Sabrina Cooper

There’s a certain generation who knows Patricia Field from her former eponymous Eighth Street boutique in New York City’s Manhattan, which provided a safe haven to a legion of fashion followers — ranging from the transgender community, to rap and hip hop stars, to 90s club kids; from Lenny Kravitz to socialites like Paris Hilton to downtown legends like Patti Smith and Amanda Lepore.
And then there’s a generation who knows her as one of the most famous stylists walking the Earth today...

MaryV talks about photographing the safe and sacred queer spaces of a community under attack.
In a hostile world, where it can be dangerous to just exist as yourself, queer spaces have long been havens of safety, freedom and self-expression without judgment; places where people can be who they are without limits.

For decades, larger-than-life jewellery has come to define the look of a musical genre. Now, a new book is delving into its rich, underlying history.

PHOTOGRAPHY

"These kinds of polaroids don't exist anymore," Ellen von Unwerth tells me on the phone from Paris. While she mainly shoots digitally now, in the 90s and early 00s, Ellen used Type 100 peel-apart film as a preview. It was a quick method to see how a photoshoot would develop. Decades later, her visual archive of polaroids eventually became stolen moments: small windows into the peak of the supermodel era.

In Portofino, it’s la dolce vita for everyone—not just celebrities.
Kourtney Kardashian and Travis Barker knew what they were doing when they decided to marry in a lavish yet laid-back ceremony in Portofino, Italy, a few months ago. Like many others (Beyoncé, Jay-Z Rihanna, Steven Spielberg, and myself, for example) who found themselves equally swept away by its quaint and quiet charms, this town has seen its share of mega-watt celebrities. But don’t let the media mislead you. Portofino exist...

The born-and-bred Brooklyn photographer discusses his documentation of 1980s New York, his innate “love for humanity”, and the importance of inner-city community.

During the opening credits of the classic 1982 high-school movie Fast Times at Ridgemont High, a bustling scene unfolds at a onetime landmark shopping mall (Sherman Oaks Galleria) in the San Fernando Valley, Hollywood’s next-door neighbour. The Go-Gos’ fast-paced ’80s hit ‘We Got the Beat’ punctuates the mood: a mostly young crowd hanging out and working in various retailers and restaurants.
In the background, there’s a blink-and-you’ll-miss-it shot of Licorice Pizza, the music store referenced by Paul Thomas Anderson in the title of his latest film...

Joseph Rodriguez captured the many different corners of the city from the window of his cab.

"To drive a cab back then, you either had to have a death wish or come to the job with a biography that inured you to the danger or graced you with such intuitive empathy/curiosity that to see and hear and sometimes engage with the cavalcade of humanity sliding in and out of your backseat trumped the nightly game of Russian roulette."

Analucia McGorty shares a behind-the-scenes look at the groundbreaking series before its final season premieres.

Looking back at a relationship that spanned two decades, Sébastien Jondeau and fashion journalist Virginie Mouzat discuss their new book, 'Ça va, cher Karl?'.

How does one stay cool when tasked to ask supermodel Claudia Schiffer 50 questions on the eve of her 50th Birthday? (The answer: it’s impossible.)

Costume designer Ellen Mirojnick reveals what it took to create the costumes for the romance drama – and why Regency style is so timeless

'The Bad and the Beautiful' by Gero von Boehm unpacks the fashion photographer's provocative work.

When legendary German photographer Peter Lindbergh passed away in September of last year, the fashion community mourned a monumental loss. Models like Helena Christensen took to Instagram to post tributes: “Through your lens, I was allowed to blossom, to grow up, to remain myself and to express all the different sides of the woman I was growing into. You captured all of that in the most profound and poetic way.”

Tom Ford remembers his directorial debut alongside costume designer Arianne Phillips, shedding new light on the arthouse film