How ‘The Book’ Redefines Luxury Publishing And The Art Of Curation

The decline of print media, particularly across fashion magazines, reflects the broader shifts in how people consume information and trends in the digital age. What was once the monopoly of glossy, well-curated magazines has now transitioned to lurid digital formats that are led by click-bait and affiliate links. It is now social media algorithms not the tastemakers that make or break trends. While, fashion publications have been historically influential in dictating trends and showcasing culture, many in the industry feel that the ‘art of curation’ is currently on life-support.

Matthew Egorov is trying to bring it from the brink. His new publication ‘The Book’ features a curated edit across high fashion, culture, design and travel. Egorov in partnership with iconic brands and creatives including Dior, Carpenters Workshop Gallery, Amalie Gassmann, Jameela Jamil and Patrick Mcdowell, produced an image-first coffee table book that is equally fascinating to browse as well as to reference.

After being an observer in the fashion industry for years and meeting people from all areas and backgrounds, Egorov was surprised that an industry that should have been an inviting, open and inclusive space was trapped by its obsession with closed doors, exclusivity, and social status. This is where The Book was born. It took over a year to create by bringing together various talent from across the industry, with an emphasis on collaboration and offering a platform for an inclusive-view of fashion luxury. ‘The Book’ was finally unveiled during London Fashion Week with an extravagant rave in Notting Hill’s Ladbroke Hall.

I sat down with Egorov to learn more about why the timing of this publication is now, and what he hopes to achieve with his collaborative approach to luxury fashion publishing:

What inspired you to create “The Book”, and what drove your passion to transcend conventional boundaries of fashion, culture, design, travel, and lifestyle?

In a time when there is so much noise, saturation and a lack of originality in the fashion industry, we wanted to create a platform that would serve as a showcase of current artistic culture through the lens of clothing, accessories and beauty. In the case of the First Edition – highlighting the pinnacle of fashion, art, design, and overall lifestyle. “The Book” captures a moment in culture; everything in our pages focuses on the highest level of design and craftsmanship anchored around our view of today’s trends and overall cultural trajectories.

What criteria did you use to curate the content for “The Book”, and how did you ensure diversity and inclusivity?

Curation is part art and part science. Every concept was storyboarded and workshopped for months prior to shooting, whilst final image selection and the order in which they are portrayed was ultimately made by me. My priority was always to ensure the integrity of the storyline running throughout “The Book” – not a literary storyline, but one of aesthetics.

Diversity and inclusivity comes as standard for us – it’s part of our DNA. Our internal team is very diverse, and we work with all types of people from all backgrounds; therefore it has always been a part of our core values.

How did you select the cultural narratives and profiles included in “The Book”?

The narratives proposed in “The Book” all have some relevance to either me or members of our team. However, to the viewer their meaning is left to interpretation. As for the profiles, we wanted to ensure a diverse showcasing; this is why you can find talent from celebrity-status (i.e Jameela Jamil), to influencers (i.e Yamato Inoue), to new models and art-world behemoths (i.e Ingrid Donat).

We wanted to ensure an equal playing field where no photo shoot is more important than the other. This is where the blank cover idea comes from – it is our way of democratizing a space that is traditionally held in high regard. No shoot or partner is more important; in our eyes they are all equal, and everyone has a place.

What motivated you to push the boundaries of traditional publishing with “The Book”?

We wanted to create something that doesn’t have a digital footprint. Extensive time and effort goes into editorials; for them to ultimately end up on social media feeds where they seldom receive the attention they deserve. Due to the ephemeral nature of the digital world, the images do not have the strongest impact when compared to high-quality print paper.

How does “The Book” embody your philosophy of boundless exploration?

It was highly important for me to make sure all of the photographers, models, creative team, and brand partners had a voice that would influence the final result. Everything we create is a team effort and the best creative decisions come from a collective mind. Therefore, “The Book” also presents a platform for both young and established talent and brands to explore ideas and concepts in a controlled environment. This is especially important for partnerships as it allows brands to explore their identities without there being a negative impact on their overall image or public opinion.

What inspired the design and travel sections, and how do they enhance the overall narrative?

Design and travel is a natural extension of human culture, so it was important for us to highlight it. In the first edition, we explore Paris and its architecture by highlighting a hotel (Hôtel Madame Rêve) which is not only a Paris Fashion Week destination, but is also located in the old Louvre Post Office.

All of the architecture shots from around the city are meant to showcase Paris in a way that you won’t have not seen before – so that even the truest Parisian can re-discover their city anew.

How did you select your collaborators and partners, such as Dior and Carpenters Workshop Gallery, for “The Book”?

All brands featured in the First Edition were selected mainly by me and stem from my passion and specific taste. All the brands showcased are innovators in their respective fields, which is the baseline to be showcased in this project. We included the leaders, innovators and true artists that propel art, fashion and human culture. Most importantly, our selection allowed all the of the partners to exist in one singular space – which is a unique concept. Our meticulous selection of every brand, artist or subject that we feature is mutually reflective of one another.

How do these collaborations enhance the overall narrative and impact of “The Book”?

Each curated partner helps weave the narrative that we are telling in “The Book”: a story of world-class craftsmanship and artistic expression. The sheer volume of leading brands showcased is quite monumental. Beyond that, the most impactful images are our ‘Book Looks” (read ‘editorials’) where we marry both heritage and younger brands with carefully developed, unexpected creative concepts. Pioneering methods and techniques utilizing 3D/CG technology has allowed us to develop and build virtual worlds in order to control every aspect of the shoots, unrestricted by locations, weather, and other geological conditions. This gives our editorials an unmatched visual impact.

What role do you see “The Book” playing in the future of publishing?

Our vision for “The Book” is for it to become a recognized platform to showcase high-class craftsmanship and creativity, both in the fashion industry and beyond.

I hope “The Book” inspires people to explore ideas without the fear of being judged or criticized, and at the same time to explore and learn new things in fashion and the world of art. For example, so many fashion houses have incredibly exciting projects that focus purely on art and its preservation, but rarely talk about them. An example would be Fendi and the hand-in-hand project which they started during Covid to support small family-run businesses across Italy, all of whom use techniques or fabrics that are protected by UNCESCO. “The Book” is made to highlight exactly those types of projects and ventures.