LOOKING at the debut issue of Garage, one of the most intriguing magazines to come along in years, it is not entirely clear whether this is a fashion magazine that takes more than a passing interest in art, or an art magazine that knows its stuff about fashion.


The magazine, created by Dasha Zhukova, a former editor of Pop, and named after the contemporary art center she opened in Moscow in 2008, includes collaborations between prominent figures of both worlds and blurs the boundaries to such a degree that even the artist Dinos Chapman said his work in the magazine could be described as “a full-blown fashion shoot.” Working with the photographer Nick Knight, Mr. Chapman created a creepy dollhouse in which a puppetlike version of the model Lily Donaldson wears designer duds from Marc Jacobs and Mary Katrantzou.

One of the more provocative covers (there are three versions) shows a Hedi Slimane photograph of a lower half of a nude model, whose crotch is covered by a green butterfly sticker created by Damien Hirst. The sticker peels off (inspired by the Velvet Underground album art by Andy Warhol) to reveal a butterfly tattoo, also of Mr. Hirst’s design.

“It is so very, very different from other magazines,” said Garage’s art director, Mike Meiré, who is also the art director of the influential German magazine 032c. The masthead also includes Shala Monroque as creative director and Joan Juliet Buck as an editorial consultant, and style-world contributors like Giovanna Battaglia.

“It’s like a box of Pandora,” Mr. Meiré said. “You don’t know what is happening on the next page.”

In a newsstand environment dominated by digital perfection, Garage stands out because it looks almost handmade. The type is an amalgam of fonts, set to appear randomly. Some pages are pure mystery, like a spread that shows a dress called “Lettuce by Alexander McQueen.” It appears to be made of romaine, a creation by Ms. Battaglia and the photographer Fulvio Bonavia. Also included is a Prada dress made of citrus and a Moncler coat of anchovies.

“I hope nobody reads our e-mails back and forth,” Ms. Battaglia said. “We were writing things like, ‘yes, Prada is an orange, that’s genius! And Moncler is a fish!’ ”


Dasha Zhukova’s Garage: Crotch Tattoos, Damien Hirst, and Tavi

It’s not typical of Fashion Week to have a magazine upstage the wonders on the runways, but that may be the case this year. Dasha Zhukova’s explosive new art glossy Garage comes on the heels of her stewardship of Pop magazine, and when it drops in a few weeks you will hear chatter of it outside Lincoln Center. There might even be a launch party.

In The New York Times‘ Styles today, Eric Wilson takes a spin through the magazines pages. In case there wasn’t enough hype, Mr. Wilson dubs Garage “one of the most intriguing magazines to come along in years.”

And why is that? Perhaps it’s the Alexander McQueen dress made of lettuce. Or the Prada dress that’s strung-together citrus fruits, or the featured Moncler garment. That look is simply anchovies.

Though the main stir comes from one particular cover image. It is a photo by Hedi Slimane, whose stunning shots of Frances Bean Cobain recently blew up all over fashion blogs, of a crotch bare save for a tattoo. It’s a butterfly designed by Damien Hirst, and to see it you have to peel off a sticker affixed to the cover, Velvet Underground & Nico-style (Warhol reference? Check).

And though there’s no mention of her in the Times article, Page Six’s item on Garage lists Tavi Gevinson, tween-aged fashionista extraordinaire, as one of the contributors. Your move, Jane Pratt.

There are two other covers that do not feature hardcore nudity, and one of them –starring model Lily Donaldson as a puppet in a dollhouse — is below. It will probably the best magazine named Garage in history,and there have been plenty of them.




The Garage art center in Moscow has plans for a Soviet fragment

In the 1960s, architects learned to use concrete like no one since the Romans. And all around the world, their concrete  creations have been allowed to rot – as per this image of the once-lovely and popular "Seasons of the Year" restaurant in Gorky Park in Moscow. Yet that 1968 structure is now set to have a future as well as a past.  Today in Moscow, Dasha Zhukova, founder of the city's famous Garage Center for Contemporary Culture, is announcing detailed plans for the renovation of the old park pavillion, under the guiding hand of Dutch architect Rem Koolhaas and his Office for Metropolitan Architecture. Until recently, Garage occupied a 1926 building on Moscow's outskirts designed by the Constructivist architect Konstantin Melnikov, but in 2013 it will be moving to its renovated home downtown in Gorky Park. (The park also happens to have been planned by Melnikov.) Koolhaas says that he will be keeping much of what's left of the Soviet building – especially its late-modernist tiles, mosaics and brickwork, with what he calls their "collective aura" – but he will also be making it fit for 21st-century use. A new facade will be made from translucent plastic panels, with sliding sections that will let the park seem to enter the center. The building's interior will be divided between spaces for traditional artistic media, on the second floor, and more wide-open areas at ground level that will host performances and videos and such.

It's one thing for Americans to renew buildings from the 1960s, heyday of our Dream. In Moscow, it will be interesting to see  whether locals respond to this building's  rebirth with nostalgia for the communist past it represents, with contempt for its failures, or with hope for a future that surpercedes it. Will the new Garage in Gorky Park help preserve memories, or lay them to rest?