The graphic style of the new Kaleidoscope feels daring for a fine art magazine — could you describe your approach?
Together with the editors, we decided to give it a more classic and bolder look to refer to a wider audience, like Alexey Brodovitch did for Harpers Bazaar.
How does your redesign relate to changes in the editorial direction of the magazine? What was the process of collaboration between you and the editors?
The editors' approach was to open up the magazine to a bigger range of readers and make the chapters and sections look catchy from the first sight. The idea was to have different magazines in one magazine; this is especially visible in the MONO chapter; in this case the layout is based on the art of the artist. The different parts really pop out and form their own special visual aesthetic.