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Over the past few years, Permanent Files has conceived and published an expansive body of work—books and magazines totaling more than 2,000 pages of original content—now living on bookshelves and coffee tables around the world, being read, handled, and returned to. These enduring physical objects are our quiet act of resistance: a deliberate counterweight to a culture swept up in the relentless churn of hyper-speed information. Books endure; content evaporates.

SELECTED PERMANENT FILES
This is a compiled edit of works by @permanent.files including projects with
@moncler
@marvin.leuvrey
@salomon
@gabrielomoses
@slamjam
@dreiberge.utopia
@james____beattie
@hugo_campan
@carharttwip
@laraaji_official
@knwlslondon
@on
@ilyesgriyeb
@thenorthface
@epoch.review
…

Cadence is thrilled to welcome @leonardvernhet c/o @permanent.files for worldwide representation.

Cadence is thrilled to welcome @leonardvernhet c/o @permanent.files for worldwide representation.

Cadence is thrilled to welcome @leonardvernhet c/o @permanent.files for worldwide representation.

Cadence is thrilled to welcome @leonardvernhet c/o @permanent.files for worldwide representation.

Cadence is thrilled to welcome @leonardvernhet c/o @permanent.files for worldwide representation.

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpts from @permanent.files archives

1- Arthur Jafa EPOCH cover
2- Georgia Pendelbury exhibition excerpt
3- EPOCH ritual issue opening story
4- Daniel Shea story for EPOCH III
5- Grace Wales Bonner interview for EPOCH
6- EPOCH PROPHECY merch

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

"If one says ‘Red’ – the name of color – and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different."
– Josef Albers

Excerpt from @permanent.files projects:

1- Artwork from the @550bc retrospective exhibition @permanent.files

2- @leacolombo Sangomas story for @epoch.review RITUAL issue

3- @danielpshea and @omaimasss s story with @newbottega for EPOCH PROPHECY issue.

4- @quentindebriey NYC book with @yvonlambert

5- @gabrielmoses feature in EPOCH III

6- A EPOCH document of Liverpool scouse drill scene with @on shot by @lewis.khan

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

In the human sciences, to speak of the “color red” is almost a redundancy. For thousands of years in the west, red was the only true colour. As much on the chronological as hierarchical level, it outstripped all others.

Red is the archetypal color, the first color humans mastered, fabricated, reproduced, and broke down into different shades, first in painting, later in dyeing.

The primary role played by red can perhaps be explained by the two principal referents for this colour: fire and blood, two natural elements that are encountered in almost all societies in every period of their history. Even today, nearly all dictionaries define ‘red’ with a phrase like ‘having the colour of fire or blood’. Of course, other colours have one or many powerful referents in nature, but they seem less universal and immutable.

With Newton’s discovery of the colour spectrum in 1666, a new classification system that the physics and chemistry of colours still relies on, red lost the place assigned to it by Aristotle. He had put it at the centre of a chromatic scale arranged from lightest to darkest. Now it was located at one end of the spectrum: an inglorious position for the former queen of colours, which seemed to have lost some – but just a little – of its symbolic powers.
(...)

Excerpts from Michel Pastoureau’s history of the colour red.

Images from @permanent.files archives projects:

1- @epoch.review issue 1 cover by @marvin.leuvrey

2- A document on Lesotho mountain people by Lea Colombo for @uselessfighters first issue

3- EPOCH 2 launch exhibition featuring Harley Weir.

4- @nabil document of a Blood funeral in Los Angeles for EPOCH issue 1

5- A flexi vinyl disc collaboration between EPOCH and LARAAJI. Inserted in EPOCH issue 1

6- EPOCH metamorphosis dossier opening @roughversion

7- Lea Colombo document of the Sangomas rituals in South Africa for EPOCH

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

Exactly a year ago, we opened our Permanent Files gallery space in Le Marais with a @550bc retrospective.

Led by visual anthropologist and curator @pouriakhojastehpay @550bc is a publishing house specializing in the complex realities of organized crime and conflict.

550BC creates books and projects that provide a rare first-person perspectives from within otherwise inaccessible worlds, often created in direct collaboration with those involved.

"JAH" An exploration of Jamaica’s blue mountains with @gabrielomoses

Creative direction @permanent.files
Directed by @gabrielomoses for @useless.fighters

Rising 7,402ft above the sea, the Blue Mountains are the highest point of Jamaica sitting north of Kingston, while bordering the eastern parishes of Portland, Saint Thomas, Saint Mary and Saint Andrew to the south. It feels like an apex point, and a Holy Space, bringing you closer to God, the almighty.

"JAH" An exploration of Jamaica’s blue mountains with @gabrielomoses

Creative direction @permanent.files
Directed by @gabrielomoses for @useless.fighters

Rising 7,402ft above the sea, the Blue Mountains are the highest point of Jamaica sitting north of Kingston, while bordering the eastern parishes of Portland, Saint Thomas, Saint Mary and Saint Andrew to the south. It feels like an apex point, and a Holy Space, bringing you closer to God, the almighty.

« JAH » An exploration of Jamaica’s blue mountains with @gabrielomoses

Directed by @gabrielomoses
for @useless.fighters
Creative direction @permanent.files

Rising 7,402ft above the sea, the Blue Mountains are the highest point of Jamaica sitting north of Kingston, while bordering the eastern parishes of Portland, Saint Thomas, Saint Mary and Saint Andrew to the south. It feels like an apex point, and a Holy Space, bringing you closer to God, the almighty.