Recently, the cultural significance of the emoji has become so pronounced that the Oxford Dictionary Word of 2015 was, in fact, not a word but rather the little yellow "Face with Tears of Joy" (apparently it "best reflected the ethos, mood, and preoccupations of 2015"). Ever atune to the zeitgeist, we enlisted artist James Joyce to interpret some of the most iconic images from AnOther Magazine A/W15, transforming them into emojis of our very own. From Maison Margiela to Prada, John Waters to Aya & Bambi, here we present the most fashionable emojis of all time: our own, chic versions of the little red stilleto and that strange turquoise dress...
Poppy Okotcha (Above)
Benjamin Alexander Huseby and Katie Shillingford's story Shine Bright Like a Diamond, Shine Bright... is a brilliant reworking of the seventies audition scene in Milos Forman's Taking Off, starring an assortment of girls holding their own at (incredibly stylish) karaoke. With her Gillian Horsup golden earrings and cropped afro, Poppy Okotcha's silhouette is a fabulous disco throwback and, transformed into graphic form, it definitely deserves a place on the emoji keyboard to communicate the joy of getting dressed up – particularly useful during this festive season.
Photography by Benjamin Alexander Huseby, Styling by Katie Shillingford
Givenchy by Riccardo Tisci Goat Fur Mini Nightingale handbag
There is something fantastically eerie about Givenchy's Goat Fur handbag, placed on an austere beige concrete and shot by Thomas Lohr with a delicious tactility. Its fur combed into glossy, straight precision and draped over the angular stone gives an otherworldly illusion of almost anti-gravity suspension, and its gently spiky silhouette makes for the perfect emoji-spiration: a chic alternative to the little pink purse and the brown handbag currently on offer.
John Waters' Moustache
There are few examples of facial hair as iconic as the pencil moustache of John Waters, the Pope of Trash who spoke to AnOther's Hannah Lack in the issue about Derek Jarman's radical movie masterpiece Blue. His inimitable style was captured by Marc Peckmezian for the issue, and in spite of his sartorial choice smartly reflecting his chosen theme, it is his moustache (famously drawn on using Maybelline Velvet Black eyeliner pencil) that makes the most dramatic impact. One ought to be able to use this emoji any time you need to communicate something deliciously perverse.
Pat McGrath's Make-up for Maison Margiela
Also included in the issue is a showcase of John Galliano's debut ready-to-wear collection for Maison Margiela, alongside a touchingly intimate interview with the man himself conducted by Susannah Frankel. One of the most distinct facets of Galliano's A/W15 approach to the house codes of disruption and modernity was the make-up that Pat McGrath created for the show – and replicated for the shoot shot by Craig McDean and styled by Katie Shillingford. A subversive, technicolour take on a cat eye, the cosmetics continued the transformation of the models into strange, otherworldly characters; as Galliano explained, "Everything was considered. What did she have in her bag? Empty tea cartons, probably." The perfect image to communicate the incommunicably bizarre.
Leather Mary Jane Shoes by Prada
Prada's double-buckled Mary Jane's for A/W15 have determindely proven themselves as the success of the season – and, as if they needed anything to make them more distinctly desirable, Zoe Ghertner and Ellie Grace Cummings' collaboration did just that. Paired with fishnet tights and Ostrich leather opera gloves, they become the most sensuous footwear one could imagine... even more erotic than the aubergine.
Aya & Bambi for MOVEment
The A/W15 issue also celebrarated MOVEment: a series of seven collaborative short films commissioned by AnOther to explore what would happen if we enlisted the world's leading choreographers, designers and filmmakers to conceive of a project in harmony with one another. Aya & Bambi met with Hussein Chalayan, Ryan Heffington and Jacob Sutton to create what Heffington described as a hyper-dynamic "symbiosis between fabric, skin and movement" – a fantastically energetic exploration of graphic silhouettes and syncronised mirroring. Use this instead of the red flamenco dancer, of course.