{"id":164241,"date":"2025-10-23T18:00:48","date_gmt":"2025-10-23T16:00:48","guid":{"rendered":"https:\/\/www.apartamentomagazine.com\/?p=164241"},"modified":"2025-11-06T19:10:20","modified_gmt":"2025-11-06T18:10:20","slug":"a-conversation-with-isabella-burley","status":"publish","type":"post","link":"https:\/\/www.apartamentomagazine.com\/stories\/a-conversation-with-isabella-burley\/","title":{"rendered":"A conversation with Isabella Burley"},"content":{"rendered":" \t\t
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\n
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n<\/p><\/div>\n","protected":false},"author":20246,"featured_media":164719,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-164241","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview","text_author-claire-marie-healy","photo_author-jacob-lillis","membership-content","access-restricted"],"acf":{"link_archive":false,"archive_story":null,"archive_bg":"#F5F4EE","archive_title_color":"#000000","cover_bg":"#F5F4EE","cover_title_color":"#ef7cc3","body_bg":"#ffffff","body_text_color":"#ef7cc3","body_captions_color":"#666666","related_bg":"#ffffff","related_text_color":"#000000","stories_bg":"#EDECEC","alternative_image":"","hover_image":"","credits":"","title_format":"center","font_size":"medium","image_format":"cover","hero_image_mobile":"","video":"","video_excerpt":"","video_format":"regular","content":[{"acf_fc_layout":"two_blocks","block_sizes":"half_40_60","content_type_left":"credits","image_size_left":"regular","image_left":null,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":159993,"credit_link_left":{"title":"Happy Victims, featuring an introduction by Isabella.","url":"https:\/\/www.apartamentomagazine.com\/product\/happy-victims-book\/","target":""},"content_type_right":"text","image_size_right":"regular","image_right":"","video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":"London: When I think of Isabella Burley, a few things come to mind. Her mermaid-like red hair, of course (though she\u2019ll always be a platinum blonde to me, that being the shade I first knew her by). The way she likes to point at the things she feels a connection to\u2014an early Cindy Sherman self-portrait, a latex fetish zine, really good matcha\u2014and say, in mild awe, \u2018Isn\u2019t it so insane?\u2019 I also think of her as a fount of good advice, an excellent sounding board. There\u2019s something energy-giving about speaking with Isabella, because she seems to have so much of it. The youngest ever editor in chief of Dazed<\/em> when she was appointed in 2015 aged 24, and later a senior creative at both Helmut Lang and Acne Studios, she is as much a champion of \u2018doing it\u2019 as her usual choice of sneaker brand would suggest.\r\nHer most personal undertaking yet has been creating Climax, her own brand and bookstore with bricks-and-mortar spaces in both London and New York. Founded in 2020, the distributor and sometimes-publisher is home to secondhand and hard-to-find books whose authors have garnered cult status in varying degrees\u2014think Sofia Coppola, Kathy Acker, Hiromix, Cookie Mueller, and Martine Syms, among others\u2014as well as wearables like Pepto-Bismol pink hoodies, underwear, and plushie keychains.\r\nAs her whippet, Bambi, padded around us at her home in London this September, I realised that I actually first met Isabella 10 years ago this month, when I joined her new team at Dazed<\/em> as an editor. The time we worked together making magazines in the second half of the 2010s seems almost quaint now, a moment of relative freedom when political and commercial restraints did not yet exert such a strong shadow over the work. For Isabella\u2019s own part, an early job at Dover Street Market London as a teenager feels like one of the earliest threads\u2014of community, identification, and radical creativity\u2014that extends all the way to her work with Climax today. Maybe it makes sense that Isabella, having witnessed so many large-scale industry shifts from such a young age, now finds her most meaningful home in traditional printed matter. Like the best editors, she\u2019s a true book worm: always digging deeper.<\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[164677,164721]},{"acf_fc_layout":"interview","interview":[{"question":"I wanted to start with one of my first memories of working with you. We\u2019d be at our desks in the former Dazed<\/em> office on Old Street, and you were always receiving packages. Obviously, there was the classic industry gifting of nice things. But also, there\u2019d be so much post from eBay: erotic playing cards or a dominatrix zine from a random address in Oklahoma. I remember thinking, oh, this person\u2019s really interesting. Where did this collecting impulse begin?","answer":"I completely blocked out that I would get that kind of thing sent to the office. I ended up using a lot of that stuff when I launched Climax. I loved collecting copies of Madame in a World of Fantasy or Gum,<\/em> which is Germany\u2019s oldest fetish magazine. I\u2019d see them, think they were cool, and then just want to get more and more. But in terms of the interest in books, there were always so many in my house growing up. My dad is a really insane reader. Still, he reads one or two books a week\u2014novels, not erotica\u2026"},{"question":"Yes!","answer":"

And then I have really strong memories of being 14 or 15 and getting on the 176 bus from Forest Hill to Charing Cross Road to sit in Borders with a Starbucks. I don\u2019t know what I ordered, because I wouldn\u2019t have been drinking coffee yet, but it was a whole thing. I remember spending so much time going through all of the magazines there, but I would rarely buy them. Then when I was doing my A-levels, my form classroom happened to be the art room, so I would spend a lot of time there. The art teacher was so relaxed with us. She had so many books, and I started photocopying pages from these books. Whenever I go back to my mum and dad\u2019s house, there are all these A3 clear plastic folders with scans from Louise Bourgeois, Tracey Emin, or Roni Horn books and catalogues. I think maybe the photocopying was the beginning of the collecting impulse. It was almost like making a magazine.<\/p>"},{"question":"I think about being a teenager now, and there are these platforms where you can access that cultural archive\u2014places like Climax or Idea, where you can gain insight into this world of photo books. When I started at Dazed<\/em>, the fashion and photography I was into was really based on found images from the internet and magazines. The idea of engaging with a photographer or artist\u2019s work through books was new to me. Then in the Dazed<\/em> environment, you would commission these artist projects, examining a usually unknown individual\u2019s work almost catalogue-style, in the pages of the magazine. It introduced me to that world.","answer":"Yes, and they were all really photo book-based. Like when we emailed Adrienne Salinger in 2015 because I had found a copy of In My Room: Teenagers in Their Bedrooms<\/em>. We got all these archival pictures that had never been seen before, taken a decade before the photos in the book. They\u2019d just been sitting in a box in her attic for 30 years. It was amazing."}]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":164665,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":164676,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"image","image_size":"full","gallery":[164658]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164663]},{"acf_fc_layout":"interview","interview":[{"question":"That was actually the first print piece you ever commissioned me to write for. Well, technically, I believe there was some kind of MAC lipstick advertorial first. But I was recently desperately trying to find the transcript for the Teenagers in Their Bedrooms<\/em> project, because I spoke to Adrienne Salinger for literally four hours for what ended up being a paragraph in the magazine.","answer":"That kind of thing was the best part of our jobs."},{"question":"Have you seen that D.A.P. reissued it?","answer":"Yes, we\u2019ve ordered some. And there\u2019s the Happy Victims<\/a> <\/em>reissue too, which I wrote the introduction<\/a> for. It\u2019s amazing that these books that went out of print and now cost 200 or 300 pounds can be made more accessible. Especially when it\u2019s a series that has come to define culture but that didn\u2019t get the recognition it deserved at the time.\r\n\r\n<\/em>"},{"question":"But if you\u2019ve scrimped and saved for, say, the original Japanese edition of The Virgin Suicides<\/em> by Corinne Day like me\u2014there\u2019s also a moment of, \u2018Oh damn!\u2019 when Mack reissues it.","answer":"I think what interests me so much about printed material and books is intention\u2014and context. What kind of wider context do they sit in? The reproduction of the images in Mack\u2019s The Virgin Suicides<\/em> is insane\u2014those images look like they were shot yesterday. But something like the Japanese The Virgin Suicides<\/em> book, the black with the bright pink obi, makes me ask questions like: Why was that decision made? Why that paper? These different contexts interest me."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164675]},{"acf_fc_layout":"image","image_size":"full","gallery":[164659]},{"acf_fc_layout":"interview","interview":[{"question":"Like with the Adrienne Salinger book. At the time, it really was this educational book, more like what you\u2019d find in a social studies library. It just happened to find its home and an appreciation within fashion later.","answer":"Exactly. It\u2019s a reflection of society at that time, and the interviews are one of the most important parts of it. They were revealing and in-depth at a time when teenagers hadn\u2019t yet been given a voice to talk about their personal space. It was very pioneering."},{"question":"Between Climax, Acne, and your other projects, there\u2019s this obvious curatorial element. But I also wanted to ask you about the meaning of being an editor. There\u2019s a specificity to an editor\u2019s mindset that I think still holds across your work, even when it\u2019s not strictly editorial. How does being moulded in that tradition still shape the work you do?","answer":"Not to sound like I\u2019m 60 years old and reflecting on my life, but I have been thinking about this\u2014maybe because I\u2019m turning 35 in two weeks, which feels strange. Someone asked me the other day, do you identify as an editor now? While I haven\u2019t technically edited anything in five years, I do think the mindset stays with you. When I started, I didn\u2019t even know what an editor was. You were the same, I\u2019m sure. If you wanted to work in fashion, it felt like you had to be a model or a designer. And sadly, neither of those worked out for me! Also, I never really identified as a writer. Whilst I can write, we both know how painful that is for me\u2014you\u2019ve edited me. But moving into the role of an editor, I felt so comfortable. It felt curatorial, but it was also about being observant\u2014watching things, being attuned to what's happening culturally, and making these new moments or conversations happen. It\u2019s about storytelling, and it\u2019s about taste."}]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":164674,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":164669,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"image","image_size":"full","gallery":[164661]},{"acf_fc_layout":"interview","interview":[{"question":"I remember first going through a piece of text with you\u2014I believe it was Natasha Stagg\u2019s profile of Coco Gordon Moore, Kim Gordon and Thurston Moore\u2019s daughter. We were going through line-by-line, and the things you told me then I still apply to editing now. So I\u2019ve always found it funny how you find writing painful, because I often have your advice in my head when I\u2019m writing.","answer":"But only recently, you gave me the best advice with the Happy Victims<\/em><\/a> introduction<\/a>. You said that, because I\u2019m a good editor, I should just write something and keep going, even if it feels bad, then go back and edit it with some distance. Honestly, now, there\u2019s just so much noise. With image making, with found imagery, with words, with everything\u2014I think a lot of brands could do with more editing and editors in their lives."},{"question":"I do worry about the standard of language and how it\u2019s slipping with the use of ChatGPT.","answer":"I know. I want personality in my emails!"},{"question":"You are a masterful composer of emails. I remember once, we had commissioned the great writer Tierney Finster, and soon after she tweeted this crack about British editors always putting a kiss at the end of their emails. I was like, you\u2019re talking about us!","answer":"You\u2019ve got to! But Americans really don\u2019t. I hate emails that sound cold. I\u2019ll message, like, a solicitor, and automatically put a kiss. Whoops."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164670]},{"acf_fc_layout":"image","image_size":"full","gallery":[164662]},{"acf_fc_layout":"interview","interview":[{"question":"We\u2019re in your house in central London, within walking distance of Soho. It feels to me like it\u2019s from an Adrian Lyne erotic thriller. The effect altogether is like being in a movie.","answer":"Honestly, it\u2019s not intentional! I would be on Zoopla, and I would just search, \u2018London\u2019. This place came up, and it only had stock pictures. The guy who owned it had bought it in the late \u201890s and converted it; it used to be an old jewellery workshop. When I first moved in, the whole floor was painted blue. It was very early 2000s. So the renovation has been about stripping it back to what it was, like with the raw concrete floors. A lot of people think it would be really cold-feeling, but then they come and say, \u2018Oh, it actually feels really warm\u2019. It\u2019s definitely minimalist, but there\u2019s comfort too. It\u2019s my dream home. All of these weird things came together for me to be here, and I do believe in signs from the universe."},{"question":"I\u2019ve always imagined you find this kind of minimalism to be calming. I feel like I gather too much stuff\u2014I don\u2019t have that restraint.","answer":"I\u2019m sure this house will evolve over time. I love the objects and artworks I have now so much, like the Jonathan Lyndon Chase<\/a> pillow in the bedroom and the Jessi Reaves<\/a> ottoman in the living room. I also have this Rita Ackermann painting that she gave to my boyfriend. It has a figure in it that has this flaming red hair. It\u2019s another connection."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164710]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164668]},{"acf_fc_layout":"interview","interview":[{"question":"One of the pleasures of working within the cultural space, I find, is the way you can actually assert not only your personality but your memories via objects in the home, as with prints or books by the photographers we\u2019ve worked with. Or even your archive of the magazine itself. It\u2019s part of our personal histories.","answer":"When we published the Pissing Women<\/em> book at Climax, Sophy Rickett gave me one of the original Polaroids of the picture on the back of the book, where the girl is wiping herself and it\u2019s shot from behind. Getting to live with these photographs\u2014I still feel like, how cool is that?"},{"question":"Then again, one of the dangers is that one\u2019s interests always get siphoned into the work arena. I\u2019m curious what\u2019s keeping you interested at the moment? What feels fresh?","answer":"I\u2019m excited by physical spaces right now. We are really close to confirming a new London Climax store. Whenever I\u2019m in New York, the interactions that we have with customers in the store make me so happy; it will be amazing for people here to have the same experience. It reminds me of my early shop floor days at Dover Street, in a way. I think we\u2019ve made an environment where people feel at ease to be really curious. Of course, sometimes you can get in your head about these things, where you think, should I keep doing this? Opening the space in New York feels like it\u2019s legitimised this thing that\u2019s been stuck in my head for five years. This weird hobby has become a true expression of what I wanted it to be. There\u2019s something so magical about it."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[164723]},{"acf_fc_layout":"text","text":""}],"related_text":"","issue":"","button_text":""},"yoast_head":"\nA conversation with Isabella Burley<\/title>\n<meta name=\"description\" content=\"Isabell Burley, the youngest ever editor-in-chief of Dazed when she was appointed in 2015 aged 24, and later a senior creative at both Helmut Lang and Acne Studios, she is so much a champion of \u2018doing it\u2019. 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