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That curious InDesign file or Google document we put together to present and gather references when attempting to articulate our ideas. I was trying to wrap my head around its purpose and why or how it became so integral to creative practice. Who told us that “we need to look back in order to move forward”? \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eSome light digging into the origins of this gridded layout revealed that the mood board dates back to the early twentieth century and is closely linked to designers such as Herbert Baker, who created physical collages of books, photographs and fabrics to communicate  design visions to his clients. It wasn’t only used as a practical tool for organising material but also as a way of translating abstract thoughts into something tangible. By the 1980s, the mood board was used to curate images, play with typography and textures, and clearly define a visual identity. And with the advent of digital technology in the 1990s and 2000s, as well as the proliferation of platforms like Pinterest and Tumblr, the mood board became a reflection of the end of the content tunnel, the finish line after what could be a day-long fossick through material. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003cbr\u003eYet for all their advantages, we can’t dismiss the slight limitation of the mood board. They can fix us to existing references, making it harder to move beyond them. When creating, there is sometimes a hesitation to depart and a tendency to reproduce rather than reinterpret. Originality may already be a fragile concept, but our reliance on pre-existing work arguably makes it even more so. 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Archivist Sanam Sindhi sits down with Edie Hopgood to discuss the South Asia Archive, a rich and expansive collection of material from the Global South. German photographer Thomas Ruff reflects on seriality, documentary practice and the search for truth, looking back across his unparalleled body of work. Rhiannon Yarrow and Dean Podmore collate ten books they continually return to in their pursuit for inspiration; while Joe Silveira, behind the Instagram account @sportsmanparadise, spotlights the fashion imagery he revisits time and again.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eThe digital archive emerges as a key throughline. Nina Waszak considers Molly Soda’s internet-age artwork, which, through its humour, wit and integrity, has “helped shape how our generation sees the internet today”. Maia Wyman reflects on desire and decision\u003cbr\u003emaking in the digital age, tracing her ongoing search for the perfect sofa and vase. Sitting down with Phil Bicker, Jason Nocito also takes us through his recent excavation of his iCloud library, a personal archive comprising hundreds of thousands of images spanning 2011 to 2025.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eAkinola Davies Jr., interviewed in this issue by director James J. Robinson and photographed by Aria Shahrokhshahi, recently accepted his BAFTA award for My Father’s Shadow. 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Nowadays, the work we do unfolds on a different scale altogether—one of vast reach, in uence, and responsibility. Yet the need to !nd balance and educate ourselves within this “uncontrollable space” remains a daily lesson, one we all must live through to understand where we truly stand.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAs a Millennial, I spent some time early this year analyzing the way I used to live compared to how I now live. When I was growing up, there was an incredible TV show in Spain every night after 12 a.m. called “Cronicas Marcianas.” Of course, my mother disliked the idea of me watching it, but when my family was sleeping already, I used to always sneak into the living room, turn on the TV and watch the most inexplicable chain of situations unfold one after another. I can truly say this show changed my life and helped shape my creative vision, and ultimately the way I do my job. People like Boris Izaguirre dropping his trousers every 5 minutes in between laughs and innocence, Carmen de Mairena and her unique energy, Tamara and “El No Cambie”… they did not just perform a “role” in the show, it was about the way they used to live, the authenticity behind their personalities and the way they were educating the generations to come, likely without even \u003cbr\u003erealizing it!\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eODDA 30 is nourished by those early years of my existence. Cultural references that keep shaping my taste and point of view, a re ection of what our environment taught us, our parents and their guidance, conversations with friends, and the prohibited nudity that turns into discovery. Welcoming different points of view from all different aesthetics. The importance of the word “freedom” as well as understanding why we are all unique, in our own right, is a central theme in \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Expanse of Our Needs. \u003cbr\u003eSince we launched with Issue One back in 2012, our main goal has been to provide an insider and more democratic point of view to Fashion. New photographers, new designers, a space where people can discover page by page something they are drawn to or resonate with. As well as an environment where both Women’s Wear and \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMen’s Wear could be explored hand in hand. As one of our biggest issues yet, welcoming new members into the team, and somehow, coming back to the origins  of ODDA 14 years later, The Expanse of Our Needs accounts for a total of 10 covers, connecting the fundamental dots that tie us all together.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIn October 2025, right after wrapping up the most exciting Fashion Week of the Debuts, I flew to Seoul with my team to shoot our !rst cover: K-pop sensation, ILLIT. I remember the first time I heard of them was in Japan, entering a 7-Eleven, and there I saw the faces of YUNAH, MINJU, MOKA, WONHEE, and IROHA on all of the shelves. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJust a few days later, my dear friend Songe Park approached me with the idea of shooting ILLIT, and the rest, as they say, is history. Unsurprisingly, considering the world’s K-Pop obsession, I also personally got addicted to the “Physical 100” show.  While watching, two things became apparent: I need to work \u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eout way more often and just how much respect and care it takes to nurture athletes while helping shape their dreams. \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYun Sung-bin is one of the names I got to discover from the Korean team, and so I couldn’t miss the chance to make him a part of the new issue. Somebody we can all agree belongs to the Star fandom, and is known as “the original in uencer”, is Paris Hilton. She was the very first celebrity we shot in ODDA back in 2015, and now the first one to be shot again, 10 years later. I flew 24 hours to LA to be on set with her—to personally rediscover “Stars Are Blind” as we see it in 2026. We also get to celebrate the new universe of Dior by the hand of Mr Jonathan Anderson with a cover dedicated to the !rst Menswear collection as well as a cover story celebrating creativity and culture alongside the Dior Haute Couture Spring\/Summer 2026. \u003cbr\u003eIsabeli Fontana is one of “The Supers” in the industry. \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWith a career that spans more than 25 years, we sit down with her and get to know more of who she is today. Speaking of legendary models, I remember losing my mind the !rst time I saw Hanne Gaby Odiele walking down the runway. She is also a model we shot a decade ago for a cover in ODDA, and in celebrating proportion, we start to see it as a measure of time—one that reveals it can, at times, be just a number.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWe travel to Japan at the hand of Loro Piana. In a 12 hour trip between Tokyo, Osaka, Okayama and Naoshima, and through this, we explore the house’s craftsmanship, rooted in a country where dedication to one’s craft and life’s path is held above all else. In Naoshima, we visited the Benesse House Museum as well as iconic landmarks in Osaka, such as the Glico Running Man. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eAnother cover features Brooke Shields, who I can truly say is a GEM, a beautiful soul and an incredible legacy for the Fashion and Entertainment world. On a bright day in NYC, we met with her to celebrate love, men, and womanhood in her sixties. To close, we head to London with Letitia Wright and the new Prada Spring\/Summer 2026 collection—ordering pancakes, because in London, not celebrating Pancake Day simply isn’t an option. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eODDA 30 The Expanse of Our Needs explores the city of Los Angeles as the new Docu-serie for this issue, as well as some of my most beloved “Londoners” in a special project called: Get The London Look. We meet Kate Hawley, who just last month won an Oscar for the incredible work she did as Costume Designer for \u003cbr\u003e“Frankenstein”, and also spend time in the studio with the iconic Sal Salandra.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIn an unconscious movement between passion and rationality, the number of pages in this issue grew beyond control—but in the hope that you enjoy what you see, I can only say: enjoy the issue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eODDA's signature is the volume of material in each issue — multiple collectible covers, a printing budget that lets editorial run at scale, and a more international cast than most of the European fashion biannuals. A useful magazine to keep around for visual reference and one of the more substantial print objects on our fashion shelf. 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Dip in for our 18-page coffee special (and discover 25 of our favourite cafés), meet seven experts from around the world offering tips on how to become a great collector of art, design and even dinosaurs, and stop off for a conversation with \u003ci\u003eLe Figaro\u003c\/i\u003e's editor in chief. Plus: we visit the firm at the centre of the UAE's arms industry, take a road trip along Spain's Costa Brava and introduce this year's emerging stars in art, politics, architecture and beyond with Monocle’s Class of 2026. \u003c\/p\u003e\n\u003cp\u003eFounded in London in 2007 by Tyler Brûlé, Monocle remains one of the few monthly titles that takes design, business, foreign affairs and culture seriously inside the same issue. Useful for travel, planning and procrastination in roughly equal measure. 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