The centre piece and arguably the highlight of the publication is the front cover. It is a two page die cut cover that reads "Dear is a zine that collects, archives and immortalises in print all things fun and unique from casual conversations to visual essays that aim to assault your senses…"
The issue explores the theme Lost and Found, presenting a series of stories by Singapore photographers and illustrators that range from John Clang’s re-appropriation of the Singapore Airlines ‘Singapore Girl’ marketing campaign, trading on nostalgia while challenging the campaign with handwritten scrawls across the images (‘No, we don’t go to jail for chewing gum’), to a series of photographs by Ang Song Nian of the improvised living spaces of the average Singaporean.
According to Mag Culture the magazine's construction is made of "lightweight but bulky matte paper that holds the colour and detail of the imagery well. It’s very flickable and the pages sit flat thanks to the open binding; this allows the stark text openers to each story to sit right in the centre of the page".
WERK magazine is a publication formed by Theseus Chan which absolutely goes against the trends and norms. The magazine is the first of its kind from my observation, and takes a definite post modernist approach when forming the content and page construction.With each issue being different, it adds to the overall appeal and allows for each issue to have a characteristic of its own.
In terms of the brief, the die cut aspect could be incorporated into the masthead design or some of the pages within the sections. This technique would be more suitable for Raf Simons own brand rather than the minimal or elegance of his time at Jil Sander and Dior. The die cut pages seen in WERK can be done within each section of Raf's collections for copy. This allows more photography to be placed on the spreads. The folded technique used in No.22 could be an idea to relate the collection's design or construction to the publication's design.
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