Sometimes, things happen in ways you least expect. After our sold-out Sci-Fi edition launched in Cannes, we were thinking of how to re-introduce glamour into our pages for the follow-up issue. Yet, initially we took another angle; until the answer became evident from looking at our roots and readership. What about fashion?

Fashion (in its many definitions) has been a part of A Rabbit’s Foot’s output since our founding. Our creative director has put together original shoots with the very best photographers, the most sought-after stylists, and thanks to our partnerships with great fashion houses. It reinforces the deep, heavily-researched storytelling that fills the pages—the interviews we have written on some of the greatest artists alive.  

Why Willem Dafoe and Kendall Jenner? The cover stars for Film Fashion represent two sides of the same coin—proving that both cinema and style are close cousins. Dafoe and Jenner express the experimentalism and glamour of fashion but also how it is connected to the idea of the movie star. Willem is already one of those; but he equips fashion to blend in and to stand out. Fashion is powerful. Kendall, who instead comes from the world of fashion, wears Bottega Veneta for a special concept that embodies the women of 1960s Italian cinema. La Passeggiata subverts what you might think you know about Jenner. 

Our small team went to Rome and Los Angeles to put these shoots and interviews together, with creative direction and concepts by our own Fatima Khan.

This issue is one of our best. I say that because so much of its contents came from Hail Mary triumphs—stories we dreamed about but didn’t think likely in such a short space of time. All to say: we appreciate the patience of the people we have nagged all summer. But no doubt they’re proud to be a part of what we have created… 

The great Pedro Almodovar is finally in A Rabbit’s Foot, speaking on the mujeres in his cinema and his own sense of style. Turn the page to find the very first interview with Danny Boyle on his Venice contender Ink, a Fleet Street drama. The Oscar winner opens up to Luke Georgiades about other facets of his career, and is pretty candid at points. 

Elsewhere, Sally Potter and Sandy Powell speak with Rosalind Jana on the costume design and making of Orlando. Potter did this while directing her upcoming film in France, but spoke candidly on her early work and its enduring legacy both on-screen and on the runway. It’s brilliantly written and includes fresh anecdotes from both Potter and Powell. 

Like everyone who has watched Hacks or Teenage Sex and Death at Camp Miasma, we’re big fans of Hannah Einbinder. It felt obvious to include her in this issue. The New Yorker is stylish in her own cool way, and is shot by the fantastic Collier Schorr in Brooklyn. Her interview—written by our very own Kitty Grady—goes further than I think I’ve read anywhere else about who she is and what she stands for.

Hanif Kureishi is one of London’s most important authors (he also has a new book on its way). Henry Wong interviewed him, along with Stephen Frears, for us  on My Beautiful Laundrette. It defined English fashions in the 1980s and our writer gets the best out of both men. He makes up a section on London, art and fashion that also sees us head to the East End to interview Gilbert and George. The iconic artists invited us to photograph them at their studio and shared their tips for the best tailor. 

I’ve been so excited to reveal our long-read interview with Milena Canonero, the multi-Oscar winning costume designer behind Coppola, Kubrick and Wes Anderson’s classics—including A Clockwork Orange and Out of Africa. She rarely speaks about her career, but after reconnecting with her friend Natasha Fraser (who has written for us since the very first edition)  the result was a personal profile with quotes from Sofia Coppola. The cherry on top is a letter from Wes Anderson.

There is, of course, so much more. I almost forgot to mention the great Japanese actor and singer Meiko Kaji. Famous for her scowling warrior Lady Snowblood, she embodied a type of 1960s cool—made her own clothes for the films and went on to inspire Quentin Tarantino’s Kill Bill. 

As for the features, we’ve had to be careful in curating a list. Otherwise we would have run out of space. Throughout the issue, we’ve asked three very special artists to write about their favourite style icon. Italian actress Benedetta Porcaroli speaks about the eternal Monica Vitti and Japanese critic Makoto Kikuchi analyses the yakuza style of Takeshi Kitano—one of my absolute favourite filmmakers. Emma Loffhagen gives a genuinely personal account of why Sade’s fashions (and her image) mean so much to her. All three of them are valuable. 

We commissioned stories about the rivalry between Aristotle Onassis and Stavros Niarchos, with quotes from their friends. This edition also features Eric Twardzik’s brilliant essay on corduroy on the camera and I was able to speak to the legendary Brunello Cucinelli about his latest film. Fatima met Charlotte Gainsbourg to discuss the new photography exhibition at her father’s home in Paris—with the actor/singer retreading her past and her memories of Serge Gainsbourg.

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