Representing the creative future

Self Portrait by Huber Crabieres

Is 2020 the time of the elevated self-portrait?

Hubert Crabières on wearing objects and adapting his creativity to the new normal

Jun 16, 2020

Daniela Benaim: “There is no single definition of home”

As we are all forced indoors, the stylist and creative director revisits her CSM final project, ‘La Casa’

Apr 15, 2020

Ice Ice Baby Spice: 3D fashion gets a meme-worthy makeover

Digital fashion filmmaker Agusta Yr on Iceland, Internet culture and her new collaboration with No Agency New York and 1 Granary Showroom

Feb 5, 2020

Polly Brown: "I work best when I’m bored"

Photographer Polly Brown explores the damaging role of airport security in her upcoming exhibition, Airportals

Oct 23, 2019

The extraordinary banality of Jamie Hawkesworth

"I’m just trying to take the pictures that I myself am proud of. I’m never thinking about the customer."

Jun 5, 2019

Scrolling through art with the Gram_Institute

Martin Strocca, founder and head curator of the newly-published Gram_Institute Gallery, talks us through the importance of authenticity and what the future of art distribution looks like.

Jun 20, 2017

Behind the scenes: this year's MA Fashion graduates

An interview with the photographer who followed the MA Fashion course during their most stressful weeks.

Apr 14, 2017

Bjarne Melgaards' Casual Pleasure of Disappointment

Head designer Gahee Lim takes us through the details of participating in a Melgaard exhibition.

Apr 13, 2017

Is the air you breathe affecting the art you make?

Ayesha Tan-Jones's project is inherently political and an effort to make a difference in climate change.

Mar 20, 2017

Ben Doherty on the fallibility or vulnerability of an artwork

The Royal Academy Schools student on his worship-like art pieces, and how the institution helps furthering his work.

Mar 8, 2017

1 Granary

Magazine Issue 6

With unprecedented honesty and depth, 1 Granary Issue 6 dives into the work and lives of fashion designers today. As a response to the construction of desire and personality cults that govern our industry, the magazine steps away from the conventional profiles and editorials, focussing instead on raw work and anonymous, unfiltered testimonies. For the first time ever, readers are given a truthful insight into the process, dreams, fears, hardships, and struggles of today’s creatives.

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