Eckhaus Latta Fall/Winter 2018

February 12, 2018

We all lived in the most beautiful house; more so an estate. There were mattresses on the floor and the walls were pink tadelakt and instead of windows we had soft blue tarps that blew in the wind. The wind was soft and warm. The important part is that we all lived together. Some of the toilets were only half toilets, with the wall running down the middle of them. This didn't matter.

Some of us thought we had amenities like rollercoasters in the backyard, terrariums of chimps who wore habits for fun, our genitalia changed whenever we wanted it to, we had all the stationary we could ever need and we were all open to "healthy confrontation." There was always a possibility that this could be the case, it's not as if it hadn't crossed my mind -but to know the truth from a legitimate source was such a relief! The most important part is that nothing really mattered. We let my "hair down."

Photos by Emon Toufanian
Text by Mike Eckhaus and Zoe Latta

The reality was a browned sponge in the sink basin A wasp in the pool Many dead and dying plants lingered around doors that wouldn't fully close The test results were positive: We're all paying to play. You could hardly breathe and your assigned emotional support animal was also vomiting.

A platform constructed by simple people: When my decisions became our decisions and now some would say they are no longer ours, but rather your decisions. Maybe something else, something like a life of parquet floors. Where it is all LED, old, original LED, the kind that stays on with your eyes closed Maybe it was a hotel called The Can. On a special occasion I was waiting for you at the Cheesecake Factory, Maybe we order oysters? Swallow tattoos.

The eyes of a hammerhead shark. Gliding into your pelvis or anus. It really depends on how you look at it, as it looks at you. When your life and the hours it consists of are comprised of one thing it gives you very little to look from. And the funniest part is that it felt relieving to know what the "problem" was.

Fashion

Luis De Javier's Puta Takeover

April 25, 2024

Last night with Luis De Javier, guests could be heard contemplating this generation’s most famed conundrum: “If I’m cunt, I can still be pussy.” “And if you’re pussy, you can still be cunt.” That sentiment rang true for the rest of the night, as we celebrated "Puta," De Javier’s first-ever streetwear collection. We spent seven hours at Ella Funt at a party that only he could’ve thrown. It was too dark for even the most aspiring-to-look-mysterious of us to wear sunglasses inside. Under the semi-oppressive flash of party photographers, we danced as much as the space would allow, drank tequila out of teacups and kissed each other on the cheeks with a vaguely European — COVID and fashion flu be damned. “I’m doing streetwear!” De Javier could be heard exclaiming — whether it be in disbelief or excitement, we couldn’t tell you.

Words and photos by Izzy Capulong

The Spanish-born London-based designer has been well-loved for his genderless tailoring, latex mastery, and overall message of empowerment. Dressing everyone from ravers to A-listers, De Javier’s latest drop pushes his design repertoire to a new level. “While designing for my celebrity clientele and showcasing my creations on the runway has always been my dream,” he notes, “It’s equally important to me that my brand resonates with a wider, more diverse audience.” While this collection’s medium has shifted from corsets to sweatshirts, the classic LDJ avant-garde sensibilities remain. Bikinis and booty shorts are shamelessly emblazoned with “PUTA,” blazers are constructed with ample shoulder padding, and I had my eye on the cheekily-named “Faguette Bag.”

The Puta collection will be available exclusively on emcee.

Fashion

Nadia Lee Cohen Celebrates Paris Texas Launch at the Chateau

To celebrate the launch, Cohen and founder and creative director of Paris Texas, Annamaria Brivio hosted an intimate dinner at the Chateau Marmont pictured below. Arman Naféei entertained guests throughout the evening with a special playlist he curated for the occasion.

Fashion

Dating Olympics

April 23, 2024

In the wake of significant challenges including the ongoing Russo-Ukrainian war which has heavily impacted production and logistics, Syndicate continues to innovate by integrating themes of survival, resilience, and the complex emotions involved in modern relationships. The collection features bold, thematic elements such as textual prints derived from real-life break-up phrases embodying the irony and emotional depth of contemporary dating narratives.

Some of the collection prints were created in collaboration with Magalie Heroux — a London-based graphic designer, the "Dating Olympics" collection employs a mix of early 2000s aesthetics with simple, impactful fonts and ironic slogans, capturing a nostalgic yet fresh vibe. The use of heat-reactive techniques further enriches the tactile experience, emphasising the warmth and connection that are essential to human interaction.

Text Alex Blake
Photography Vidar Logi
Styling Ira Vasylevska & Magalie Heroux
Casting & Production Andriy Zozulya, Taras Schevchuk
Hair Ruth Javy
Makeup Martina de Rosa
Models Sleeze McQueen, Dylan Proudfoot, Olive Harvey
Assistant Tony Poly

Shot by the Icelandic photographer and frequent Björk collaborator Vidar Logi, who's known for his distinctive style that blends natural landscapes with human elements, the “Dating Olympics” campaign is the perfect visual ode to the creative vision of the Syndicate founders Taras and Iryna.

With this collection, Syndicate not only addresses the hardships faced by many due to the current geopolitical situation but also celebrates the enduring human spirit to love and connect, even in times of adversity. The "Dating Olympics" is more than a fashion statement—it's a testament to the resilience and adaptability of love.