A grain of time

Lord Sko and Statik Selektah just dropped their new project called “Elevator Music,” and we need to show some love to the artist behind the cover, because it’s absolutely amazing. It was created by @zgajnar.tijan , a 19-y/o Slovenian student studying Painting at @academy_aluo . He has always shown interest in underground hip-hop (if you can call it that) and incorporated it into his art practice. For his final project during his graphic design studies at @oblikovna , he created an alternative Blu & Exile cover. Later he went on to paint some of his favourite artists like YUNGMORPHEUS, Nicholas Craven, Westside Gunn, and… you guessed it, Lord Sko. He saw it, liked it, and that’s how it all started. Really looking forward to seeing where his journey takes him next. It’s only the beginning.

Glasgow-born Trisha Biggar started her career sewing costumes at a summer theatre job in Perthshire, later spending twelve years at the Citizens Theatre in Glasgow before studying at Wimbledon College of Arts. Her work on The Young Indiana Jones Chronicles brought her to George Lucas’s attention, and he asked her to lead the costume department for the entire Star Wars prequel trilogy. Across three films she dressed Jedi, senators and bounty hunters, but her work for Padmé Amidala is what endures. Around three quarters of all Padmé’s dresses carry a touch of Scottish vintage, with fabrics sourced from Glasgow shops and silhouettes drawn from Russian folk costume and Paisley textile traditions. The wedding gown was built around a century-old Italian lace bedspread found in an Australian thrift store. On Natalie Portman, each piece landed differently than it might have on anyone else. The elaborate headdresses and layered silks framed her features in a way that made Padmé one of the most iconic screen presences of the early 2000s, and a crush for an entire generation of Star Wars fans. Known image credits: Cover image: Irving Penn, 1999 2 - Irving Penn, 1999 3 - Lucasfilm Archives 4 - (likely) Keith Hamshere, 1999 5 - Still from Star Wars: Episode I – The Phantom Menace 6 - Keith Hamshere, 2005 9 - photo from Dressing a Galaxy: The Costumes of Star Wars. 10 - John Levin 11 - crop of a scene from Star Wars: Episode II - Attack of the Clones 12 - Lisa Tomasetti 14 - behind-the-scenes preparation for Padmé Amidala’s funeral in Star Wars: Episode III – Revenge of the Sith 17 - Irving Penn, 1999 *All rights remain with original creators. DM/Email for removal. Posted for educational purposes only

Today we appreciate staircases and the small details that make them special. . *All rights remain with original creators. DM for removal. Posted for educational purposes only

Japanese ice cream packaging is its own genre. Writer Kris Kozlowski Moore explored a collection of bags for ice cream monaka (mostly), a modern take on a traditional sweet made of azuki bean paste sandwiched between two thin mochi wafers, with ice cream standing in for the filling. The bags range from full kawaii territory to pirate ships, fruit and baseball diamonds, most of them designed by anonymous hands with no obvious logic. One thread running through several of the designs is marui-ji, the rounded kawaii typography that first appeared in the 1970s, when Japanese schoolgirls began writing horizontally rather than vertically, the opposite of how Japanese is traditionally written. Schools found it difficult to read and banned it. It spread everywhere, eventually becoming the defining typographic style of kawaii culture. Would you buy an ice cream with a fish on it? Sourced from: Aug 25, 2023 Casual Archivist feature

Crazy to think how much things have changed since then. And even crazier to think how much things are going to change in just a couple of years. Video from @cinema.poetry

Japanese sentō, public bath houses that date back centuries, are neighbourhood institutions as much as they are places to wash. Inside, steaming communal baths sit beneath hand-painted murals of Mount Fuji, lush forests, and fantastical scenes, with mosaic tilework lining the floors and walls. The warmth that fills a sentō comes as much from the people as from the water itself. French photographer and official sento ambassador Stéphanie Crohin has visited over 1,000 of them since arriving in Japan in 2008. Her work goes deep into the history, architecture and art treasures that make each sento a place unlike any other, treating spaces that most people walk past without noticing as something worth preserving. She has also spent years pushing to keep sento culture from disappearing, as two to four close in Tokyo alone every month. Images via @_stephaniemelanie_

Last Milan related post I promise. Saw a lot of interesting bits I wanted to share with you. I was rushing through the exhibits slightly so if you know the original creator behind the piece, please tag them below!

Spent 1 day in Milan to see some exhibitions. These are some of my favorite light fixtures/lamps I saw.

For Milan Design Week 2026, Nilufar Depot on Viale Lancetti was transformed into Nilufar Grand Hotel, a narrative-led experience reimagining the gallery as a cinematic hotel environment, with an entryway, hall, dining room, and upper floors, each curated with a mix of vintage and contemporary collectible design. Three signature bedrooms were designed by david/nicolas, Filippo Carandini, and Allegra Hicks, each generating its own distinct aesthetic, while an upper-floor Meditation Room drew from Japanese onsen culture and featured rare vintage works by George Nakashima. The project also marked the debut of emerging studios Von Pelt Atelier and Derin Beren Yalcin, reinforcing Nilufar’s track record of introducing new voices in international design. These are some of the images I took at the Depot a few days ago.

“Me at the zoo”

Aphex Redditor laid in bed and scrolled Instagram Reels continuously for 24 hours at Eastern Bloc gallery, tracking how the platform’s algorithm shifted and evolved in real time. Her broader practice is rooted in post-internet culture, treating the social landscape of the internet as an endless source of visual and conceptual material. BedRot is that practice taken to its most literal, durational extreme.

In November 2025, Erykah Badu hosted an intimate sound meditation at Reethaus Berlin, a thatched sound temple, for just 25 people, experienced through high-fidelity headphones. She guided participants through fragments from her personal archive, unreleased material, and spontaneous improvisations. There were no phones, no recordings, no repeats. It happened once, and that was the point. I wish I could’ve experienced that. Photo by @nadirataniaa Film photos by @jhonny_5 Via @electronicbeats @reethausberlin @erykahbadu