APPETITES By Jumbo Tsui and Jake Martin

In Appetites, we explore the quiet, intimate moments that unfold when we are alone with ourselves—how food, the body, and solitude intertwine in personal spaces. Through diptychs pairing fragments of the body with images of food, we invite viewers into rooms where small, private rituals of care, hunger, desire, and lingering take place. Though each scene is thoughtfully composed, we aimed to capture a sense of lived-in presence—as if the subjects have just stepped away, or linger in a moment of waiting.

In Final Meal, we explore the quiet, intimate moments that unfold when we are alone with ourselves

(TOP: CHARLOTTE ROBINSON wears TOP by COU COU INITIMATES, KNICKERS by STYLIST'S OWN) (BOTTOM: RUIQI JIANG wears DRESS by LAURA ANDRASCHKO, SHORTS by MIU MIU, KNICKERS by AGENT PROVOCATEUR)

The body appears in glimpses — a hand resting lightly on skin, the dramatic curve of a back—never fully revealed. The food remains simple, unadorned, sometimes half-eaten or willfully abandoned. Together, these paired images speak a quiet language between desire and hunger, absence and longing.

we invite viewers into rooms where small, private rituals of care, hunger, desire, and lingering take place.

RAPHAÉ MEMON wears NAVY BRIEFS by CDLP, and WHITE TANK TOP by POUR LUI

We place the viewer as a gentle intruder—close enough to witness, yet still held at a distance. This creates a tender tension between being seen and remaining hidden, between physical craving and emotional ache.

The body appears in glimpses

(TOP: CHARLEY DEAN SAYERS wears TOP by MARIEYAT, KNICKERS by MAISON MARGIELA and TIGHTS by FALKE) (BOTTOM: TODD LAMMING and WHITE TRUNK by CDLP)

In these hushed domestic moments, the echoes of sex—its bliss, its disappointment, or the ache for a partner’s touch—linger softly and remain unspoken rather than on display.

Together, these paired images speak a quiet language between desire and hunger, absence and longing.

(TOP: ALEK WALENT wears BODYSUIT by LAURA ANDRASCHKO and STOCKINGS by CHARNOS) (MIDDLE: JING CLEAVER-LYEN wears BRA by MISS CROFTON and KNITTED PANTS by KATYA ZELENTSOVA) (BOTTOM: TODD LAMMING wears BEIGE THONG by MODEL’S OWN and POLKA DOTS TIGHTS by FALKE)

For us, Final Meal reflects the private rituals we return to when alone—small gestures laden with both comfort and yearning.

we aimed to capture a sense of lived-in presence—as if the subjects have just stepped away, or linger in a moment of waiting.

RUIQI JIANG wears SHORTS by MIU MIU and TOP AND TIGHTS by LOU DE BÈTOLY

The work dwells in the space between hunger and fulfillment, presence and absence, holding the delicate ache for connection that remains long after the moment has passed - the taste still on our lips.

small gestures laden with both comfort and yearning.

(TOP: MINMIE SANGSAWANG wears SHORTS by LOU DE BÈTOLY and T-SHIRT by LAURA ANDRASCHKO) (BOTTOM: MEIXUAN CHENG wears SOCKS by MODEL’S OWN)

Art

Paul McCarthy: Power in the Provocative

I do what I want—what I believe in. We’re living in a pretty extreme time, and when people say my work is getting more extreme, I think that just reflects the world around us. I’m simply moving with the current.

Born in Salt Lake City, Utah, McCarthy’s beginning in the art world stems from proximal radicalization. After moving from Salt Lake City to study in San Francisco, McCarthy's work as an artist has always embodied this radicalization. Street-wise, known for being one of the most

“dangerous” artists in Los Angeles, this exhibit encapsulates that at its forefront. The artworks present provocative, scattered drawings and paintings that promote freedom from systematic censorship in the exchange between creator and receiver. His art style is distinctive in its intention of visibility over technicality, as seen in his limited color palette and intentionally imperfect techniques, but radical imagery.

McCarthy speaks about his artistic process as though the outcomes are inevitable and incredibly natural to him, given the current state of the world. Living in times of constant uncertainty has blurred the lines of media censorship; almost everything we consume is shaped by it, raising questions such as: Why was this said? Why was this created? Who is this for? Paul McCarthy’s work deconstructs this. His drive to create authentically and follow what feels natural to him results in art that inhabits the visual extremes of human experience, with the spirit of contestation serving as an added layer to the experience.

Art

The Wedding Written In Stone

April 27, 2026

Sten Studio walks down the aisle to couple with Alcova for Milan Design Week. Set within an abandoned cathedral where vows once echoed, The Wedding is a sculptural installation hosting a symbolic marriage between feminine and masculine, soft and stone, fluidity and structure. Rocks are fossilized fusions of their own ancient surroundings, built from eons of crashing waves or explosive magma. Love is based on divine circumstances, built through trials and tribulations. Love is much like stone in the way it takes form through time and pressure, relying on the invisible higher powers forcing the gravity of unity. The Wedding reflects on this permanence. The space materializes elements that are usually fleeting - light, flowers, ceremonies, romance. Registry gifts include a custom carpet courtesy of Verdi, floral arrangements from Hamish Powell, and scents brewed by Penhaligon’s, all coming together to build the intimate world.

Photos Courtesy of Ramona Balaban

Sten Studio specializes in stones and crystals as decorative interiors, expanding on natural, Earthly beauty in man-made environments. Alcova temporarily transforms raw, abandoned, and unique urban spaces into immersive hubs of design, innovation, and heritage. The featured collection revitalizes the cathedral for a final reception celebrating life and all its momentary yet abundant bursts of joy.

Art

All Silk Roads Lead to Gucci

April 23, 2026

The silk road once dominated the Asia-pacific and cultivated economical prosperity with the purest textiles, a contrast to the modern, oversaturated market of cheap goods. Gucci has never been a cheap name, and their craftsmanship could be mistaken for that of another century. The Art of Silk, curated by Demna from the Gucci Archive in Florence, pays homage to the house’s journey with silk. Ten scarves reimagine archival designs of flora, animalia, and nautical prints - motifs of the primordial garden of Gucci. These limited-edition pieces were birthed in Calabria in collaboration with Nido di Seta and Ongetta. The fine Italian silk encapsulates more than Gucci’s reputation, but the tradition of mulberry cultivation. The project revives a once-thriving silk supply chain, recovering abandoned land, fostering employment in communities, supporting small farmers, and powered by renewable energy. It’s a production that innovates how tradition, community, and sustainability can stay preserved in the contemporary world.

In addition to this heritage preservation, the campaign represents Gucci’s contribution to the world of art and education. Two exclusive flora scarves were created for the Los Angeles County Museum of Art, celebrating its opening of the new David Geffen Galleries. Available exclusively at the LACMA Store and the Gucci Beverly Hills flagship store, the designs pull inspiration from Vittorio Accornero’s 1966 illustrations. In partnership with the Accademia delle Belle Arti di Firenze, selected student paintings of each scarf will be displayed at the Gucci Rodeo Drive store in LA. Gucci supports these participating students through scholarships, reinforcing the house’s commitment to nurturing the next generation of creative talent. The Art of Silk bridges the old and new world, breathing life into past traditions and future endeavors.