Teeth Magazine

Words & Photography: Matylda Sala My partner and I arrived in the early hours after an overnight flight from London, via Athens, the landscape still soft-edged with morning haze. On the drive to Phaea Blue—a private Cretan estate and member of Small Luxury Hotels—we watched stretches of quiet coastline and inland green unfold, the kind of green you only see before the heat flattens everything into gold.

After passing through a handful of rooms in the front of the residence, which maintained all of its original decor spanning back to the mid 1700s, a salmon and beige sign laid atop a grand piano welcoming visitors to Rogge’s latest offering. Instead of a typical showroom, the Belgian designer presented her collection as a series of flat lays.

Photography & Styling: Shaïna Gabala Makeup: Giorgia GiommoniHair: Maida FoschiStylist Assistants: Satine Arribas & Queralt Marmol Models: Alpha Sy & Amos Breu at The Lab Models Shirt Bonsai, Jacket and Trousers Carhartt WIP, Belt Older Studio, Tie Stylist’s Archive Shirt YMC, Cardigan Trunk Project, Apron Older Studio, Trousers Zara Shirt Carhartt WIP, Tank Older Studio, Jeans Lemaire, Hat A.P.C, Shoes & Gloves Stylist’s Archive Shirt & Trousers Bonsai, Skirt Older Studio Shirt Sunflower,...

Courtesy of Rimowa & Ryan McGinley A tribute to his community as a queer artist in New York City, McGinley’s contribution to this year’s issue is a love letter to the people who make up his world. Published annually during Pride Month, Der Eigene celebrates queer culture. Its title, translated from German, most closely refers to self-expression and self-possession: living life on one’s own terms. McGinley’s work anchors the zine’s fifth annual edition, released on June 26.

Lensed by JH Engström, the collection is an Anglophilic love letter, written by creative director Cristopher Nying since his first visit to London in the early 2000s. Hence, signature British silhouettes like trench coats and Edwardian double-breasted coats appear throughout, reworked with modular constructions, slashed backs, and louche proportions.

Installation view of Let Us Believe in the Dawn of Spring at Anahita Sadighi, 2026 / floor: Gaja Vicic / Photo: Olivia Noss / Courtesy of the artist and Anahita Sadighi TEETH: Your practice merges past and present, blends media, and connects works across eras and regions. How did you arrive at the idea that all art can be contemporary? Anahita Sadighi: I don’t think this understanding came as a single realization for me, but rather as something I grew into over time.

“I have been studying people as far back as I can remember,” Johansson says. “Lately, I have been fascinated by individual expression at the office, which can function as a kind of everyday social experiment.” Courtesy of Acne Studios Courtesy of Acne Studios That experiment plays out through pieces that refuse to stay in their assigned roles. Suits are broken apart, corporate vests lose their stiffness, and leather jackets take the place of traditional tailoring.

Creative Director: Aiymgul Muratbay Photographer: Lola Chengxi Li Stylist: Alexandria Ng Beauty: Annie Grace Model: Liv Regev at Established Models Top & Bottoms Azura Archive, Shoes Dorothy Perkins Hat, Jacket & Bottoms Pola Wiślicz, Shoes Azura Archive Top Pinny Yaowaratana, Skirt Azura Archive Top & Bottoms Azura Archive, Shoes Dorothy Perkins Hat, Jacket & Bottoms Pola Wiślicz, Shoes Azura Archive

While walking through the streets of Hyères, I crossed paths with a couple and overheard the woman exclaim, “Oh god, why didn’t you tell me that I’d put my skirt on backwards?!” The man replied, “Ma chérie, that’s okay—they say it brings good fortune!” It was an exchange that felt straight out of an old French film. A few weeks earlier, while booking transport for a work trip to Marseille, I decided to swap the less than two-hour flight from Brussels for a seven-hour train journey.

“Be Nice To Me” Video installation, 2026. Courtesy of Pipilotti Rist, Hauser & Wirth and Luhring Augustine To understand how these two exhibitions connect, it helps to start with the past; that’s why stepping into the centuries-old Bellezza e Bruttezza exhibition first was a choice made intentionally. The dark blue walls and low lighting create a contained, almost theatrical atmosphere, one that immediately slows you down.