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Slanted, Issue 44 – Type Fashion

295 SEK
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SWEDEN SHIPPING Shipping Class 1 = 40 SEK
Shipping Class 2 = 60 SEK
Shipping Class 3 = 90 SEK EUROPE SHIPPING Shipping Class 1 = 100 SEK (approx 10 EUR)
Shipping Class 2 = 150 SEK (approx 15 EUR)
Shipping Class 3 = 200 SEK (approx 20 EUR) OUTSIDE EUROPE SHIPPING Shipping Class 1 = 150 SEK (approx 15 USD)
Shipping Class 2 = 200 SEK (approx 20 USD)
Shipping Class 3 = 300 SEK (approx 30 USD)

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Slanted started with a Weblog in 2004. The first magazine issue was published 2005.
Slanted is the first German magazine devoted to typography. It takes an interdisciplinary approach, and has been designed to complement the highly- frequented internet blog at www.slanted.de.

The main focus of Slanted is typography found within design, illustration and photography, but a variety of other topics — related both directly and indirectly to the field — are also addressed. The magazine contains expertise analyses and reports, as well as information on typographic experimentation, portraits and interviews with today’s superstars and underground players on the international scene of typography and design. All of this is presented alongside spectacular, first-class graphics and thought-provoking photography.

In this issue:

Slanted Magazine #44—TYPE FASHION explores the intersection of typography and fashion. The issue explores the boundaries of conventional design, embracing cutting-edge typography as a dynamic canvas for fashion expression. It presents art pieces, conceptual works, unconventional positioning, bold messages, weird concepts, and off-road applications that challenge the status quo of fashion industries.

If Slanted were a fashion brand, our mission would be clear: to inform, provoke, and ignite the imagination—championing freedom, research, and creativity, where fantasy becomes reality, aspirations are achieved, and culture is constantly evolving.

In addition to showcasing outstanding works, this issue features insightful essays by Christina Donoghue, Ann Marie Wainscott, Graphéine, Jelena Drobac, Ian Lynam, Jimmy Henderson, Kylièn Bergh, and Karmen Samson. Furthermore, interviews with Golnar Kat-Rahmani, Mirko Borsche, Jochen Smuda and Martin Fussenegger (Ucon Acrobatics), as well as Jean-Baptiste Levée, provide valuable insights into the intersection of typography and fashion. The issue concludes with an extensive appendix, listing all participating contributors.

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