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Somewhere between couture and chaos. Annual Print Publication - Issue 9 YAP: Your. Ambition. Pays. OUT NOW

25/05/2026

UGLIES - A Digital Exclusive

Photography/AD: Clara Hupé — .clara .clara Styling: Tessa Lorente — / Anissa Baztit —  Hairstylist: Victor Rossi —  Makeup Artist: Sandra Lefort — .shades Models: Daphné-Swann Tota Zastawnik — , Zo Zhang / Eva-Marie Ferreira — .ferreira via  Light Assistant: Léa Gorges —  Digitech: Elisa Antoine —   Styling Assistants: Manon Zhou — / Eloise Clementine Beaulieu —  Hairstylist Assistant: Camille Senelier —  Wardrobe: Oriane Belenfant — .belenfant , Juliette Pasquier — / .s /

11/05/2026

Spills of Her - A Digital Exclusive

Womanhood in the cis-sense, is often framed as a clean break, as if girlhood is something we are meant to outgrow or leave behind. But it never really works like that.

PHOTOGRAPHER — Pauline Rome
ART DIRECTOR — Chloé Rivoire
STYLIST — Mariam Soliman
MUAH — Inès Ouertani
LIGHT ASSISTANTS — Victor Ferré .ferre & Nathan Contet
TALENTS — Chloé at & Oksana .maruk at

Models wear & stylist’s own archive

See more online now.

24/04/2026

Extinction Vacation: A Digital Exclusive with

photographer — Julien Kirrmann .kr
stylist — Eddy Soilihi
groomer — Emilie Green
producer — Julia Cecillon
1st assistant — Agathe Saladin
staff production — Erwan Sangan
production assistant — Rosalie Brun
model — Wass

Wass wears Vintage D&G, Vintage , Vintage , Vintage , , , and

22/04/2026

M***E LOVES THE EARTH 🌎🌍🌏

1. Eggshells by
2. by .legallo
3. by .renard
4. Redshift by
5. .llf by .castrosin
6. Clipping by
7. Murmuring of the Skin by
8. Surreal is the New Real by

15/04/2026

Ballhaus - A Digital Exclusive

Photography & Art Direction — Johanna Weilert
Styling — Anna Tetruashvili
Model — Henriette Aue .aue
Lighting — Robin C. Wolf
Makeup — Ilya Fesenko .fesenko
Hair — Asuka Ito
Set Design — Tatiana
Location — Joanna Holm
Studio —
Text — Anna Scholten

Ballhaus is undecided whether it is still lived in or already remembered.
One room holds the trace of movement long after it has fallen silent.
Another seems to expect the return of what is already present.
She was never moving through the house, but through versions of herself. Her gaze mirrors,
but hesitates to reflect all at once.
Ballhaus does not resist her presence, it absorbs it. Identity appears like a role rehearsing
itself without ever settling. Fabric replaces certainty. Gesture replaces intention. Silhouettes
shift from doorway to doorway, as if the house were trying on different versions of her.
At times, it feels as though her body knows something the mind cannot translate. She inhabits
the space the way memory inhabits a body:
partially, inconsistently, leaving traces instead of answers.
But who arrived first?

1. Bra: Boss Skirt: Parmida Darestani Tights: Calzedonia
Shoes: Sportmax Hat, Earrings, Brooch : Stylist’s own (vintage)
2. Top, Anklet: Parmida Darestani Skirt: Thira Taf Shoes:Saint Laurent
3. Dress: Tania Orellana Ring: Stylist’s own
4. Top: Parmida Darestani Shorts, Stockings: Calzedonia Boots: Stylist’s own (vintage)
5. Coat: Stelmashov Bodysuit: Haufen Studio .studio Knee-highs: Calzedonia
Shoes, Earrings: Stylist’s own (vintage) Rose: Oversized
6. Bodysuit: Chany Maria .maria Skirt: Parmida Darestani Shoes: Saint Laurent
Earrings, Bracelet: Stylist’s own

10/04/2026

To mark the evolution before M***E 10, we’re opening the archive.
Issue VI — Bea Miller, 2022 Archival Ephemera
Not a reprint. A resurfacing. 10 copies only.
M***E 10 Re-Release Series. More to come.

Photography: Paris Mumpower
Styling: Tabitha Sanchez
Set Design: Teaghan Rohan
Makeup: Ryan Styne
Photo Assistant: Savannah Meetze
Styling Assistant: Grace Grant

05/04/2026

Lottie Moss Breaks Out of Her Shell 🐰

has been visible her whole life, but for the first time, she’s really in control. She’s slowing down, trusting herself, and figuring out who she is without everyone else’s expectations in the mix.

This one’s a little kitschy, a little silly, because sometimes you just need to play. In this conversation, she talks about shedding the versions of yourself that don’t fit.

Photography:
Creative Director, Producer & Stylist:
MUA:
Hair Artist:
Lighting:
Studio: .london
First Styling Assistant:
Makeup Assistant:
Set Design Assistant:
Second Styling Assistant:
Fashion Intern: .o

Wardrobe Credits:        .david.andrews        .mix.jewelz    .b.jewellery  .l.eofficial 

Featured Set Design Pieces:

01/04/2026

Cancelled: Rewriting The Rules of Outrage

Photography & Art Direction: Ela Klingler  Styling: Tim Reimann .rm_ Creative Production: Lisa Reckziegel .rckzgl Makeup Artist: Marvin Glissmann  Hair Artist: Mai Anh .makeup Talent: Fatou .ndure | Izaio Management .modelmanagement Talent: Emma | Mint Artist

1: Jeans: Thong: Archival
2. Emma & Fatou wear Pants: Bra Earrings & Stylist’s own
3. Emma wears Dress: Archival Bracelet: Stylist’s own, Fatou wears Dress: Archival Necklace: Stylist’s own
4. Emma wears Set: Archival Rosary Necklace: Archival Fatou wears Set: Rosary Necklace: Archival
5. Necklace: Archival
6. Cardigan: Stylist’s own, Bra: Thong: Stylist’s Own

20/03/2026

Spring Cleaning: There’s Always More…

Consumption becomes reflexive, and the result isn’t just physical excess, it’s pressure on our attention to the way we move through our environments.

The volume outweighs the purpose, and what begins as desire flattens into habitual boredom.

There’s just too much, but then always more. The question isn’t whether we have enough space, but why we keep filling it. For the first day of spring 2026, M***E praises circular fashion with —

Photographer: Emma Binois / .bns
Art Director: Garance Douyrou /
Stylist: Léa Germano from Studio Paillette / @studio_paillette

Make-up: Juliette Simonet /
Hair: Camille Masson /
Lighting: Shiran Potié /
Models: Emma Blanc & Emma Nicolle / .emmmma &
BTS photographer: Pauline Villain Autunno /

13/03/2026

For founder Liv Masterson, decay is not something to disguise but rather something to study. The very first Mortica collection reflected on a moment of transition in Masterson’s life: her parents moving out of her childhood home. Sifting through old storage bins of childhood clothes, she was drawn not to what was preserved, but to garments tearing at the seams from age. The decay carried memory, a balance of nostalgia and new possibility. She’s drawn to the surplus of men’s striped button-down shirts in thrift and consignment stores.
“I always noticed a pattern, kind of no matter where I was, that there was this excess of men’s shirting in consignment and vintage stores and thrift stores,” she says. The garments were consistent in silhouette and construction, making them an ideal base. “There’s a pretty standard template of what the silhouette is. It was really fun to use as a base to see how I could misshape it and distort it.” Stripes and rigid patterning became central to her visual language.
“I’ve always been inspired by regimented lines and rigid patterns and where we can insert fluidity and organic moments within them.” Mortica was born from that friction Liv had found between erosion and expansion. During her time studying textile design at RISD and amid the pandemic’s isolation, her experiments with upcycling deadstock fabrics gradually evolved into a brand built on transformation.

Read the full article in our bio 👔

Words by
Photos by

13/03/2026

For founder Liv Masterson, decay is not something to disguise but rather something to study. The very first Mortica collection reflected on a moment of transition in Masterson’s life: her parents moving out of her childhood home. Sifting through old storage bins of childhood clothes, she was drawn not to what was preserved, but to garments tearing at the seams from age. The decay carried memory, a balance of nostalgia and new possibility. She’s drawn to the surplus of men’s striped button-down shirts in thrift and consignment stores.
“I always noticed a pattern, kind of no matter where I was, that there was this excess of men’s shirting in consignment and vintage stores and thrift stores,” she says. The garments were consistent in silhouette and construction, making them an ideal base. “There’s a pretty standard template of
what the silhouette is. It was really fun to use as a base to see how I could misshape it and distort it.” Stripes and rigid patterning became central to her visual language.
“I’ve always been inspired by regimented lines and rigid patterns and where we can insert fluidity and organic
moments within them.” Mortica was born from that friction Liv had found between erosion and expansion. During her time studying textile design at RISD and amid the pandemic’s isolation, her experiments with upcycling deadstock fabrics gradually evolved into a brand built on transformation.

Read the full article in our bio 👔
Words by
Photos by

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