Paul Theroux said, “Travel is glamorous only in retrospect.” Anett is staying put in her jumper, dress, earrings and shoes by Prada.
“Travel is useful, it exercises the imagination. All the rest is disappointment and fatigue. Our journey is entirely imaginary. That is its strength” —Louis-Ferdinand Céline, from Journey to the End of the Night (1932). Anett is not deluded; she wears a jumper by Uniqlo, a skirt by Calvin Klein Collection, and holds a bag by Jimmy Choo.
“I lack the imagination. For that reason I have to pack, stuff into my pockets odds and ends, passport, money, and go see what it’s really like. Whenever the time of year or the weather changes, I have to pack up whatever I can’t do without and visit all those places I’ve been before, to make sure they still exist,” writes Andrzej Stasiukin On the Road to Babadag: Travels in the Other Europe (2004). And so, Mateo, right, packs his Loewe bag, puts on his jacket (also by Loewe) and his Saint Laurent by Hedi Slimane jeans; he’s ready to go. On the left, Ugne wears a jacket, a skirt and shoes by Givenchy.
“So I can understand the mad passion for travel books and their deceptiveness. They create the illusion of something which no longer exists but still should exist, if we were to have any hope of avoiding the overwhelming conclusion that the history of the past 20,000 years is irrevocable.” So said Claude Lévi-Strauss in Tristes Tropiques (1955). Likewise, Mateo’s sleeves (left) – by Comme des Garçons Homme Plus, available from Browns – create the illusion of tattoos. Right, Anett wears a top and a skirt by Back by Ann-Sofie Back.
“The dead travel fast” —Bram Stoker, from Dracula (1897). Left, Ugne wears a dress under a striped dress and boots by Miu Miu. She is alive and defiantly kicking, like Mateo, right. Who wouldn’t be, dressed head to toe in Saint Laurent by Hedi Slimane?
“I had hoped of the Himalayas something more than the Alps. And here, immediately, appeared that hard prussian-blue, the enemy of colour and form in landscape, which our grandmothers delighted to stipple from their Swiss hotels, which explains why the German race has never produced a single painter, and never will, and why there are so many tedious interludes in Wagner’s music,” wrote Robert Byron in First Russia, Then Tibet (1933). Left, Anett wears a dress by Jacquemus and trousers by Isa Arfen, both far softer in colour than Byron’s harsh mountain skies. Right, Mateo wears a jacket and a necklace by Dries Van Noten.
“Every hundred feet the world changes” —Roberto Bolaño, from 2666 (2004). Left, Mateo wears trousers and shoes by J.W. Anderson. Right, in his jacket, shirt and trousers by Gucci, he carefully combs his furry loafers, also by Gucci.
“Stars, everywhere. So many stars that I could not for the life of me understand how the sky could contain them all yet be so black.” —Peter Watts, from Blindsight (2006). Left, Mateo wears a shirt and sunglasses by Prada to stare into the heavens at our own star, the sun, always shining, always ablaze with light and energy. Like NASA says, “In the ubiquity of solar output, Earth swims in an endless tide of particles.” Right, Ugne wears a top and earrings by Céline.
“Roam abroad in the world, and take thy fill of its enjoyments before the day shall come when thou must quit it for good” So said Saadi in the classic of Persian literature, Gulistan (1258). Left, Anett is not a quitter, and wears shirts, trousers and a hat by Isa Arfen and vintage shoes from Rokit.
“Essentially the camera makes everyone a tourist in other people’s reality, and eventually in one’s own” —Susan Sontag, from On Photography (1977). We are merely tourists in Anett’s reality. On the right, she wears a jumper by Uniqlo and earrings by Miu Miu.
“Arriving at each new city, the traveller finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.” Italo Calvino, from Invisible Cities (1972). Left, Mateo wears a jumper and a scarf by Lemaire. Perhaps he is contemplating what he no longer is. Right, he wears a coat, a waistcoat, trousers and shoes by Raf Simons.
“The landscape of Turin, the monumental squares, the promenades along the Po river, were bathed in a kind of ‘Claude Lorraine’ luminosity (Dostoyevsky’s golden age), a diaphonousness that removed the weight of things and made them recede into a infinite distance. The stream of light here became a stream of laughter,” wrote Pierre Klossowski in Nietzsche and the Vicious Circle (1969). Left, Mateo wears a jumper by Alex Mullins and trousers by J.W. Anderson. Right, Ugne laughs wearing a coat and shirt by Maison Margiela. The grey jumper is by YMC.
“They sat islanded in their foreignness, irrelevant now that the holiday season had ended, anachronistic, outstaying their welcome, no longer necessary to anyone’s plans” —Anita Brookner, from Hotel du Lac (1984). Mateo evokes the melancholy of the out-of-season tourist in a jumper and an earring by Acne Studios.
“That’s the place to get to – nowhere. One wants to wander away from the world’s somewheres, into our own nowhere” —D.H. Lawrence, from Women in Love (1920). Anett, contemplates the limitlessness of our need for escape in a dress by J.W. Anderson.
Photography: Sohrab Golsorkhi-Ainslie / Womenswear styling: Nobuko Tannawa / Menswear styling: Bobby Hook / Hair: Takuya Uchiyama using Bumble and bumble / Make-up: Ammy Drammeh using Bobbi Brown / Stylists’ assistant: Nothemba Mkhondo / Models: Anett Dren at Premier Model Management, Mateo Carlos at Select Models, and Ugne at Next Management London