Issue 3 —
Issue 3 sees Lurve in an impressively demonstrative mode: it’s art direction is crisp, clear and specific, the photography following a carefully thought out route and at least a few impressive contributors, despite the magazine’s own preference for emerging talent.
A word of warning: this is not a magazine for those with a big appetite for lengthy articles and features. The issue is almost entirely visual, give or take the occasional article and short interviews with interesting people such as the charismatic Michele Lamy. But, in mapping out its visual paracours that includes some very established contributors, such as artist Terence Koh, Lurve takes us on a specific journey elaborating the issue’s theme of ‘The Body Proper’.
The story shot by Cécile Bortoletti and styled by Marine Braunschvig is immediately notable, a carefully controlled exercise that draws us into the world of Weimar-era erotica. It’s so precisely realised that it manages to retain all of the ambiguity of original documentary material. There is almost something wrong about a ‘fashion’ story that avoids Liza Minelli’s Sally Bowles in favour of evoking the far more grim realities of the period; a distinguished effort notable for creating something of beauty by, ironically, denying glamourisation.
Even if the intro text is a little misleading, also of note is what is effectively a mini-retrospective of the work of the Antwerp duo AF Vandervorst. Photographed by Zana Bane and styled by Cameron Cooper, the stark shoot offers a fitting insight into the developmental process of An and Filip’s work with its specific deconstructionist approach. Furthermore, with their particular fascination with the relationship between materials and the body, it intersects well with the issue’s theme.