Autumn Winter 2022, Director’s cut by @claracullen "In the past, androgyny was a privilege of deities, angels, holy rulers, and their lovers. They were regarded above all other forms of life because they were not chained to a form of thinking that separated women from men. Humans thought of themselves as limited and found comfort in such limitations, which they celebrated and around which they structured their knowledge of the world. Divinities, instead, fluidly moved above all those simplistic categorizations: they could embody them all without boundaries. They were wise and ever alluring as they acted regardless of any labeling, which breaks life and blocks desire. (Humans claimed such interruptions as natural without realizing that nature itself is a product of culture). Today, sexual and gender labels are no longer seen as natural, and their politics have been rejected. Young people especially explore androgyny to access the vital power and truthfulness to which androgyny can gain access. They rediscover cultures and voices for which androgyny was not just a feature of the past but has been, and still is, embodied in the everyday. Those models identify fashion as blurring expectations and producing new, liberated bodies. Fashion is thus rediscovered as a privileged field of inquiry precisely because often it is the very practice that reiterates sexual and gender binaries. But once it is freed from such obligations, fashion emerges as capable of a new creative mission that has the power to disrupt self-limiting lives and grant access to a new, wholesome one.” - Professor Emanuel Lugli teaches art history at Stanford University and writes about the history of painting, gender, politics, and science. Styling: #camillanickerson Casting @jesshallettcast Hair: @jamespecis for @oribe Makeup: @Hannah_murray1 for @bobbibrown Diazepam composed by @leivaoficial, performed by @leivaoficial and @natalialafourcade Music: @juancampodonico Music production: @daniloasueiro