A MAGAZINE - N°A: DIRK VAN SAENE
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- $ 6,000.00 MXN
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- Sale price
- $ 6,000.00 MXN
Publisher: Artimo Foundation & Flanders Fashion Institute, Amsterdam / Antwerp
Year: August 2001
Curated by: Dirk Van Saene
Art Direction: Paul Boudens
Dimensions: 23 × 30 cm
Language: English
Format: Softcover
Pages: 183
ISSN: 1569-1926
Condition: Good — showing signs of age and handling, with visible wear to the cover and spine. The final pages are slightly detached and the copy requires restoration work. One page contains a cut-out. Despite these imperfections, all posters originally included with the issue are present and remain in exceptionally well-preserved condition.
N°A is the first issue of the publication that would become A Magazine Curated By. Launched in August 2001 by Walter Van Beirendonck as part of MODE2001 Landed-Geland, the Antwerp fashion festival, the project established a format in which an entire magazine was handed over to a single designer.
The inaugural issue was curated by Dirk Van Saene, one of the original Antwerp Six, who shaped the publication together with art director Paul Boudens. Van Saene brought together a network of collaborators from Antwerp’s fashion and artistic circles, including texts by Suzy Menkes and Alix Browne, photography by Blommers & Schumm and Ronald Stoops, styling by Desiree Heiss, and make-up by Inge Grognard and Peter Philips.
The early lettered issues — N°A through N°E, curated respectively by Dirk Van Saene, Bernhard Willhelm, Hussein Chalayan, Olivier Theyskens, and Viktor & Rolf — established the editorial structure and visual language of the project before its 2004 relaunch with Maison Martin Margiela.
As the inaugural issue, N°A occupies a particularly important position within the history of A Magazine Curated By. These early lettered editions are the foundational documents of a format that would eventually become one of fashion’s most influential and collectible independent publications.
This copy retains all of the original posters included with the issue, which remain in exceptionally well-preserved condition despite the overall wear to the magazine itself.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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