Sustainability is not uncommon in fashion and culture magazines in these awakened times, but how often is implemented as a tick-box exercise or accessory? There is a new breed of print magazine that looks to forge a new integration of ideas about living with the planet.
The Lissome is such an example, a true slow living/slow travel hybrid from Germany that looks set to win a lot of admirers. It feels considered, balanced and researched. And it's very beautiful.
About Issue 6, 'Deep Beauty':
What is beauty?
The artist Agnes Martin once described beauty as the mystery of life. For thinkers, artists and wisdom seekers throughout history, beauty has belonged to the same realm as truth, goodness or love. And yet today, it can feel like an uneasy word. Hollowed out by the advertising and entertainment industries, beauty is often reduced to surface appeal or desire engineered for consumption. So much around us claims to be beautiful, especially in this time of constant acceleration and visual saturation. But what is beauty, really? And what is its role in our lives, in our human experience?
The question feels urgent as we are living through a period of profound technological, ecological and cultural transformation, while our attention is increasingly fragmented and many of the forces shaping our lives pull us towards speed, abstraction and disconnection. What makes beauty relevant in our time?
Across 144 pages of essays, conversations, photography, art and visual storytelling, Deep Beauty follows this question into unexpected places: from Arizona Muse reflecting on the difference between looking pretty and living in beauty, to the astonishing diversity of sheep and the terroir of wool; from a journey into Taiwan’s world of wild tea to the spells, dreams and prayers once woven into cloth. The Major Arcana is reimagined as a journey towards stewardship, while William Morris takes us back to a radical understanding of beauty as inseparable from everyday life, craft and social change. The Major Arcana is reimagined as a journey towards stewardship, while William Morris takes us back to a radical understanding of beauty as inseparable from everyday life, craft and social change. From there, Beauty as World-Making traces a darker path from the Futurists’ intoxication with speed to the increasingly authoritarian and anti-democratic currents emerging from Silicon Valley – and asks what kind of future we are being persuaded to desire.
Deep Beauty invites us to take beauty seriously. As something luminous and unsettling, intimate and political. As a way of paying attention. As a practice through which we might become more alive to what surrounds us, more discerning about what asks for our desire, and more capable of imagining what else might be possible.
