Marine Serre is sitting at a small desk in her office in the 2nd arrondissement of Paris, turtleneck collar pulled snug up under her chin, heavy little gold hoops hanging from her ears. This is her third office in roughly as many years, each bigger than the last to accommodate production for her rapidly growing fashion brand. In only her mid-twenties, she’s already built a critically acclaimed and commercially successful label, operating on a global scale while remaining defiantly independent of major corporate ownership. Gazing into her webcam she retraces the footsteps that brought her here, reflecting on the experiences that shaped her, and pondering how to evolve without sacrificing the integrity of a brand built on revolutionary honesty, openness, sustainability and love.

The first time I saw Karen O perform was in San Diego in 2004. Fever To Tell, the debut album from her band the Yeah Yeah Yeahs, had dropped the year before, and she was onstage, caught in her microphone cable. Writhing on the floor, she screamed the lyrics to the record’s biggest hits, “Date with the Night,” “Y Control” and “Maps,” songs that over the previous year had taken the band from grimy college punk rockers to indie superstars, with Karen as their bowl cut-rocking frontwoman.

The Yeah Yeah Yeahs, along with bands like The White Stripes and The Strokes, were heralded in the early aughts as the latest saviors of rock ‘n’ roll, hoisting leather, louche haircuts, sex and guitars back up the charts, which, for the previous few years, had been overrun with boy bands and virginal pop singers. And there was Karen. Center stage, rolling on the ground, covered in beer.

It’s just past noon on a Wednesday, and Slick Rick is drinking Cristal straight from the bottle. I half expected him to be sporting his eye patch, the now-signature accessory he wears as a result of an accident that left him blind in his right eye as an infant. But instead, he’s got on a pair of black Chanel shades that he tells me he borrowed from his wife. It’s one of the few personal things he mentions during our interview, probably because he’s been doing them for so long. He knows better than to let anyone get too close. 

Born Richard Martin Lloyd Waters, Slick isn’t just a rapper—he’s almost universally regarded as “Hip-Hop’s Greatest Storyteller,” and a music and culture icon with an enduring legacy. Just don’t tell him that.

I first met Berlin-based multidisciplinary artist Donna Huanca when she was participating in the Lower Manhattan Cultural Council’s residency program in New York City in 2007. Then, she was making large-scale murals in fabric that depicted imagery of the assassination of Che Guevara, and colorful paintings of shoes, all of which conflated concepts of revolution in fashion and politics.

Promises I made to Brad Phillips:

1) I wouldn’t begin this piece by mentioning that, when I DMed him—he doesn’t have a phone and communicates using Instagram on an iPod—to suggest we do the interview while strolling around the Museum of Modern Art, his counterproposal was, “I need someone trustworthy to help me smoke this DMT I have.”

2) I wouldn’t spend too many words dwelling on the fact that, when we met for the first time a few days later, I ended up serving as his babysitter for a psychedelic trip in which he gracefully swan-dove into the abyss of his reality, and rolled around gasping for air in mine.

3) I wouldn’t, in general, make a big deal of the whole DMT thing.

4) I would show him a draft of this article before I sent it to my editors so that he could make sure he felt alright about it before it was published.

Jenny Holzer has established a distinguished career for her neo-conceptual art that delivers words and ideas into public spaces, a quality that we all could brush up on in this age where "confrontation" largely consists of a screen and a safe distance. Teaming up with curator Noah Khoshbin for the cover of office Magazine Issue 10, Holzer pushes her aesthetic boundaries beyond the iconic large scale LED light installations to remind us that the power of the written word will never go out of style in the most definitive way possible—on the body.

Off the streets of Brooklyn and straight into the pages of office Issue 10, "True Story" proves that the best things are found in the most unconventional places. Photographer Annie Powers and stylist Louise Borchers team up to gallivant around Greenpoint and document the most eye-catching and bizarre looks trending in NYC right now. From chained nails to TV-screened bags, this editorial takes the word 'crafty' to a whole new level.

Leila, Leila, Leila, where do we even begin …

As a model, artist, and musician, there’s not much left for Ms. Spilman to conquer and yet she keeps inching up that mountain. Depth, tough skin, and a genuine desire to help those who can’t always help themselves are but few of the qualities she’s consummated through her foster-living years and her time in the creative industry. For these reasons, among others--including her bangin’ backside--we’re proud to present our tenth and final cover, Leila ft. a tastefully, wax-covered rump.

Lily McMenamy is fashion world royalty. Her mom, Kristen McMenamy, is a '90s icon, having graced the cover of every major magazine, posed for every top photographer and walked the runway for every worthwile brand. Lily even made her runway debut as an infant, sleeping in her mother's arms while she glided down the Chanel runway. Fast-forward a few years, and the now-24-year-old has walked Chanel and countless other runways by herself.

With her long black hair, doe eyes and signature pout, she's created a space for herself in the industry, based solely on her own merit. Famous last name aside, Lily has paved her own way—straight onto the office Issue 10 cover.

office baddie Ian Isiah is the definition of extra, and lucky for the rest of the world, unapologetically so. Whether it's the slickness of his aesthetic, the spirit of his sound, the overall "imma do me, you do you" attitude he exudes, or a potent combination of all three, this R&B artist is a force to be reckoned with. But we don't need to tell you this, we'll let the spread speak for itself. Now, you can say you've seen a cover just as extra as the talent.  

Wednesday's can be a bit loopy—it's hump day, afterall. So let's get weird with photographer Jason Nocito for office Issue 10.

Nina Marker is no ordinary model––her personality is 100% authentic and her energy, magnetic. Whether she's romping down the runway in Milan, or using social media as a platform to tackle meaningful issues, Nina certainly knows how to make her mark (we think we're slick) on whatever she puts her mind to––including the cover of office 10.

Porn stars Harmony, Abella, Noemie, Sophia, Riley, Kira, Kendra, Nina and Angela pose in Palm Springs for office Magazine Issue 10.

Fun, kindness, color, camaraderie, warmth — this office issue 10 editorial radiates all of those elusive, feel-good phenomena we spend entire lifetimes in this wild world in hot pursuit of. So if you're having a shit day in that cubicle, take a moment to soak up this spread, it'll surely make you crack a smile.

Photographer Nicolas Kantor and hair stylist Tina Outen show the the best, and most eccentric, forms that hair can take on. Whether its dyed, cut, or blown straight up - it can all be found in the pages of office Issue 10.

In this issue 10 editorial, office beauty proves that things aren't always what they seem. Liberating makeup and other beauty products from the restrictive confines of conventional packaging, we encouraged our favorite products to run free. Chanel soap and MAC eyeshadow become one, Bumble and Bumble oozes over Sutherland and Hermès gets wet and wild because, well, why the hell not? Because the "right" way to use is usually the most boring, and we love to shake shit up.

Fernanda Ly graces the pages of out 10th issue for a variety of reasons, coincidentally the least of which being her budding career in the fashion industry. The 22-year-old Australian model naturally exudes this down-to-earth, happy-go-lucky energy capable of invigorating even the dullest of atmospheres––a power that many seek yet few possess. Color, creativity, and charisma; this is what Ly brings to the proverbial table––and onto the cover of office magazine issue 10. 

Nora Ephron once wrote that she was “in awe of the women I know who have magical haircuts that require next to no maintenance.” Most people can relate. Blessed are the few who boast follicles that require little to no effort to manage, the mythical folk (mostly French, I’m guessing) who can weather a rainstorm or a ride in a convertible with no fear. Maybe in heaven there are no bad hair days.

But in the hands of superstar hairstylist Holli Smith, hair just seems to always look right. Smith’s trademark is ease — no matter how complicated the style, her subjects always look natural, whether they’re skater boys with lanky locks or supermodels with angled 80s cuts. She loves to slick hair back, to fluff curls, sharpen shortness. Her styles are modern, and they breathe.

In this office Issue 10 spread, we get physical — but who said we have to sacrifice the aesthetic for the athletic? Definitely not us. That's why we assembled our crew and decked them out in the best athleisure out there. So whether you're working out or showing out, we got you.

Surfing during the winter in New York is hardly a new thing. Surfers have been taking advantage of the good surf that comes during the coldest months as far back as the 1950s. The folklore of surfing during the winter in this pre-wetsuit era is storied with surfers wearing wool sweaters in the water and having a roaring bonfire on the beach afterwards to thaw out.

With the invention of the (very crude) wetsuit in the mid-tolate-50s, surfers were able to piece together dive suits which allowed for longer and more tolerable sessions in the cold water. Stories from my dad, who surfed during the winter then, recount rides home from the beach with a van full of guys fighting for a spot next to the heater because they were totally numb from the freezing water they had endured.