‘On the days we wore uniform, everyone was equal.’

Mixing function and folklore, ritual and gender, Craig Green is redefining menswear.

By Hans Ulrich Obrist
Photographs by Lena C. Emery
Styling by Camille Bidault-Waddington

Craig Green’s story reads like a route map for young British designers to follow. First, complete the MA in fashion design at Central Saint Martins. Then, using the momentum of your graduate show land a spot with Lulu Kennedy’s support platform Fashion East or the British Fashion Council’s NEWGEN. After three seasons, having solidified your position as an emerging designer in the press and winning the trust of buyers, go solo. If you’d like, then you could always apply for the LVMH Prize or the ANDAM, and in the process gain more recognition and advice from industry professionals. None of this will happen, however, without the sort of raw design talent and clear vision that Craig Green has shown since his first collection in January 2013. The London-born designer started small, first working out of his parents’ house in 2012, then at the Sarabande Foundation – set up in memory of Alexander McQueen – where he had a studio until late 2017.

Green’s ongoing investigation into ideas of function and protection, ritual and folklore, has produced menswear that is complicated in its simplicity and speaks across gender and geography: beautifully cut “uniforms” with carefully judged detail. Originally at Central Saint Martins to study art, he has created sculptures for almost all his collections, transforming basic and found materials (plywood, tennis balls) into portable, wearable structures that complement and play off the clothes. While this has occasionally created some background noise – the face masks in his first collection, made from broken garden fencing, provoked a wave of sneering vitriol from Britain’s most conservative tabloid newspaper – his approach has been hailed by both buyers and critics who have praised its deep emotional resonance. Indeed, Green’s vision collects new converts with each passing season.

Read the full conversation between Green and artistic director of London’s Serpentine Gallery, Hans Ulrich Obrist in System No. 11. Click to buy.



‘You don’t have to be an adult to be a role model.’

Stranger Things star Sadie Sink turns 16.

By Laia Garcia
Photographs by Juergen Teller
Styling by Angelo DeSanto

While we were distracted about what all the millennials were doing or not doing, buying or not buying, and all the ways in which they were purportedly signaling the end of civilization as we know it, Generation Z was born and are now the teenagers leading us into the 21st century: the ones who are making the news and, just like the fashion industry post-#MeToo, finding their way in this world.

Talking to Sadie Sink, the just-turned 16-year-old actress who shot to fame in the second season of the Netflix TV show Stranger Things, you get a sense of what makes this new generation tick. To fashion folks late to the show, perhaps the first time they took note of Sadie Sink was in Miu Miu’s Whispers campaign in December 2017, or when she opened Undercover’s runway show, We Are Infinite, in March this year. With her cultural relevance now cemented, it’s easy to forget that Sink has only been so prominent, and making serious waves alongside her peers, for less than a year.

With all this in mind, Juergen Teller hopped on a plane to spend a day with Sadie Sink. We then asked New York writer Laia Garcia to speak with Sadie about this moment in time: from navigating the reality of becoming one of the most recognizable faces in popular culture right now, to the personal milestone of having turned 16 two days before.

Read the full feature in System issue No. 11. Click to buy.



System launches new issue with Stranger Things’ Sadie Sink

Sadie Sink photographed by Juergen Teller

The Power of Youth

Click here to buy

Issue 11 celebrates The Power of Youth, of newness, of Gen Z, of generational change, of progress, and the endless possibilities of the future.

Stranger Things’ Sadie Sink is this issue’s cover star, photographed in New Jersey by Juergen Teller, wearing pieces from Miu Miu’s latest collection. Conspicuously not an established fashion designer nor an authority on where the industry’s going; simply a talented, just-turned 16-year-old actress, experiencing the realities of entering a new age while navigating the turbulence of public exposure. Fragile yet powerful – the embodiment of our times.

Also in this issue:

The story of ‘Them’. Is the LGBTQ digital platform the future for Condé Nast?

Sixty young designers, photographers, stylists, models and others rapidly becoming fashion’s new establishment discuss the nude and its uncertain place in today’s fashion imagery.

As Jun Takahashi’s Undercover label becomes more meaningful and influential each season, System asks Kim Jones, Tim Blanks and Hysteric Glamour’s Nobuhiko Kitamura to each speak with Takahashi to find out why. With a photographic portfolio shot on location in Tokyo by Norbert Schoerner.

Craig Green talks to Hans Ulrich Obrist about his groundbreaking sculptural relationship with menswear.

An intimate portrait of partners in life, love, work and succession, with Vivienne Westwood and Andreas Kronthaler. Accompanied by new Juergen Teller portraits.

A cross-generational discussion about the evolving role of the stylist, with Grace Coddington and Lotta Volkova.

The Seasonal Edit photographed by Jamie Hawkesworth and styled by Max Pearmain.

Huang Hung on the increasingly fashionable city of Chengdu, photographed by Feng Li and styled by Vanessa Reid.

Reassessing the pioneering role Agnès b played in connecting culture to fashion, as told by the designer herself, as well as Ryan McGinley, Harmony Korine and Jonas Mekas.

The story behind Barneys’ early-90s ad campaign heyday, featuring Ronnie Cooke Newhouse in conversation about her era-defining work with Steven Meisel, Linda Evangelista and Glenn O’Brien.

An intimate look into the life and inspirations of shoe designer Christian Louboutin.

Jean Paul Gaultier answers ‘The Showtime Questionnaire’.

plus, the New York Times’ Guy Trebay on gossip in the digital age, Raven Smith on freelance life home alone, and James Hyman on turning his magazine obsession into a ‘pop-culture Spotify’.

System is available to purchase exclusively at Dover Street Market in London and New York, The Broken Arm in Paris, and 10 Corso Como in Milan in the coming days.
Then from quality press vendors and newsstands internationally from 17th May.

Click here to buy online.




‘We made it the Herms of our dreams.’

Reinventing Hermès, by the trio behind its pivotal campaigns shot by Daniel Aron and Bill King.

Photographs by Daniel Aron



Few brands operate at a scale like Hermès while retaining a sense of quiet luxury. Despite having over 300 stores worldwide, the 180-year-old Parisian house continues to whisper, rather than shout, with its understated approach to design and marketing. Its choice of ready-to-wear designers since the late 1990s has only reinforced that, with the famously reticent Martin Margiela designing womenswear, followed by the equally reserved Christophe Lemaire and Nadège Vanhee-Cybulski since then. (Jean Paul Gaultier’s reign is an exception to the rule).

This discretion somewhat paradoxically co-exists with Hermès’ immediate recognisable design-tropes: the bold orange packaging, the collier de chien buckle fastening (a feature of the handbag carried and named after the late Grace Kelly), horse-bit prints and silk carré scarves. If these motifs are now seen as indissociable from the brand’s core identity, it is thanks to the campaigns created for the house by ad agency Eldorado, now known as Publicis EtNous, since the 1970s.

For System issue No. 10, we met with the agency’s three founders, Françoise Aron, Pacha Bensimon and Bruno Sutter to discuss reinvigorating Hermès, and the experience of working with now legendary photographers. One such photographer is Daniel Aron. See an exclusive selection of Aron’s still-life images above.

Read about the process of rebranding the Parisian house, and see how Daniel Aron, and Bill King made use of the now-famous ribbon in System issue No. 10. Click to buy.