Issue 2 —

Industrie’s second issue gets off to a bombastic start, sporting a cover of Marc Jacobs in radical drag. It turns out that Marc has not decided to become the Grayson Perry of the fashion firmament but rather to model retrospective of his own work. Shot by Patrick Demarchelier and styled by Katie Grand, it’s exactly the kind of leftfield fun that a magazine so deeply entrenched in the fashion industry can pull off. Fortunately for Industrie it turns out that Marc and Katie are not dissimilar sizes, making it easy to raid her own wardrobe and simultaneously give us an overview of Marc’s work to date.

Industrie remains committed to profiling not only those in the public eye in its take on fashion culture, demonstrated here in the expansive feature ‘The Power Brokers’. This feature collates a series of articles on the less visible individuals who actually lubricate the wheels of fashion with important decisions both creative and executive. For example, Jens Grede’s article, accompanied Todd Cole’s portraiture, on Ivan Bart, the supermodel agent who was one of the duo who built IMG Models into an international powerhouse agency, offers a very different experience compared with all the usual clichés that we have been taught to associate with this side of the business.

Not that the designers loose out either. Shala Monroque interviews Kate and Laura Mulleavy, the Rodarte sisters, and reveals an interesting double portrait of the apparently unusual decision to turn a familial relationship into a working one. If anything, the feature only reminds us that ‘the family business’ is actually a reasonably common occurrence in high-end fashion. The interview is rounded off with Ana & Danko Steiner’s striking photo-essay, an ode to the Louise Bourgeois, the sisters and their collections.

On the fashion shoot front, one really can’t fail to miss Richard Bush’s stunning story ‘Landmarks in the History of Denim’, styled by Sarah Richardson. As the name suggests, it profiles great moments in the development of that most democratic of fabrics from the mid-1950’s onwards, approached as both cultural phenomena produced by street fashion and mainstream brands and as luxury ‘designer items’ realized by the likes of Versace or Calvin Klein.

Naturally, with Industrie’s impeccable credentials and good connections, the issue is brimming with contributions on or by top talent. Camilla Åkrans, Tom Allen, Boo George, Terry Richardson, Thomas Lohr, Johan Sandberg, Jason Schmidt, Alex Salinas, Willy Vanderperre and Ben Weller all provide stunning images alongside the other worthy talents already mentioned.

    Issue 2 –
    164 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    The Devil and Miguel Adrover The Power Brokers The Blueprint of Fabien Baron This Is Your Life Rodarte All Clothes Model's Own My Jeans The Dream Factory On The Spot
    Editors In Chief –
    Erik Torstensson & Jens Grede
    Art Director –
    Peter Hughes
    Industrie - Issue 2  Industrie - Issue 2  Industrie - Issue 2  Industrie - Issue 2  Industrie - Issue 2  Issue 2  Industrie - Issue 2

Our Take —

As the name suggests, Industrie is a magazine that primarily speaks to the fashion industry and those that have a strong interest in it. Industrie defines itself, as "the first and only media title dedicated to going behind the scenes to chronicle the personalities, stories and defining moments in the world of fashion."  Assuming an insider’s voice and position, it has rapidly grown into one of those rare media essentials; required cult reading. Started in 2010 by Erik Torstensson & Jens Grede, it is not one of those fashion titles that devotes its attention to interpreting seasonal trends for a mass audience of the fashion-conscious public, but rather tries to offer up a concentrated impression of the culture of fashion as played out in the current global fashion industry.

In practice, this means that it contains numerous feature articles on or interviews with the movers and shakers of the contemporary fashion scene, both on the creative and business side of the industry. It’s also a bit of a free space in which those inside the industry – particularly the creatives- can let down their hair down and engage in a bit of experimentation that market pressures might otherwise prohibit in more mainstream publications with an aim of more widespread circulation. If this gives an expectation of lofty presentation, nothing could be further from the truth: the face of Industrie is art directed in a slick and lean style.

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