe. Bolzoni bought the clothes and photographed them unwashed, replete with perspiration and other bodily traces. In spite of its marked absence, the clothing retains the resonance of human presence, with trousers and t-shirts turned inside out and arranged in shapes that echo the bodies that wore them.

As a whole, the three parts of the Abuse project reflect obliquely on the forces both physical and emotional that act upon our bodies: how these manifest in forms of abuse, the traces they leave behind, and the liminal space between life and death.

The book will be available to purchase through John Rule Book Distribution and Donlon Books, London.

Book Launch 4 February 2019


/ Words by Laura Bonne /


SAINT LAURENT SUMMER 19 #YSL21 by Anthony Vaccarello captured by Juergen Teller and featuring Freja Beha Erichsen, Abbey Lee, Julia Nobis and Mica Arganaraz.

// CELINE 01 - MEN'S 19 Campaign Part2 //

CELINE Summer 2019 Men’s Collection Campaign Part 2 by Hedi Slimane.




Brother and Sister’, an exhibition of new works by the Hungarian-born and New York-based artist Rita Ackermann, draws from personal subject matters. Throughout her practice, Ackermann has continuously challenged means of representation and abstraction in contemporary painting. Her often ghost-like compositions are achieved through sweeping, determined gestures of drawing, painting and erasing, wherein figures rise to the surface only to dissolve again. The new series on view in the Zurich gallery persist in their interrogation of how the artist’s consciousness, intentions, and movements manifest at a borderline between the formal aspects of her oeuvre. Ackermann: “Drawings are like veins; blood vessels leading to the heart…I do not know if life is forever, but I know I make paintings to live. Therefore, I must deconstruct the contours of the figure…Erased, blurred boundaries, no limits.”

Rita Ackermann Brother and Sister

Hauser & Wirth Zürich

17 January — 2 March 2019

Opening 16 January 2019, 6 — 8 pm

Images © Rita Ackermann

Courtesy the artist and Hauser & Wirth 

Photography by Genevieve Hanson

/ by Laura Bonne /




Being asked to be the Guest Designer at Pitti Uomo in Florence is definitely a badge of honor for a designer, as well as a strong sign of recognition. Glenn Martens, who is only in his mid-30s, showed a powerful and directional collection within the historical walls of the  Chiostro Grande del Complesso di Santa Maria Novella. We caught up with the talented Belgian to discuss his love of tradition, his ongoing vision for Y/Project and what he thinks ‘streetwear’ actually means.

 Philippe Pourhashemi: How was the idea of presenting in Florence appealing to you?

Glenn Martens:  I came here for the first time when I finished high school, just before my first year at university. For me, Florence remains a major cultural center in Europe, which flourished during the Renaissance. I also wanted a democratic feel for the show and picked this venue because it’s a Florentine landmark while being open to visitors. Pitti Uomo is a fair welcoming thousands of people each season and it seemed logical for me to keep that sense of openness.


PP: How did you translate this vibe within the collection?

 GM: I think Y/Project speaks to very different clients and this eclecticism is reflected in the new collection. I wanted the clothes to feel opulent, but playful at the same time. There’s a whole theme in the show, which I named “Pop-Up”, where garments are doubled-up and seem to fall over the body. I also printed certain fabrics on tulle, which I layered over the originals, creating optical effects. I always like to give our clients several options to style the garments they choose, which means many pieces are pretty transformable.


PP: And you’ve expanded your line of footwear, as well as the bags. The thigh-high boots are really amazing.

 GM: Yes, it’s great to have a full collection and our first one for men. The last thing I wanted to show was sneakers, so we started from this idea of a formal shoe and changing the shape, from two-tone boots and square fronts with heels to strappy sandals and sleek patent leather boots for women.


PP: There are always so many ideas in your shows, but you’ve also perfected some of the styles introduced last season.

 GM: I get easily bored, but it was rewarding to be able to develop certain ideas in more depth. I showed more womenswear looks as well, which was exciting for me.


PP: Streetwear’ is as overused in fashion as the ‘luxury’ word. How do you define it?

 GM: For me streetwear is a tracksuit with a print. We offer that within our collections, but now our clients also buy the tailoring and more intricate pieces. It’s important for me that they represent the brand well.


PP: What was it like working with the Pitti Uomo team?

 GM: I have to say they were quite wonderful people, warm, dedicated and professional. I’m super pleased with how it’s turned out.


PP: How did you manage to get it all ready on time?

 GM: Well, it was a bit of a stretch and we had to work extra hard, but somehow we managed to launch everything before the Christmas holidays.


PP: You’re not scared of the pressure, are you?

 GM: Not at all. I even enjoy it.

/ Interview by Philippe Pourhashemi /



// VVD Works 2009 – 2018 //

Since the release of his first monograph, Vincent Van Duysen has consolidated his reputation for buildings of exceptional spatial mastery and highly refined detailing, and built a growing international following. This beautiful companion volume presents thirty of the Belgian architect’s most recent works produced over the past decade, much of which has been exquisitely captured by renowned photographers Hélène Binet and François Halard. The buildings featured from this latest period include an array of elegant residences in Europe, New York, Paris and The Hamptons, as well as larger-scale commercial and public projects. Product and furniture designs, microcosms of the architect’s rigorous attention to detail, are also featured, including yacht interiors and objets décoratifs.

With foreword by close friend and Academy Award–winning actor Julianne Moore, the broader context of Van Duysen’s contribution to contemporary architecture is provided by architect Nicola di Battista and architecture critic Marc Dubois. An illustrated chronology provides a complete overview of the architect’s recent projects.

Van Duysen has established a reputation as one of the world’s most refined and artful architects. This major new publication will further cement his uncompromising commitment to creating timeless places and spaces.


Created for the world exhibition that took place in Brussels in 1958, the Brillant has been radiating all over the globe, at the arm of many iconic women. 

Over the years, the Brillant has been re issued in various materials. For the 60thbirthday edition, a golden framework has been added inspired by the Mercury – Golden Age car by excellence -, which is this years theme for the iconic bag.

Available in black & red Norwegian bull leather, as well as a black alligator the Brillant is ravishing. Looking back, it’s pretty clear, you don’t become a DIVA, you simply are one. 


/ by Gaelle Van Lede /