Team Credits:
Photography by Lucile Leber
Makeup by Nomas
Hair by Christophe Pujo using Eugène Perma Professionnel and BaBylissPRO.
Model:  Beatrice B

Fashion Credits:
1) Ring by Romye
2) Earings by Romye
5) Earings by Kurage Ginza, top by Tina Benmorad.

Team Credits:

Photography by Erwan Desmazon
Stylist by Eddy Soilihi
Hair & Makeup by Louise Godet
Models: Chloé & Sarah
Lighting assistant: Quentin Aussant

Fashion Credits:

1) Blazer by YSL, bag by JACQUEMUS, and shoes by JONAK
2, 11 &12) Scarf by TIMOTHE, pants by DE MARSEILLE.
3 &4) Top and skirt by R.L.E
5 &9) Top and pants by TIMOTHE
6) Dress by TIMOTHE
7 &8) Jumper, top, and skirt by PIACEVOLE E
10) Top by Adidas, bag by Diesel.

Team Credits:

Photographer: Lucie Hugary 
Makeup artist: Loriane Leger using MAC Cosmetics
Model: Jade Cholette at Premium Models

Team Credits:
Photography by Nate Morgolis
Styling by Itsuka Watanabe
Makeup by Aimi Osada
Hair by Hide Suzuki
Model: Gray Harris from APM NEW YORK
Videographer Joe Kickbush

Fashion Credits:
1) Dress by Quine Li, Tights by Falke, Ear Cuff by Charlotte Chesnais
2) Top by Magi, Stockings by Falke
3) Dress by Melitta Baumeister
4) Denim dress by Mpaz Studio
5) Dress and neck piece by Shushu/Tong, Tights stylistʼs own
6) Cage skirt by Heather Huey, Bodysuits stylistʼs own
7) Dress by Quine Li
8) Dress by Sho Konishi
9) Bag by Sho Konishi, Earrings by Maŕa Peralta, Stockings stylistʼs own
10) Dress by Melitta Baumeister, Chain top by Maŕa Peralta

Two years ago, French-American singer-songwriter Crystal Murray had just released her extended EP Twisted Bases, and when she was interviewed by The Forumist at that time,  she expressed her wish not to be put in a box defining her work. Now, as her debut full-length album Sad Lovers and Giants hits the shelves, Crystal’s artistic development and continued freedom seems channeled through three words she likes to use when describing her artistry: growth, evolution and progression. 

“I believe humans and creatives are in a constant evolution of themselves, their taste, their visions of things, of the world,” she says, explaining how she has started “finding beauty in duality. Duality of emotions. Answers in rage, beauty in darkness, sadness in growth.”

Opposites attract in Crystal’s universe. Both sentiments and musical styles are experimentally combined in the storytelling that drives her new record.

“Sad Lovers and Giants is an exploration of contrasting emotions,” Crystal explains. “It’s a combination of melancholy or sadness, represented by ‘Sad Lovers’, and a sense of grandeur or magnitude, represented by ‘Giants’. I wanted to find a name that could remind you of a fairy tale, but not any kind of tale. The one for adults where the truth unfolds.” 

The musical freedom of Twisted Bases has permeated Crystal’s fresh work, as well. With the truthful, mature narration on Sad Lovers and Giants, it is made clear that the genre-expanding path is one that comes completely naturally to her. 

“I think on this one I finally made people understand that it’s a choice, and I’m finally breaking free of the boxes that I was once put in. It also fits with the subject of duality. The duality of emotions, and the duality of genres.”

Crystal Murray’s talent is best understood when experienced in a live setting. Luckily, she performs and tours frequently. For anyone who hasn’t had the chance to catch one of her shows, Crystal says it’s quite difficult to explain how they work. But she gives it a pretty good try: “It’s a FULL-ON SHOW. I’m giving you tears, sex, anger, love, lust. A mix of R&B with shoegaze, pop rock, trip hop. It’s a real roller-coaster ride, but everything makes sense together!”

Just like opposites being drawn together like magnets, some things don’t seem to make sense as a  pairing at first, until you see her perform. An excellent example of Crystal’s vision being actualized is the video for ‘STARMANIAK’, one of the strongest tracks off of her album.

“I like the idea of writing a song that can connect on every level, it can be personal for each individual, this idea of an ‘adult tale’, a tale with no lie,” Crystal says when describing the creative process behind ‘STARMANIAK’. “In this dystopian universe that we live in, the lyrics of this song came very naturally to me, like I found vulnerability in this rage. The words are raw, not poetic, like if I was talking to you. It’s quite direct.” 

When translating the rawness of the album track into video format, Crystal worked closely with creative soulmates to achieve the striking outcome: “The idea of doing something bizarre came from Stephy Galvani, my artistic director, and myself. The song came from somewhere so pure and real that I didn’t want to make a visual just to look good, we wanted something that makes you uncomfortable and makes you re-watch the video to understand where it comes from. We pitched the idea to Charlotte Wales and she brought it to a whole other level, that was visual, smart, and slick. It was exactly what I wanted.”

What Crystal wants often seems to come out of experimentation. Testing and investigating the limits of the given world and of the creative mindset. And not only when it comes to music. “I’ve always loved playing around with visuals and my style. Making visuals that weren’t expected for me to do is always where I will go,” she says, before she shares a quote from fashion creator and artist Martin Margiela: “The ritual of dressing is a composition of the self with our body as a canvas, we build an exterior expressive of the interior: a form of emotion.”

Other sources of inspiration are the femme fatales of pop culture. For example, Crystal mentions a lengthy fascination with Catwoman. “I’ve been obsessing over lots of female fighters,” she confesses, and reveals that the inspiration for the track ‘PAYBACK’ mainly came from Lady Snowblood, a 1973 Japanese vendetta film. 

Since Twisted Bases, Crystal has moved from Paris to London, a change that has perhaps made its mark on her artistic and personal growth, evolution and progression.

“So much beauty and new ideas come about when you move to a city you don’t know. It’s challenging, and sometimes a bit lonely. But this warmth and excitement of the unknown is so inspiring to me, the love that London has for music is the feeling I was looking for. I have this familiarity of music being a part of me, of my family, my blood. London has that in the roots of each and every individual or ethnicity.”

As Crystal herself put it above, the world can appear to be a dystopian place in these troubled and troubling times. When asked for her thoughts on how we can overcome the challenges of our day together, Crystal’s answer is straight forward and realistic, but nevertheless uplifting. “It scares me. The future scares me. But I’m a believer in art and hard work. I believe in my career, visions, and music.” 

The key can be self-belief, without forgetting the artistic beauty the world has to offer. And without closing your eyes to your surroundings. “The more I navigate the world the more I realize how artists need to be aware of what’s happening around us. What the people need right now is to heal, but the healing process is not there yet. So, for now we fight, we share, we create and try to believe in a better tomorrow.”

Talent: Crystal Murray

Team Credits:
Words by Filip Lindström
Photography by Nikolaz Le Coq
Styling by Barbara Boucard
Makeup by Caroline Joos
Hair by Lucile Bertrand
Stylist assistant: Leonie Olmos

Fashion Credits:
1) Top and wool knit panties by MM6, Underbra by Her Senses, Waders by Untitled19
2) Shirt by Untitled19, Earrings by Florence Moorhead
3) Coat by Untitled19, Jumpsuit and Necklace by Vivienne Westwood. Shoes by MM6, Rings Crystals own
4) Full look by Ottolinger , Shoes by Empty Behavior, Rings Crystals own.
5) Top and legging by Keta Gutmane, Shoes by Empty Behavior, Necklace by Danna Merveille
6) Shirt by Vivienne Westwood
7-10) Top and legging by Keta Gutmane, Shoes by Empty Behavior, Necklace by Danna Merveill
11) Corset by Vivienne Westwood, Panties by MM6, Shoes by Miista, Rings Crystals own
12)Full look by Vivienne Westwood, Rings Crystals own

Team Credits: 
Photography: Motohiko Hasui
Styling: Yosuke Shoji
Hair by: Kiri Yoshiki
Make-Up: Moka Wada
Model: Yilin

Fashion Credits:
#1 Top by Akane Utsunomiya, Shorts by Levi’s, Pants by Marine Serre
#2 Shirt by Soshiotsuki
#3 Dress and hat by Pillings
#4 Cardigan by Mame Kurogouchi, Pants by Pillings
#5 Camisole by Pillings, Shorts by Levi’s, Belt by Mame Kurogouchi, Watch by Casio
#6 Top and pants by Mame Kurogouchi

Picture yourself at a party. In one corner are the hypebeasts; in another, the mid-30s to 40s Supreme dads. Across the room, teenagers steeped in art and fashion, while law students and professors mingle with Silicon Valley techies. You might be under the impression that this diverse group of people would make for an awkward gathering. But when it comes to experiencing a MSCHF show, it all makes perfect sense. 

“Creativity, whether we plan it or not, acts like a Trojan horse – bringing people together without them even realizing it,” says MSCHF founder Gabriel Whaley from a deep-green hotel room in Stockholm. 

Amid social and financial rifts, few artistic experiences bridge these divides as effortlessly as MSCHF’s. In speaking with Gabriel, one thing is clear: nothing is scripted. For Whaley, who’s coded, designed and pushed boundaries for as long as he can remember, MSCHF has become a space for collaboration – a collective and brand that’s now grown beyond him. “What MSCHF is today is the sum of its parts, of different people that I’ve met over the last, honestly, 10 years,” he reflects. The MSCHF most are familiar with today started in 2018 with the founding team of creative directors, Kevin Weisner and Lucas Bentel, their COO Steven, and Gabriel himself, who today operates as what he refers to as the “space maker”. 

“We were four nobodies who had nothing going for them. And what I mean by that is that we didn’t have impressive careers that we had to turn down to do this, or like, incredible trajectories that we were going down. I think we were all just trying to figure out a version of the world where we could make the best creative work of our lives, while also making it be a sustainable practice,” he says.

In a world where progress and performance seem to be the point of everything, from the social feeds to careers and even the concept of aging, MSCHF takes a different approach. There’s no grand plan or formal structure. Here, creativity has no guidelines, boundaries or conventional markers of success. The diverse group of 30, based in Brooklyn are people from all walks of life, with various types of qualifications (or lack of qualifications, as Gabriel puts it), coming together to make almost anything they dream of. It’s fluid, fearless and perfectly unplanned.

“In the beginning MSCHF was almost like this mysterious black box putting out work that hopefully made people stop in their tracks and revisit their own reality for a moment. Although that continues to be the case. We want to put out work that challenges norms, subverts existing systems and objects and makes people reflect on their own reality. But as we’ve grown and become less secret, we’re challenging ourselves to take on more formats and become as prolific as we possibly can,” he says. 

Gabriel’s world, in which anyone at any given moment can explore any topic in any direction with equal amount of intention, sounds like a creative utopia – one that MSCHF has decoded. It often seems that it’s what they choose not to do that fuels their success, an unintentional rejection of conventional progress as a means to redefining it. “A lot of people who reach out to us were raised to see creativity as either a hobby or a service job,” Gabriel notes. “We’re trying to show anyone watching that there’s a world where you can create for yourself – purely and unapologetically.”

The results are wildly intriguing projects and products, such as Satan Shoes (2021), which was a collaboration with Lil Nas X featuring modified Nike Air Max 97s containing a drop of human blood, and the Museum of Forgeries: Warhol Edition (2021) containing 999 replicas of an original Warhol print, mixing them with the real one and selling each for the same price. 

One might picture MSCHF in a sleek boardroom, plotting which cultural norm to dismantle or political territory to infiltrate next. The reality is the opposite. “I wouldn’t say we’re here to make the world a better place – that’s not really our role,” Gabriel explains. “We’re a business, but we’re also an art collective, made up of people who are constantly looking at our own environment and surroundings as an opportunity to play. An opportunity to create, to see the hidden side of things, and to like, misuse,2 and make new.”

For the collective, a lot of those opportunities lie in our existing societal structure and shared value systems. “There’s an inherent tension in our relationship to power, to each other and the shared value systems that we’ve created as human beings. People will ascribe value to the most banal of objects for the sake of their own ego or for the sake of being accepted by their social circles. I think that’s why we love playing with the concept of value, because it’s such a pure reflection of you and the people that you desire approval from,” he says.

Gabriel cites Tax Heaven 3000 (2023) as a quintessential MSCHF project– a tax filing software disguised as a dating sim, where players end up completing their taxes by the end of a cute anime-style date. Sold alongside a body pillow, it also offered a free online version that saw 20,000 users ditch TurboTax last year. “There’s a lot to unpack – the monopoly, dark UX patterns, lobbying influence – all designed to stoke audit anxiety so you’ll pay for protection,” Gabriel explains, highlighting the system’s exploitative flaws.

The concept of art as business – or business as art – isn’t new. Back in the 1960s, Andy Warhol pioneered what he called “business art” with works such as Campbell’s Soup Cans (1962), positioning the artist as both creator and commodity. Today, in an era where commercialism is more pervasive than ever, this idea feels even more resonant. As Gabriel puts it, “Creating within these themes means putting the work into the systems you’re critiquing, rather than shouting from a hilltop. I think it’s very easy to fall into the trap of having your work only show up in spaces where inequality might not exist.” This approach keeps MSCHF’s work grounded and challenging the very spaces that feed it. 

Experiencing art can often feel exclusionary – big white walls with an air of elitism that stands between the work and a genuine connection. But MSCHF flips this on its head, creating a space where anyone, from the Supreme dad to the law professor can bond, at an art show, over taxes filed in an anime date sim, side by side with techies, hypebeasts and art teens. The lines blur, and art starts to feel like a conversation open to all.

Words by Hannah Magnusson
MSCEF can be seen in Andy Warhol – Money On The WallSpritmuseum in Stockholm: 18 October 2024 – 27 April 2025

All images courtesy of MSCHF
Left to right:
Yellow bag: Global Supply Chain Telephone Bag (2024)

Bag in the middle: Our Cow Angus (2024)

Nike sneaker: Satan Shoes (2021)

Team Credits: 

Photography by Peter Olsson
Styling by Mili Malinovic
Hair and Make-up by Josefina Zarmén
Model: Elisabeth T at MIKAS
Photography Assistant and Retoucher: Jim Widgren

Fashion Credits:

1) Leather top by Olivia Grahn
2) Leather tank top by Ann Demuelemeester, Blazer by Adnym Atelier, Leather gloves by COS Atelier, Skirt by Olivia Grahn, Shoes by Rombaut
3) Blazer by Givenchy, Skirt by Alectra Rothschild, Stockings by Wolford, Shoes by Prada
4) Puffer top by Herold Studio, Shorts by Keta Gutmane, Stockings by Wolford
5) Hats by Daniel Nyström, Jacket by Davii
6) Leather tank top by Ann Demuelemeester, Blazer by Adnym Atelier, Leather gloves by COS Atelier, Skirt by Olivia Grahn, Shoes by Rombaut
7) Dress by Davii, Pants by Bewider, Shoes by Prada
8) Dress by Chimi, Corset by Ewa Larsson Concept
9) Blazer by Adnym Atelier, Leather jacket by Fayette/Norling, Belt by Anna Danielsson Design
10) Big circle top by Notion of Form, Skirt by Julia Weström, Stockings by Swedish Stockings and Wolford
11) Dress by Herold Studio
12) Dress by BCBG Max Azria, Leg warmers as sleeves by Wavey Yarns

Team Credits: 

Photography by Cristian Martinelli
Styling by Margherita Mazzoletti
Hair by Marco Patti
Make-up by Silvia Acquapendente
Model: Laura Rylands at Monster Boundary London
Photography Assistant: Nicola Zappettini
Styling Assistant: Aurora Di Negro

Fashion Credits:

1) Dress by Emanuel Simmerle, Shoes by Sergio Rossi
2) Sweater by Shesja, Earrings by Marzia di Rosa, Bag by Marsell
3) Top by Yige, Tights and shoes by LBE Archive
4) Dress by Yige, Bracelets stylists own
5) Dress by Forza Collective, Bag by Marsell, Shoes by Sergio Rossi
6) Coat by Olivia Nausner, Bracelets by Sportmax, Shoes by Sergio Rossi
7) Bra by LBE Archive, Trousers by Guiseppe Cocconcelli, Shoes by Marsell
8) Hat by LBE Archive
9) Top and trousers by Nicklas Skoovgaard, Belt by Evropa
10) Top and leggings by Guiseppe Buccinna, Belt by LBE Archive, Shoes by Yume Yume

Every part of our lives requires us to try our best – to improve and refine whatever we strive to achieve. This desire to elevate the mundane aspects of life has been a vital part of Japanese culture for centuries. There is a cultural belief that the ordinary can be crafted into something special through effort, attention and care. This philosophy can be seen in everything from daily routines to art and business. Japan’s ethos of refinement is present everywhere – it is a constant search for reinvention.

Forma is a newly opened restaurant in Hornstull, Stockholm, a neighbourhood known for its vibrant cultural meeting spots. It seemed like the perfect place for a new restaurant eager to serve food with that extra edge, to reimagine the ordinary into something new and interesting. But in truth, this is not at all about Michelin star ambitions. 

“Filip, my partner here, and I are friends from childhood. And it was actually when we travelled to Australia together that started it all. It’s where we first connected with new cultures and ideas, and it really changed the way we saw the world. That inspiration drives us every day. We want to surprise people and raise the ordinary to something truly special,” says Anton Nilsson, head chef and co-owner of Forma.

This ambition to transform the commonplace is also evident in the restaurant’s choice of beer. Asahi is the natural choice for customers – a beer born from Japanese culture that balances tradition and innovation. Japan is a country known for its precision and uncompromising quality, but it is also a beacon of reinvention and discovery. This makes it one of the most interesting places on earth.

Asahi also embodies the country’s spirit of innovation, having pioneered the Super Dry style of beer, blending tradition with modern brewing techniques. Its minimalist design and crisp, dry taste align with Japan’s aesthetic values of simplicity and balance, where attention to detail is paramount. 

This approach embraces many cultural expressions, such as the work of iconic designers Rei Kawakubo or master tailor Yohji Yamamoto, both innovators who have truly driven fashion according to Japanese aesthetics, blending classical drawing techniques with new methods. Issey Miyake, celebrated for his technology-led clothing designs, shows and fragrances, was another key figure in this modern tradition. 

Even in the world of whisky, Japanese brands have for decades been winning the highest awards. And let’s not even get started on the world of music, where Japanese artists have taken imported styles and transformed them into perfection and surprise.

All these examples embrace Western traditions, combining them with the Japanese spirit to create something truly extraordinary: a synthesis of East and West, of the new and the old. This is the essence of what Asahi represents – a Japan far more distinct and interesting than the expected image, creating something far from the expected. 

The origin of this spirit can be traced to the Three Japanese Arts of Refinement: Kado (the way of flowers), Kodo (the way of fragrance), and Chado (the way of tea). And today, modern Japanese culture remains deeply rooted in the concept of refinement and the pursuit of perfection. Whether it’s the attention to detail in Japanese cooking, the respect for nature seen in landscaping and gardening or the mindfulness in daily routines.

“We’re not trying to recreate traditional Japanese cuisine, but we approach everything with the same diligence, thoughtfully considering every plate. It’s this commitment to care and attention that I hope shines through in the dishes we’ve created in this ultimate Food and Asahi pairing,” Anton continues.

At his restaurant, worlds truly collide. Nothing is sacred. This is where the familiar is transposed to unexpected heights. Still, their guests always readily recognize the dish they’ve ordered and understand the name and tradition from which the cuisine comes. Yet they are surprised by the new depths of flavour and texture. Rooted in the foundational pillars of salt, fat and acid, each creation celebrates these elements in their truest form, while texture – such as crispiness and the softness of sauce – adds a captivating dimension.

Their steak tartare, for instance, is a hedonistic blend of France and Asia. A classic totally reimagined, with glazed oyster sauce and Avruga caviar and minced topside of beef, glazed with oyster sauce and Avruga caviar, and charred. Texture and acidity create something far beyond the expected. Every flavour is on a special assignment to boost the overall experience.

“When we worked abroad for many years, in Australia and New Zealand, I got interested in how flavours interact. To create a melting pot from all sides of the planet, in search of perfection. Yet we fine-tune our dishes, leaving nothing to be desired. Even a medium-sized dish should be complete on its own,” he emphasizes.

Some guests have actually been upset by the results of his fearlessness in reinventing established dishes. In his arancini, green curry mayo and dried black lime play an important role. This, together with arancini made from risotto using the normal ingredients plus two extra cheeses – mozzarella and Brie de Meaux – is comfort food totally transformed. Traditional taste is refined into an unexpected delight.

The Nordic classic of reindeer fillet is here combined with satay and surprising piquancy to boost the natural ingredients, giving a crisp and refreshing relish to the dish. The same is being done with another famous Scandinavian ingredient: the Arctic char, a classic dish completely redefined through inventive methods and imaginative taste combinations. A famous sauce, Sandefjord sauce, infused with hot charcoals and added yuzu juice, finally split – something no chef should normally be proud of – with sobrasada oil. Anton is truly a reinventor and the epitome of diligence and curiosity in his trade.

“I believe it’s important to find meaning in everyday moments and to constantly refine what you do. By honouring your craft and paying attention to every detail, you not only grow personally but also bring joy to others. It  creates space for meaningful conversations, relaxation and the enjoyment of food made with care and passion. The goal is to refine every detail, day by day, in everything I do.”

This relentless pursuit of perfection stems from Anton’s background in elite competitive diving. As a skilled diver in his younger years, he travelled across Europe, competing at a high level. The discipline he learned – repeating a detail over and over until it was perfect – translates seamlessly to the kitchen. In many ways, it’s the same: working tirelessly to perfect the basics and surprising others. 

In Japanese culture, mastery isn’t about showcasing skill, but about humility and the relentless pursuit of perfectionism. Every challenge is taken seriously and even the most obscure hobby or interest can be turned into something meaningful. Just visit one of the many bars in Osaka or Tokyo dedicated to esoteric genres of music or video games.

Even in art, this concept of refinement is evident in the work of many contemporary artists. For example, Yayoi Kusama’s psychedelic installations and sculptures have become globally iconic, yet her work is also deeply connected to personal transcendence and spiritual elevation. Her practice, especially her famous infinity rooms and installations, transforms ordinary materials into immersive experiences. 

In a way, Yayoi Kusama is a good example of Japan today, a place filled with ideas of reinvention and vibrancy. At its core, modern Japanese culture is firmly centered on the idea of elevation – whether it’s the constant pursuit of self-improvement, the refinement of craft, or the search for beauty and perfection in life’s details. It’s a culture that values continuous research, whether in the form of technological innovation, artistic creation or personal development.

“Creating something that surprises us, something beyond the ordinary, is already natural to us here at Forma. It’s what we try to do every day, not in a flashy way, but by making everyday moments feel a little more special,” Anton concludes. 

This pursuit of higher ground encourages not only a desire for excellence but also an appreciation of the journey itself. It is through the process of elevation that one finds deep satisfaction in dedication, humility and the quest for a deeper understanding of the world and one’s place in it. It also makes everything we do more interesting and a lot more delectable. As refreshing as a glass of Asahi, in fact.

Elevate – beyond the expected

This is Forma’s ultimate Food and Asahi 0,0% pairing. 

Steak Tartare: charred, carpaccio.

A classic, reimagined. Brushed and charred afterwards. Texture and acidity. 

From bottom to top: Minced beef topside. Kewpie mayonnaise. Pickled onion. Two vinegars: rice and champagne. Pickled radish. Fried garlic. Carpaccio. Glazed oyster sauce. Avruga caviar. Lotus root crisps. Sesame vinaigrette with grapeseed oil.

Tataki: Reindeer fillet, satay.

Burst of flavour. Sauces elevate the natural ingredients. Crisp and refreshing.

From bottom to top: Shredded radish and green papaya. Satay sauce. Roasted sesame seeds. Seared sliced reindeer fillet. Garlic flower. Surrounded by nuoc cham and jalapeño oil.

Arancini: Green curry mayo, dried black lime.

Comfort food redefined. Traditional flavours refined into an unexpected delight.

From bottom to top: Green curry mayonnaise with lime. Arancini – deep-fried risotto with Parmesan, Brie de Meaux, and mozzarella. Parmigiano Reggiano, leek ash, powdered dried black lime.

Arctic Char: Grilled Sandefjord sauce, trout roe.

A classic dish, completely transformed through unexpected methods and taste combinations.

From bottom to top: Water chestnut. Grilled scallions, marinated in Ponzu. Fried garlic. Charred Arctic char, steamed and charred, seasoned with Shichimi togarashi. Smoked trout roe. Avruga caviar. Chives. On the side: grilled Sandefjord sauce with yuzu juice. Split with sobrasada oil.

Team Credits:
Production and concept by The Forumist Production
Words by Tor Bergman
Photography and DOP by Gustav Sandegård
Film post-production by Dynamic Films
Special thanks and in collaboration with Asahi Super Dry