BBYTTH exists in a strange realm between waking and dreaming — a publication that is part fashion editorial, part art book, part mixtape liner notes, and part portal into a universe that its creator, music artist Kenzie TTH, has been building across multiple disciplines. The magazine is named after Kenzie's label and exists as a complement to her music: a visual and literary companion that extends the world of the songs into printed form.
Each issue is curated by Kenzie herself, who invites artists and friends from London, New York, Paris, and Los Angeles to contribute to an editorial that displays perceptions of escapism. The contributors are not hired hands executing a brief. They are collaborators invited into a shared imaginative space, each bringing their own interpretation of what it means to escape reality and, in doing so, creating a reality of their own. The result is a collection of photographs and words that reads like an intricate set of LP liner notes from a time when album packaging was an art form — dense, personal, and designed to be pored over while the music plays.
What makes BBYTTH distinctive is its refusal to separate the magazine from the music, the music from the fashion, the fashion from the friendships. Everything bleeds into everything else, producing a publication that cannot be reduced to any single category. It is not a music magazine, not a fashion magazine, not a zine — it is all of these things dissolved into something that operates on its own logic and rewards readers who are willing to enter that logic on its own terms.
Elements of fantasy and satire run through the pages alongside references to nostalgia and glimpses of the future. BBYTTH is not a magazine in any conventional sense. It is a place to be lost and found again within the pages — a printed extension of a musical vision that refuses to be confined to a single medium.