Love Want Magazine
Featured Love Want Magazine projects
This week's top Love Want Magazine projects, carefully handpicked by Visie's expert curators, showcase the best in style and innovation.
Project Love Want Magazine · You Don’t Have to Be the Best to Be the Greatest
Love Want Magazine presents an expansive fashion editorial titled 'You Don’t Have to Be the Best to Be the Greatest.' Featuring model Yasmin Wijnaldum, the series captures a series of intimate, varied portraits that shift between domestic interiors and outdoor, earthy landscapes. The work leans into a retro, nostalgic aesthetic, emphasizing raw textures and an approachable, grounded mood. Photographer Menelik Puryear utilizes analogue film techniques throughout the project, often framing compositions with visible film rebates and grain. The styling, managed by fashion editor Marti Arcucci, coordinates eclectic layers and patterns against simple, everyday backgrounds. Hair by Line Bille and makeup by Ingeborg maintain a natural, windblown look that complements the shoot's soft, natural lighting.
Project Love Want Magazine · Everything She Wants
Love Want Magazine delivers a masterclass in sun-drenched storytelling with Everything She Wants, a fashion editorial that leans into the evocative power of natural light. Captured through a series of intimate, lifestyle-driven frames, the project explores the interplay between high-end aesthetics and raw, authentic surroundings. Fashion editor and stylist Holly Gorst orchestrates a visual narrative that bridges the gap between structured luxury and relaxed, seaside escapism. By prioritizing an unforced, candid approach to portraiture, the editorial captures model Mahalia Celeste Henderson in a variety of settings—ranging from windswept, sandy coastlines to weathered architectural alcoves. The project relies heavily on the soft, diffused clarity of natural light to enhance the vibrant textures of the wardrobe, which spans everything from intricate cable-knit swimwear to delicate, rose-print dresses. Every composition functions as a study in movement and mood, favoring a soft-focus quality that elevates the ethereal, romantic undertones of the collection. Whether emphasizing the bold, saturated hue of a red one-piece against muted beach tones or the quiet drama of a feathered skirt, the imagery avoids the overly polished sheen of traditional commerce in favor of a tactile, human-centric perspective. Ultimately, the collaboration between Gorst and Henderson creates an immersive experience that feels as much like an artful photographic document as it does a contemporary look at global luxury fashion.
Project Love Want Magazine · Outsiders
Outsiders, a compelling fashion editorial for Love Want Magazine, serves as a masterclass in controlled, graphic composition and textural interplay. By stripping away visual clutter, the project leans into a rigorous, minimalist aesthetic that allows the tactile quality of the materials—from matte leather and snakeskin to shimmering metallic fabrics—to take center stage. Under the lens of photographer Nagi Sakai, the series channels a sharp, modern energy, utilizing a combination of studio strobe lighting and crisp natural light to emphasize structural silhouettes. The editorial is elevated by the precise styling of Aryeh Lappin, which balances avant-garde forms with polished, commercial sensibilities. Against backdrops ranging from vibrant, geometric red tile grids to muted, clinical studio tones, model Brooke Gabel delivers a series of poised, direct-gaze portraits that anchor the high-fashion narrative. The technical execution is further supported by the clean, architectural set design of Ian Salter and the meticulous grooming of hair stylist Pasquale Ferrante and makeup artist Kuma, whose work ranges from muted, natural palettes to bold, mint-green lip statements. Outsiders ultimately reads as a sophisticated exploration of how luxury accessories and structured garments function as objects of art, seamlessly blending the line between traditional fashion photography and a curated, conceptual visual experience that feels both timely and timeless.
Project Love Want Magazine · The Rebel
In The Rebel, a sprawling editorial fashion campaign for Love Want Magazine, the stark intersection of luxury aesthetics and rugged motocross culture is brought to life through a cinematic lens. Photographer Menelik Puryear expertly captures a series of sun-drenched, high-energy compositions that lean into the raw, arid textures of desert landscapes and industrial concrete backdrops. With fashion editing and styling by Marti Arcucci, the project seamlessly juxtaposes high-end leather and structured tailoring against the gritty, visceral reality of dirt bikes and sandy tracks. The imagery feels both grounded and surreal, utilizing 35mm film and analogue techniques to evoke a nostalgic, reportage-style quality. Model Cara Taylor serves as the central figure, moving through these diverse environments with an ease that bridges the gap between polished editorial minimalism and spontaneous, lifestyle-driven action. This synthesis of styles is further defined by the contributions of hair stylist Akihisa Yamaguchi and makeup artist Kuma, who together cultivate a textured, earth-bound aesthetic that feels authentic to the project's rebellious spirit. By balancing static, intimate portraits with dynamic live-action technique, the team has produced a body of work that channels a sense of wanderlust and unrefined freedom, ultimately redefining the boundaries of luxury fashion storytelling in an outdoor setting.
Project Love Want Magazine · Un été suspendu au soleil
Love Want Magazine presents Un été suspendu au soleil, a fashion editorial series defined by a raw, nostalgic aesthetic. The project utilizes medium-format analogue film to explore textural contrasts, pairing soft knitwear and voluminous faux fur with starker, high-contrast leather silhouettes. Across both outdoor riverbed locations and minimalist studio settings, the photography leans into atmospheric, sun-drenched tones and monochromatic palettes. The series is characterised by its deliberate use of film rebate markings and grainy textures, which serve to ground the imagery in an authentic, documentary-style frame. By oscillating between candid, outdoor portraiture and sharp, flash-lit studio shots, the editorial maintains a contemplative mood that emphasises tactile surfaces and natural light.
Project Love Want Magazine · Love Want Magazine #38 2025 Covers
Love Want Magazine presents its Issue #38 cover series, featuring model Mia Regan. Photographed by Bec Parsons, the editorial project centres on a series of studio-based portraits that utilise high-contrast studio lighting to create defined silhouettes against a clean, minimalist backdrop. The creative direction, overseen by Editor-in-Chief Bart Celestino, balances clean aesthetic choices with bold typographic overlays. Fashion Editor and Stylist Monica Russell opts for textural variety, pairing plush faux fur pieces with structured, monochromatic styling. The visuals are completed by hair styling from Rory Rice and makeup by Victoria Baron, leaning into a glossy, slicked-back aesthetic.
Project Love Want Magazine · Sun
Sun is a fashion editorial feature produced for Love Want Magazine, showcasing a series of candid portraits centered on model Sun Mizrahi. The collection spans domestic interior and urban outdoor settings, leaning into a raw, unfiltered aesthetic. Photographer and fashion editor Simon Elmalem employs an analogue film approach, utilizing natural light to capture intimate, observational moments. The editorial is characterized by its grainy, tactile quality and warm color palettes, highlighting a relaxed approach to styling through layered gold jewelry and varied textures.
Project Love Want Magazine · That's What I'm Waiting For
That's What I'm Waiting For is a fashion editorial series for Love Want Magazine, led by editor-in-chief Bart Celestino. Shot by photographer Paola Kudacki, the project captures model Maja Zimnoch in a series of minimalist studio and industrial settings, emphasizing sculptural silhouettes and precise tailoring. The execution relies on a monochromatic aesthetic, utilizing clean, analogue film techniques and high-contrast lighting to highlight garment textures, ranging from sequin-embellished tops to structured wool suits. With fashion editing and styling by Carolina Orrico, the work leans into raw, documentary-style portraiture that balances dynamic poses with focused detail shots. Supporting credits include casting by Abi Schwinck, hair styling by Mideyah Parker, and manicures by Leanne Woodley.
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