Within the pages of the fall edition of Kinfolk, the home becomes more than the sum of its walls and floors, chairs and wallpaper—more than a collection of objects. We delve deeply into the very nature of home, exploring what’s hidden, unseen, mysterious and sensual. And we look into what we have forgotten or overlooked in the rituals of our daily lives.
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The traces that insects leave around our homes remind us that we’ve got permanent company.
With designs as colorful as the muses that influence him, Peter Jensen confronts the fashion world with a gentle dose of eccentricity and humor.
Andrea Codrington Lippke examines the ways in which our most ordinary household objects continue their lives after we’re gone.
Once host to Picasso, Marlene Dietrich and Greta Garbo, Villa Santo Sospir now stands as a living monument to the Dionysian excess of 1950s France.
Bespoke tailor T-Michael derives as much satisfaction from the design process as he does from the end result.
The founding editor of Modern Farmer and Monocle reflects on the intense yearning for private spaces in our homes and workplaces.
Japanese novelist Jun’ichiro Tanizaki illuminates how light and shade’s dependence on one another nuances everyday moments with repose and beauty.
With her impeccable eye and sense of entrepreneurialism, Hikari Yokoyama is charting her own course through the contemporary art world.
Amy Sall reflects on her Senegalese heritage and how its physical reminders shepherd her sense of home—wherever she may be.
Sally Mann writes intimately of her relationship with Cy Twombly and the photographs she made of his studio before Twombly's death in 2011.
Seminal Indian architect B. V. Doshi describes the difference between a house and a home.
With its clean lines, high ceilings and ample use of natural materials, Emmanuel de Bayser’s apartment is the epitome of modernist living.
Three decades since his death, Canadian pianist Glenn Gould’s inner life endures with as much legend as his recordings.
French architect Joseph Dirand acquired his first Prouvé chair at the tender age of 17 and has favored function over form ever since.
What happens as modernism becomes monstrous? The home in a classic Jacques Tati film explores how functional design can lead to domestic dysfunction.
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