David Martin launched ODDA in April 2012, and somewhere along the way his biannual fashion and culture magazine stopped being a magazine and became a book. Recent issues have ballooned past 600 pages — enormous, glossy volumes themed around statements like "What We Found" or "Backward and Forward," mixing menswear and womenswear editorials with interviews, cultural commentary, and the occasional surprise: Stevie Wonder and his son Kailand Morris in conversation with Timothée Chalamet, for instance, or a feature on Liberace's mansion sitting next to a Google Maps globetrotter's travel diary.
The magazine's redesign by Madrid-based studio N-E involved three typefaces — Baskerville, Akzidenz Grotesk, and Our B Std — arranged on a twelve-column grid that allows infinite compositional possibilities. Creative director Miguel Naranjo studied lyrical compositions to create a layout system where every one of those 600-plus pages is manually composed. The visual language shifts from section to section, giving each its own voice while maintaining a coherent rhythm through the whole volume.
ODDA has also expanded into a Korean edition and a dedicated app, but the print object remains the main event. Based in New York, it occupies a curious space in fashion publishing: too thick for a magazine rack, too current for a bookshelf, and too ambitious for anyone who thinks fashion magazines peaked in the nineties.
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