Pascal Paché works at the intersection of casting, art direction, and styling — the kind of Parisian creative whose hands are in every frame but whose name rarely appears in headlines. As artistic director of À Part, the independent fashion and art magazine he has shaped from its inception, Paché has spent over a decade building a publication that treats each issue as a self-contained visual project rather than a seasonal catalogue. The magazine publishes biannually, with an additional special-format edition each year, and every issue orbits a single thematic concept: Famille, Regarde-moi, Love. The themes are deliberately human, not trend-driven, and the resulting pages feel closer to a curated group exhibition than to a fashion spread.
What gives À Part its character is the collaborative model at its core. Each issue pairs guest interviews with exclusive photographer series, bringing together emerging and mid-career image-makers — Hubert Crabières, Manuel Braun, Rachael Godt, Gareth McConnell, Robbie Augspurger — alongside stylists, set designers, and casting directors who conceive editorials as complete artistic statements. Paché himself frequently contributes photography, styling, and casting to the pages, blurring the line between editor and creator. His Instagram handle, @pascallappart, doubles as a quiet signature: Pascal from L’Appart, the publication’s PR arm, L’Appart PR, which he also runs from Paris.
Now fourteen issues deep and celebrating its tenth anniversary, À Part has built a following of 44,000 on Instagram and international distribution through KD Presse. It is stocked at WHSmith, Ofr, and the Palais de Tokyo bookshop in Paris — places where the fashion-curious browse alongside the art-obsessed. The price point is almost provocatively accessible at around nine euros per issue, a deliberate choice that signals a publication designed to be read widely rather than collected by a few. The special editions push further: the À Poil collection arrived as a binder containing loose artist prints, treating the magazine format as a physical object to be dismantled and pinned to a wall.
In a Parisian fashion magazine landscape dominated by legacy titles with corporate backing, À Part occupies exactly the position its name implies: slightly to the side, operating at its own rhythm, answerable to no one but the creatives who fill its pages. That independence — quiet, persistent, and entirely self-made — is the publication’s most distinctive feature.
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