Take no prisoners. Hold nothing back. Give zero fucks. Just where does Uorfi Javed get her audacity? The DIY Insta fashion princess told us everything.

The French hairstylist reveals the inspiration behind his creative explorations to Sandhya Shekhar in an interview for dirty.

The director of CLA$$ on Netflix talks exclusively to dirty about creating a teenage drama of horrors, hormones, and heart unique to Indian sensibilities.

An exploration of the contents of three lunchboxes from across India that are an act of self-affirmation.

Dirty gives its first sneak peek into content from the upcoming issue.

The menswear designer giving knitwear a deconstructed new spin.

A group exhibition draws attention to the unique history of a heritage village in South Bombay.

Jitwam is a Sydney-based critically acclaimed artist who plays at festivals across the world and has become a darling of the underground in the past few years. Having lived in five countries across the world, Jitwam is highly influenced by the culture around him. He incorporates sounds from around the world while experimenting with melodies and songwriting.

With the game of Ludo and Moonflowers as starting points, symbolic influences harmonise with a utilitarian slant in Moonray’s SS22 collection.

The vibrant palette and clashing layers represent a desi casual glamour so warmly familiar, it feels like an alternative perspective - an invitation to be who you are.

Mostafa Ahmed is an Egyptian photographer on a quest to capture everyday life and all its spontaneity, vibrancy and rawness. His compositional process is an attempt at preservation of experiences as miniatures of reality, immortalizing the essence of a country and a point in time.

Reflections on the human form and humanness run through all of Margn’s explorations by way of repetition of codes.

“We definitely want to maintain the originality of the brand and protect the design sense, that’s why we’re taking it really slow. For us, that is more precious than making money. We want it to be a global brand, that’s always been our vision.” The designers of RTW womenswear brand Miuniku talk to Mickey Boardman about their graduate collection.

Meet a fresh wave of photographers escaping rigidity in the industry, creating a unique aesthetic and lending a new eye to the interpretation of culture.

Creative influences assimilate from the inherent socio-political associations of streetwear, recontextualized by a keen postmodern sensibility.

What is a home that has no physical bearings in mud, or steel, or brick? What of the homes that build their foundations on things like geographical histories and invisible connections to cities that can never be fully explained?

High-octane designs with explosions of colour, pattern and embellishment — Ashish is not a label for the weak of heart, and demands an appetite for adventure. Mickey Boardman traces the designer’s journey.

A graduate of RISD’s class of 2021, James Oliver Langley’s design language involves explorations of proportions to create radically simple garments, incorporating elements of nostalgia gleaned from his personal life.

A visual essay by Julien combines the aesthetics and ethnicity of a traditional Indian sport ‘Kushti', that involves men drawn into the mud-wrestling pits called ‘akharas’. Documented in one of the last few standing ‘akharas’, two events commingle in his images- an expression of the sport as a performing art, and the ambient landscape of one of the few existing akharas.

Foxpassers’ is an ongoing photo project by Karan Kumar Sachdev, documenting the youth of the Foxpassers football club in Shivaji Nagar, Mumbai. The project illustrates the many emotions experienced on a football ground, and the narrative is weaved as Karan reprocesses the players’ sentiments during crucial moments of the game.

Kushal Gupta’s calm, polished disposition belies how passionately he feels for India as an artist. Hailing from Aligarh and having grown up in Agra, not far from the Yamuna river and the Taj Mahal, Gupta proceeded to live in the Middle East for seven years, following which he moved to the UK, where he currently resides. Having worked as a documentary photographer for more than three years, he divulges the processes behind his work, ‘Yamuna drank our sins and turned black’.