每期 A MAGAZINE curated by 都會邀請一位時裝設計師策劃整本雜誌。相比直接討論設計師的作品，閱讀雜誌的curation更能夠感受到設計師的美學和思想來源。
2022年，最新一期 A MAGAZINE curated by 的curator是Erdem Moralioglu。在Vivienne Westwood完成internship後，Erdem於2005年創立品牌ERDEM，專注於女性時裝。直至2021年，才首次推出男性時裝。ERDEM的簽名式，簡單而言，就是精緻的布料、大膽的花紋以及以各種方法詮釋的女性力量。時尚評論家Sarah Mower曾經說，最好的ERDEM總是帶著豐饒、華麗、少許的拘謹和暗黑的觸感。
如果仔細看ERDEM的花紋刺繡，會看到不少18-20世紀英國博物學家的植物繪畫的影響和痕跡。事實上，Erdem Moralioglu的設計語言充滿敘事性，擅長於歷史文化和視覺檔案中找尋啟發和脈絡，洋溢著知性的美感。
由Erdem Moralioglu策劃的 A MAGAZINE curated by，可以瞭解他這種知性的美學系統。
揭開雜誌，看見的不是目錄，而是一本鵝黃色的舊版Orlando。Orlando是英國作家Virginia Woolf於1928年的作品，講述30歲的年輕男性貴族，認為人生失去意義，並陷入7天的昏睡。醒來後，他變成了一個女人。往後300年間，Orlando在不同性別之間轉換著，體驗著比別人精彩的生活，同時也感受到兩者各自所受的社會壓迫。
Erdem Moralioglu於時裝學校的畢業作品，正正是受Orlando啟發。今期 A MAGAZINE curated by 的第一篇文章，Erdem邀請了Orlando電影版本的導演Sally Potter（1992年版，由Tilda Swinton主演）進行對談。對談之間，Erdem說，作為異性雙胞胎的其中一員，青春期時，他和姐姐面對的所有新鮮、奇異的感受，彷彿都交錯、連結著。他就像Orlando一樣，總是以一種更加寬廣的態度，去面對截然不同的人和事物。
那是一種「雙重性」的感受：我是自己，我也是你，我是兩者。
我會仔細閱讀今期 A MAGAZINE curated by 的原因，是Erdem提及的藝術家，無論是電影導演Derek Jarman、作家王爾德或畫家Aubrey Beardsley，都是我極其喜愛的。
曾享名成利就的作家王爾德，因為與美男子Bosie Douglas的同性關係，於1895年被判於監獄服苦役兩年。他在監獄中除了寫下著名的信件《深淵書簡》外，更寫了一首極美的詩The Ballad of Reading Gaol，其中一句是這樣的：Yet each man kills the thing he love，每個人都在殺死所愛的。出獄後，本想與妻子安靜生活的王爾德，最後還是選擇了他既恨透，也深愛著的Bosie Douglas，度過人生最後幾年的日子。
曾經為王爾德製作插畫的藝術家Beardsley，也因其頹廢唯美的畫風受盡非議，僅在26歲時就因肺病而死亡。聽見他的死訊後，王爾德在給友人的信件寫道：「他給人生增添了一種恐怖，卻在花一樣的年齡死去，這真令人感到可怕與可悲。」
王爾德和Beardsley，都分享著一個共通點：他們都極度依賴自己的美學，也因為自己的美學而帶來毀滅。即使死亡即將到臨，空氣中卻洋溢著一種甜蜜的氣息。無論學識如何淵博，仍然讓感受和情緒注滿自己，這也許就是Erdem希望揭示的，關於美感的秘密。
英國導演Derek Jarman與上述兩位藝術家不同之處，在於他清楚知道自己戰鬥的目標和對象。他以藝術挑戰當時社會的保守風氣，以及在戴卓爾掌權後對同性戀所收緊的法例，是當時Queer世界的「王后」。
1986年，Derek Jarman被診斷為HIV帶菌者，更因併發症逐漸失明。他以僅餘的力量繪畫和寫作。1993年，他發表了電影Blue。整齣電影只以克萊茵藍作為底色，Derek Jarman與Tilda Swinton、Nigel Terry和John Quentin的聲音在背後低聲說著故事。
一把聲音說：Blue is darkness made visible. For blue, there are no boundaries or solutions.
電影發表四個月後，Derek Jarman就去世了。
當我們談及時裝設計師時，或多或少，都樂於為自己鍾愛的設計師創造一個神話，以塑造一種距離感，讓自己得以膜拜和投入其中。而且，不少設計師都樂於投入這種遊戲。
這期由Erdem Moralioglu策劃的 A MAGAZINE curated by ，吸引我的地方是當中的誠實和親近。Erdem沒有把握機會營造自己的風格，而是誠實地向讀者分享自己的思想來源，分享他眼中的設計和藝術，如何能夠為每個人帶來力量。
就像親切的朋友一樣。
For each issue of A MAGAZINE curated by, a fashion designer is invited to be the guest curator and develop content that expresses the aesthetic and values of their designs. And to a certain extent, looking at the designer’s curation is a better way to understand their ethos compared to just looking at their work.
The latest issue of the magazine, released in 2022, is a work curated by Erdem Moralioglu, who founded his eponymous label, ERDEM, in 2005, upon completing an internship at Vivienne Westwood. Started as a womenswear label, ERDEM eventually leaped head first into menswear and launched its first-ever men’s collection in 2021. The label is known for its use of exquisite fabrics, bold patterns, and versatile ways of capturing femininity. Fashion critic Sarah Mower once commented on ERDEM’s style as “richness, gorgeousness, formality and a touch of darkness.”
Looking at ERDEM’s signature embroidery, one can easily notice that inspiration is drawn from the eighteenth- to twentieth-century botanical paintings by English biologists. In fact, Erdem Moralioglu is at heart a storyteller. His work is full of narrative elements that take inspiration from sociological and aesthetic references and bring intellectual allure to fashion and craftsmanship.
A MAGAZINE curated by Erdem offers a glimpse into the ethos and aesthetic of Erdem.
Flipping open the magazine, what comes into sight is not a standard page of content but the pale yellow book cover of an old version of Orlando written by British writer Virginia Woolf. Published in 1928, Orlando tells the story of a 30-year-old aristocrat who experiences a sex change from man to woman after a coma and lives for over 300 years thereafter under the societal expectations and oppression regarding different gender roles.
The book became an inspiration for Erdem’s graduation project from the fashion school as well as A MAGAZINE curated by Erdem. The first article of the magazine issue is the conversation between Erdem and Sally Potter, director of the 1992 adaptation of Orlando, starring Tilda Swinton. As a non-identical twin, Erdem shares how he and his sister deal with the mirroring feelings and absurdity of twinning as an adolescent and how such has shaped him in dealing with the various people and things in life.
It’s a feeling of duality — I am myself. I am you. And I am both.
I am particularly drawn to this issue of A MAGAZINE curated by owning to the fact that Erdem has brought together some names that I am extremely fond of: film director Derek Jarman, writer Oscar Wilde, and painter Aubrey Beardsley.
The famed writer Oscar Wilde was sentenced to two years of hard prison labor in 1895 because of his same-sex relationship with Bosie Douglas. In addition to the famous letter, De Profundis, Wilde wrote the extremely beautiful poem titled, The Ballad of Reading Gaol, during his imprisonment. “Yet each man kills the thing he loves,” he wrote. After being released from prison, Wilde, who once thought of spending the rest of his life peacefully with his wife, once again fell back into the arms of Bosie whom he both hated and loved, and spent the last few years of his life together with him.
Also having suffered greatly from the traditional criticism was the artist, Beardsley, who once illustrated for Wilde, and was known for his grotesque and decadent painting style. Beardsley died young at the age of 26 of tuberculosis. Learning of the news of Beardsley’s passing, Wilde wrote in a letter to his friend, “He brought a kind of horror to life, and died at such a blooming age. How terrible and sad.”
There is something common between Wilde and Beardsley — they both adhered dearly to, and yet, eventually tormented by their own aesthetics principles. This is probably what Erdem wants to tell us: Fear no death for death is imminent; and live a life full of feelings and emotions regardless of how knowledgeable you are.
British director Derek Jarman stands different from Wilde and Beardsley because he is one who knew the goal of his battles. His work stands in bold, defiant opposition to the conservative society back then where restrictive laws for the homosexual community were introduced under Margaret Thatcher. Jarman was considered the “Queen” of the queer society at that time.
In 1986, Jarman was diagnosed as HIV positive and gradually turned blind due to complications. Despite that, he continued to paint and write. In 1993, he released the film, Blue, which features a single static shot of the color blue with voiceover by Jarman himself, Tilda Swinton, Nigel Terry, and John Quentin.
“Blue is darkness made visible. For blue, there are no boundaries or solutions.”
Four months after the film’s release, Jarman passed away.
When we talk about our favorite fashion designers, we more or less mystify them and portray them as distant figures to be worshiped and adored. And the thing is, many designers are actually quite fond of having such a mystical depiction.
But what really attracted me to Erdem Moralioglu is the honesty and closeness he shows in this issue of A MAGAZINE curated by . Instead of taking the opportunity to create an image for himself, he candidly shares with readers his inspirations, his views on design and art, and how it is empowering for everyone.
He is like a dear friend.
