CÉCILE WINCKLER
“Artists have to remain open and independent,” explains
Winckler, 31, a New Yorker by way of Paris and her native
Belgium. “When artists are tied down to a job, they lose
their vision.” It’s a sentiment that led Winckler, whose circle
encompasses everyone from actor and artist India Salvor
Menuez to Charlotte Casiraghi, to cofound Unemployed,
a large-format magazine that she coedits with her partner,
Sophie Tabet. Unemployed publishes the work that her art-
ist and fashion-photographer friends are most passionate
about but which is—so far, at least—of little commercial
value. Think of it as a nonprofit gallery without the gallery,
and Winckler a kind of postmodern patron of the arts.
“It’s a bridge between art and fashion,” she says. “We cre-
ate something you could put on your wall.” In most cases,
Winckler’s support is what allows the photographers to real-
ize their projects at all. Recently she has taken Pierre-Ange
Carlotti to the beaches of Marseilles, Harley Weir to Beirut,
and Oliver Hadlee Pearch to Savannah, Georgia. And last
fall, François Pragnère shot a photo essay at the Burgundy
château that belongs to Winckler’s family. “We produce ev-
erything together—it’s a whole community, an ecosystem,”
she says. So much for not having a job.— MARK GUIDUCCI
AMY SALL
Sall, a striking 27-year-old Senegalese-American aca-
demic—she’s currently a Eugene Lang College lecturer
at Manhattan’s New School—has recently lent her face
to Kenzo x H&M and J.Crew campaigns. Though her
growing exposure in the social and fashion worlds would
seem to prove otherwise, her primary focus thes