The Museum That Never Was: Camden Gives a Home to a Century of Adolescence

Georgiana Street, Camden, London. Behind the High Street where punks sold pins in the 1980s and Amy Winehouse bought cigarettes at the corner store, there is a 600-square-meter industrial building poised to become something that has never existed before: a museum entirely dedicated to youth culture. Not to youth as an abstract concept, not to adolescence as a clinical phase. To subcultures. To rave flyers. To concert T-shirts. To dub sound systems. To the scribbled T-shirts f

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Between vintage and nostalgia: here are the cool shoes that bring back Metal

There is a sound that never goes out of style. A riff that comes back cyclically, like rediscovered vinyl records, oversized T-shirts, and cassettes found at flea markets. It's metal, the real thing, rough and unfiltered. And today, that sound is not only heard: it is worn. The fusion between Dr. Martens and Metallica has given rise to a collection that brings together two absolute icons, speaking to a new generation that loves the past as much as the present. This collaborat

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Beyond the logo: when a brand becomes a world

There are brands that you don't wear. You live them. They become part of the way you walk, the music you listen to, the way you see the world from a certain angle. They don't produce seasonal collections: they produce codes, subcultures. And when a code becomes strong enough, it ceases to belong to its creator. It becomes the property of a generation.

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Why we continue to seek Kate Moss

At the Gucci Fall/Winter 2026 show in Milan—Demna Gvasalia's first as creative director of the fashion house—she was the last to walk the runway. She wore a black high-neck dress covered in rhinestones, with a completely bare back, and a silver clutch. Kate Moss closed the show as she had opened an era thirty years earlier: with apparent effortlessness, with a presence that needs no explanation.

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Hoodies, Denim, and Identity: 50 Years of Hip-Hop in Youth Culture
 
Hip-hop isn’t just music. It’s a language. If you think this genre is just about Spotify playlists, you’re missing half the story.
In reality, it’s so much more: it’s a system of codes, aesthetics, and attitudes that has shaped the way young people express themselves for over 50 years. And spoiler alert: it still does today.
Born in the 1970s in the Bronx as the voice of marginalized communities, hip-hop was initially pure counterculture. Block parties, graffiti, breakdancing. Zero filters, zero luxury. Just identity.
Today? It’s become a global mainstream phenomenon. But without losing (too much of) that rebellious vibe that made it iconic.

The drip as a political statement

Let’s start with a key concept: in hip-hop, dressing is never neutral.
In the ’90s, the fit spoke volumes: baggy jeans, sneakers, oversized jerseys. It wasn’t just aesthetics—it was a way of saying “I don’t want to conform.” That loose, almost anti-fashion style was a direct response to the norms imposed by society. A form of visual resistance. A “no” written on XXL denim.
And here’s where something interesting happens: what begins as a symbol of rebellion gets absorbed by the fashion system. It’s the famous “trickle-up” effect: the streets set the trend, luxury follows. The result? What was once an outsider becomes the next big thing.

Tupac Shakur in a Karl Kani denim suit and t-shirt attends the premiere of Poetic Justice in Beverly Hills, 1993. (Photo Credit: WWD)

Alicia Keys in Baby Phat in New York City, 2003. (Photo Credit: Getty Images)

Jason Mizell (also known as Jam Master Jay), Darryl McDaniels and Joseph Simmons of Run DMC attend the WWDMagic tradeshow, 1998. (Photo Credit: WWD)

The Face: When Fashion, Photography, and Music Become the Language of a Generation

There was a time between the 1980s and the early 2000s when a magazine could do much more than simply reflect culture—it created it. The Face wasn’t just a magazine; it was a radar tuned into global youth culture. From 1980 to 2004 (and then again starting in 2019), it captured and amplified everything that was about to become relevant: sound, style, identity.

What The Face Really Is

Founded in London in 1980 by Nick Logan, The Face began as a monthly magazine covering music, fashion, and pop culture. But reducing it to these categories is limiting. From the very beginning, its goal was to capture reality starting from the streets: club culture, subcultures, politics, cinema, art.
In an era when fashion was still tied to an elitist image, The Face broke the mold. It took style off the runways and into everyday life, transforming it into an accessible, fluid, hybrid language. This is where a new idea of cool was born: less glossy, more authentic.
It’s no coincidence that the target audience was young people, to whom the magazine offered a space for recognition. More than a magazine, it was a printed community—long before the concept of social media even existed.

Issues, Crisis, and Rebirth

The first issue, in May 1980, sold about 56,000 copies: an immediate sign that something was changing. In the years that followed, The Face became a global benchmark, though not without its struggles. It survived a crisis in the early ’90s (partly due to legal issues) and continued to reinvent itself until its final closure in 2004, driven by declining sales and the rise of digital media.
Then, in 2019, came the comeback: the magazine was relaunched, maintaining its original spirit while adapting to a new visual and digital era. Even today, it remains a creative space for new talent in photography, fashion, and music.

Credit: The Face Magazine

#thefacemagazine

The Museum That Never Was: Camden Gives a Home to a Century of Adolescence

Georgiana Street, Camden, London. Behind the High Street where punks sold pins in the 1980s and Amy Winehouse bought cigarettes at the corner store, there is a 600-square-meter industrial building poised to become something that has never existed before: a museum entirely dedicated to youth culture. Not to youth as an abstract concept, not to adolescence as a clinical phase. To subcultures. To rave flyers. To concert T-shirts. To dub sound systems. To the scribbled T-shirts from the last day of school.

Ten years to build an idea

The Museum of Youth Culture is set to open its doors in 2026 (after more than ten years of development) at its new location on the St Pancras Campus, just a short walk from Camden Town. The opening, initially scheduled for December 2025, has been postponed due to water damage in the building’s basement that required restoration work. The final opening date announced is mid-May. What is certain is the scope of the project: an archive of over 150,000 photographs, objects, and oral histories collected over twenty years, now ready to find a permanent home.

From Sleaze Nation to the archive

The idea originated with Jon Swinstead, founder of Sleaze Nation, a magazine that documented the British rave and club scene in the 1990s. His photographic collection, which grew over time, evolved into an archive of images capturing youth culture in the 1980s and 1990s, used by magazines and newspapers. In 2015, that collection became the core of a museum without walls: a digital archive, a series of pop-up exhibitions, a nomadic cultural entity. Exhibitions in nightclubs, public libraries, vacant commercial spaces: the museum has always sought out the places where youth culture actually lives, not those where it is celebrated in hindsigh

credits
Photo Leeds Digital Festival
#museumofyouthculture #youthclubarchive

Havana: an imperfect beauty, yet deeply alive

Havana is a place where youth culture doesn’t need trendy spots, guest lists, or Instagram-worthy events. It already exists, and it’s everywhere. All you have to do is step outside.
The streets are the true heart of the city: people sitting on the sidewalks, groups forming spontaneously, conversations starting for no particular reason. There’s no real separation between public and private, between those who watch and those who participate. Everything blends together, constantly.
It’s a dynamic that takes you by surprise, especially if you’re used to cities where you have to seek out the right spots to have certain experiences. In Havana, you don’t have to look for anything. The city just happens to you.

Music as an everyday language

Silence, in Havana, is almost an exception. Music is a constant presence, a background that is actually the protagonist.
It flows from windows, from cars, from makeshift speakers. Reggaeton, salsa, and Cuban hip hop alternate seamlessly, creating a soundtrack that never truly stops. Artists like Gente de Zona have made this sound global, but here it remains something deeply everyday.
The most interesting thing is that there is no distance between those who listen and those who live the music. There is no stage, no specific moment when something “begins.”

#havana #youthculture

Saint-Tropez: freedom before luxury. It wasn't born chic: it was born free
Today, when we think of Saint-Tropez, we imagine yachts, huge sunglasses, and beach clubs where lunch lasts until sunset. But the truth is that this small port on the French Riviera was not born as a luxury destination at all. It was born as an escape.

In the 1950s and 1960s, Saint-Tropez became a meeting place for artists, photographers, actors, and young people who simply wanted to live outside the box. There were no dress codes, no Instagram filters, no social expectations. There was only the sea, the incredible light of the French Riviera, and a widespread feeling: here, you can be yourself.

In a Europe still emerging from the rigidity of the post-war period, Saint-Tropez represented something new. A generation was beginning to break the rules, experiment, and enjoy their free time in a different way. It was not yet the glossy destination we know today. It was a laboratory of freedom.

#sainttropez #brigittebardot #youthmagazine

Why We Keep Looking for Kate Moss

At the Gucci Fall/Winter 2026 show in Milan—Demna Gvasalia’s first as the house’s creative director—her final appearance on the runway was hers. A black, high-necked dress covered in rhinestones, a completely bare back, and a silver clutch. Kate Moss closed the show as she had opened an era thirty years earlier: effortlessly, with a presence that needs no explanation.

That moment speaks to something beyond fashion. It speaks to a need. The same need that drives a generation raised on filters and digital performance to search, in a loop, for images of a girl from Croydon photographed on a beach in July 1990.

PHOTO: Kate Moss and Bobby Gillespie, Zara press office

#katemoss #youthmagazine #zara fallwinter

The charm of photo booths: step inside, close the curtain, wait for the print

There is a red curtain hanging in front of a peeling wall in the center of Florence. Above it, a painted cherub stares at you with wide eyes. Inside, there is a chair, a cold light, and a machine that never lies.
Fotoautomatica is one of those analog photo booths that have survived everything—digital cameras, smartphones, Instagram filters—and that today, inexplicably, create a line. Not of tourists looking for souvenirs. Of twenty-somethings who go in alone or in pairs and come out happy, clutching a damp strip of paper with four versions of themselves.
No retouching. No second attempts. Just that.

Zoe Laz/Instagram; Old Friend Photo Booth/Instagram

Brandon Minton (left) and Zoë Lazerson at Old Friend photobooth in New York City

#youthmagazine #photobooth

Between vintage and nostalgia: here are the cool shoes that bring back Metal
There is a sound that never goes out of style. A riff that comes back cyclically, like rediscovered vinyl records, oversized T-shirts, and cassettes found at flea markets. It’s metal, the real thing, rough and unfiltered. And today, that sound is not only heard: it is worn. The fusion between Dr. Martens and Metallica has given rise to a collection that brings together two absolute icons, speaking to a new generation that loves the past as much as the present.
This collaboration is a tribute to the rebellious attitude that unites music and streetwear. It’s not just merch: it’s a style statement. A way of saying that metal is not dusty nostalgia, but a language that is still alive, capable of influencing fashion, pop culture, and Gen Z identity.
Metallica, the legend that never fades
Let’s start with the basics. Metallica needs no introduction, but it’s worth remembering why they remain one of the most influent

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The Museum That Never Was: Camden Gives a Home to a Century of Adolescence

Animuomini: Etro's surreal vision for the modern man

Future Clog, Vans has launched modern Dutch clogs

Between vintage and nostalgia: here are the cool shoes that bring back Metal

Beyond the logo: when a brand becomes a world

Why we continue to seek Kate Moss

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