JOSEF SALVAT

Today, mediums are nearly as numerous as the stories told through them. The Internet constantly gives rise to new communities, conversations, and outlets, fresh channels through which we share images and text with such speed and consistency that we nearly bury our tales right after we tell them. Rarely, if ever, do we take a step back to look at the whole of our output.

But, in Berlin, a group of four young women—Carolina Cavalli, Tatiana de Pahlen, Sofia de Pahlen, and Elizabeth Gilpin—have been quietly amassing a series of images sourced entirely from blogs, the subject matter of which they’ve deemed “the identification tags of our Y Generation.” YOUTH, the corresponding publication, was released this month, following an earlier presentation at Le Dictateur in Milan with a New York launch coming in May at Half Gallery.

For many decades during the second half of the last century, Jesús del Pozo was a celebrated fashion designer with a dedicated following in his home country of Spain but little known abroad. That has changed in recent years as the house, now rebranded DELPOZO under new creative director Josep Font, has exploded onto the international scene.

Though he would be hard-pressed to admit it, Manfred Krankl, the man behind Sine Qua Non wines, has become one of the most celebrated and respected wine- makers in the United States. Eternally humble, Krankl describes himself as an uneducated winemaker whose strength lies in his creativity. But with an eight- year waiting list, and with patrons willing to pay tens of thousands of dollars for a taste of his renowned wine, one must disregard Krankl’s modesty.

“Transformation plays a big role in my work,” says Eileen Quinlan, one of a small number of young artists whose work blurs conventional lines between photography and something wholly other. Like her peer Oliver Michaels, Quinlan uses photography to create editioned pieces that underscore and foreground the hard limits of the photographic medium while simultaneously transcending them in works suffused with delightful ambiguity and tension.

With Danielle Sherman’s début collection last September as creative director, Edun, the Bono-backed, socially conscious luxury fashion label, has begun crafting a physical aesthetic as clear and engaging as its mission statement. Given that the brand had faced a few recent struggles, including two changes of designer, and that Sherman—former design director of Alexander Wang’s T line and a cofounder of the Olsen’s CFDA award-acclaimed label The Row—came from a strong design background at a handful of young brands, expectations were high for her Spring 2014 collection.

“Every day is for the thief,” goes the Yoruba proverb, “but one day is for the owner.” Most often used to refer to embezzling politicians, it espouses the belief that you can lie, cheat, and steal, but no matter how long you get away with it, you will, someday, be caught. It trusts that justice will prevail.

The unnamed narrator in Teju Cole’s Every Day is for the Thief (technically his first book, as it was published in Nigeria before the Hemingway/PEN Award-winning Open City was released in America in 2011), who returns home to Lagos for the first time after fifteen years abroad, has a hard time believing it.

Upon initial consideration, the title of Collier Schorr’s current exhibition at 303 Gallery, “Eight Women,” may seem strange to even the most marginally alert visitor: first of all, a quick tally of the works on display reveals that the head count doesn’t check out, and secondly, among the primarily female subjects bedecking the gallery walls, there is nevertheless one image of a subject who is biologically male, his frontal nakedness quickly putting the debate to rest. Or does it?

Few designers wait until being asked by Vogue how to credit a garment to settle on a name for their clothing line. “I made these tights for a fashion show I styled and the fashion editor at Vogue Australia requested them for a shoot,” says Kym Ellery, who at the time was part of the core creative team at Russh magazine. “They asked for a credit and I said, ‘Call it Ellery.’ After that, I figured, I pretty much have a label now.”

Photographer Nadya Wasylko captures the flame-haired Anniek Kortleve dressed by Dwight Reeves in some of Spring’s airiest pieces, with sharp, heavy metal jewelry offering a stark contrast to the pale hues and soft shapes.