Issue 21 - In Conversation with .. 10!

ISSUE 21 - 04.2024

Daniel Zillmann - YuYu - ALLIE X

Joseph W. Ohlert - Kid Simius - Emilio

Branko Popovic - Tariq Alsaadi - BEC

Dennis Grigorev -Hümeyra Demircioğlu

BKLAVA - Antia Vieiro - SISSY MISFIT

HAND IN GEGEN RASSISMUS PRO ASYL

DER EINZELFALL ZÄHLT.

IN HAND

DEN RASSISMUS

Meet the Team

Editor-in-Chief

Fashion Editor

Art Direction

Marcel Schlutt @marcel_schlutt mschlutt@kaltblut-magazine.com

Culture Editor

Johanna Urbancik @johannaurbancik johannaurbancik@kaltblut-magazine.com

Music Editor

Nicola Phillips @nicphilf nphillips@kaltblut-magazine.com

Fashion Editors

Nico Sutor @nico_sutor_ nsutor@kaltblut-magazine.com

Marcel Schlutt @marcel_schlutt mschlutt@kaltblut-magazine.com

Nik Pate

Linda Ambrosius

Anastasia Scheel

Terence Whitaker

Emil Levy

Labros TyrlisI

Federica Loria

Weic Lin

Verena Knemeyer

Natascha Zivadinovic

Angelique Waltenberg

Andrea Klarin

Zander Opperman

Katharina Bollgöhn

Alma Leandra

Keiko Gui

Alejandra Comellas Pons

Carmelo Donato

Nawid Qureischi

Steven Kohlstock

Jasmijn van Buytene

Embracing Tomorrow: Issue 21

In our latest digital odyssey, Issue 21, we beckon our cherished readers to step into the luminous future that awaits. Embark on an exploration of the brilliant minds in music, fashion, and art who are charting the journey into 2024.

Plunge into the pages of Issue 21 and immerse yourself in the future's rich tapestry of colours, melodies, and textures. Celebrate the pioneers poised to sculpt an unparalleled annum—a canvas filled with the artistry of those who conceive a world aglow. Welcome to the convergence of creativity and aspiration.

Welcome to Issue 21. In Love your KALTBLUT. Team

On the Cover

Corta Cabeza Creative Team

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any kind are prohibited without the permission of the magazine, editor and each contributor.

Starring Daniel Zillmann Photography by Joseph Wolfgang Ohlert taken from the upcoming book "BIGGER"

P. 020 Kid Simius

P. 046 BEC

P. 064 YuYu

P. 104

Joseph W. Ohlert

P. 132 Emilio Sakraya

P. 168 Tariq Alsaadi

P. 190 Daniel Zillmann

P. 270 ALLIE X

P. 278 Branko Popovic

P. 388 SISSY MISFIT

THE VISITOR

Photography/Edit/Concept by Nik Pate @nikpatestudio

Model is Hamidou Banor @hamidoubanor

Beauty by Rosie McGinn using Colourwow & Glossier @rosiemcginnmakeup

Styling by Thomas Ashton - All pieces stylists own @justbyne

KID SIMIUS

Photography by Linda Ambrosius www.lindaambrosius.com @lindaambrosius

Talent is Kid Simius @kidsimius

Styling by Anastasia Scheel @anastasia.she

Make up by Kristin Røs www.kristinroes.com @kristinroes

Creative Producer: Chris Berndt greensubmarine.com

Head of Video Production is David Fürst

Videography by I am Johannes www.iamjohannes.com @i.am.johannes

Making Of Photography: Marina Balboa @marina__balboa

“PEOPLE TELL ME WHAT MY MUSIC MEANS TO THEM, WHICH IS WHAT KEEPS ME DOING MUSIC”

Born in Granada and now based in Berlin, Kid Simus defies genre boundaries, embracing a fusion of styles. From electronic to Italo, House to Balearic, and Disco, he prioritises positive energy and human connection over genre labels. With successful releases on labels like Permanent Vacation, Running Back, and Studio Barnhus, as well as his own label 'Jirafa Records', Kid Simius is renowned for his versatility. He's graced legendary stages at festivals like Melt!, Tomorrowland, and Fusion, supporting artists such as WhoMadeWho and Bonobo.

Suit: Casablanca Hat: The Bucks Hat x Girls and Pearls

It seems the "younger generation" doesn’t listen to albums any more. Does that affect you in any way when working on one?

There are still some young people who are going to enjoy an album, I think. There was also a time in history in the '50s when musicians were releasing singles only. And then, they started releasing long players again. It's romantic, but I think that if you make things with love, someone is going to appreciate it. I mainly listen to singles, solo tracks, or just a snippet. But I believe there are still kids out there who want to listen to a record from the beginning to the end. The art comes first, and then the audience. I just want to make a record, no matter how many people listen to it.

I feel the gap between the audience and artist has become much smaller, which means it’s easier to receive feedback. Does this feedback have any effect on your creative vision?

It would be nice not to listen to this feedback. I would love to come to my studio with a completely free mind. When I make music, I'm trying to forget about this because if you make one track everyone loves, you then try to make a second one that sounds similar to get the same reactions. Therefore, I try to go against it and create something completely different.

Scarf: Yuima Nakazato Sunglasses: Gucci

How do you clear your mind?

I've got this book, “The Artist's Way”. It's supposed to help yourself get creative in the form of a plan. One of the things it has taught me is triggering my creativity by writing the morning pages. You have to write three pages every day without thinking.

Those pages you never have to read again, which means you can write any kind of nonsense and free your brain. We are creators, but we are also judgmental of what we’re doing, which hinders creativity.

Do you see a change in your approach and output since you started following the book’s plans?

A lot. There is a wall between what you think and what you do, which is crucial for the survival of us as humans. But when you're being creative, it shouldn’t be like that.

A disgusting analogy for this is throwing up. As a creative, you throw up everything, have a look and then pick out the best pieces. There is one problem, though. If you’re in the studio, for example, and you feel like throwing up, your instinct is obviously to go to the toilet or get a towel to get cleaned up. But instead, you need to let yourself go and just keep going. When you’re not thinking about everything, your creativity is finally free, and you’re in the zone to create and produce something special.

Left Coat: Prada

Pants: Bonsai Right

Sunglasses: Gucci Jewelry: Swarovski

Top: Prada

Pants: Bottega Veneta

Shoes: Prada

Hat: Giuseppe Tella

When you listen back to tracks before you started following this routine, do you hear a difference?

No, not really.

How long have you been working on this album?

A little less than a year. Something like this. In January or February last year, I put all the tracks together. I usually create a selection of tracks I feel are representing myself, and I’m proud of. There’s no theme; it's random – a little like the morning pages.

You’ve worked with so many other producers in your artistic career so far. How does your approach change when you’re working for yourself?

Working with myself is much harder than working with other artists because I have to make the decisions. When you’re working for someone else, they’re the ones making a decision in the end, and they decide if they like it or not. When working with others, I’d say I probably feel more liberated. Working with myself feels more of a therapy session with yourself.

Do you feel more vulnerable sharing your own music? It’s a lot more personal, in the end.

I feel naked and vulnerable. On “José”, for example, I wrote the lyrics, and I’m also singing. When my agent listened to the album, he told me which songs he liked and this one wasn’t part of it, even though for me, it’s the song I’m most proud of. I don't see myself as a singer, but with this track, it just happened. I was writing about a beautiful experience, and a friend from Spain helped me refine the lyrics. The whole process was probably more enjoyable than it comes across in the track for the listener.

Pullunder: Marni Jewelry: Girls and Pearls

Sunglasses: Gucci Jewelry: Swarovski

That enjoyment still comes across, I find. You’re playing live sets and DJ sets. Do you feel that the crowd still appreciates a live set as you’d like them to?

I don't want to impose anything on people when I'm playing. Everyone has to take it as they want. Back in the days when I was playing a show and everyone was going nuts, I thought I played a fantastic show. Then, when people were not going nuts like hands up, I thought I played a bad show. When I go to shows, I don't go nuts sometimes and scream either, but I still enjoy the music. Obviously, I'm happy if the crowd is dancing, and I can see they are having a good time, but If they want to look at the sky, who am I to tell them not to do that? Everyone can express themselves as they want during my shows.

I don't want to push people. I'm going to play knowing that if you make something with love, care and energy, the crowd is going to give back to you and give me a natural reaction.

There are a couple of collaborations on the album again. How do these come about?

Just meeting up with friends, creating something together, and then you end up putting it on the album. I feel lucky that a lot of my friends are incredibly talented. Nowadays, everyone is busy, and sometimes it takes a lot to meet new people and get them to come to the studio to collaborate. With him, we can meet in the studio and simply make music.

What does a day in the studio look like for you?

When I’m with Bonaparte, for example, we talk a lot about music and show each other tracks. He has so much gear – some of it old school – so he just plugs it in, and we start experimenting. Usually, he’s late for a session anyway so I start working on something and as soon as he arrives, we take it from there. That’s how a lot of the successful tracks were created. We have done so many tracks together, so we always find new ways of working together. We’ve got an interesting routine now.

For this album, I was also able to work with Philipp Gropper, a well-known Saxophonist, for “ Relaja tu Cuerpo (Relax your Body)”. It was great to figure out how I'm going to record him playing while he's like doing takes. I also have this feature with Chico Blanco, an amazing producer, DJ, singer from my hometown Granada in Spain.To make music at the end is an incredible, long process.

It's not like you know how to do something, and then you feel the same forever. You should change and grow, just like the music industry itself. It’s inspiring for me to keep on making music because at the end I want to come here and have fun. I'm making my living out of a hobby, which is cool. People tell me what my music means to them, which is what keeps me doing music.

Follow @kidsimius on Instagram to keep up with his upcoming album release and shows

THE HYPER REALISM OF THE FUTURE CLUB THE HYPER REALISM OF THE FUTURE CLUB THE HYPER REALISM OF THE FUTURE CLUB

Photography

terencewhitaker.com @terry.w.whitaker

Designs by Emrah Polywka @thefutureclub_berlin

Production: Zoey Lee transnormalcy.com @transnormalcyfilms

Models: Braulio Banderia @deepneue

Nancy Nutter @nancynutter_

Zoey Lee @transnormalcy

Hair and Makeup by Carolina Lazo @lazo_makeup

by Terence Whitaker

In a world where labels are abundant, and expectations bind our choices, Emrah Polywka brings a gust of fresh air with his latest editorial featuring some new designs as part of his rebranding journey.

Emrah, the solo designer behind the fashion brand formerly known as Adrian Weiss is coming into 2024 on fire and with a fresh new name: “The Future Club.”

Wearing a piece from “The Future Club”, you could be dancing beneath the neon lights one moment and raising a toast at a soirée the next. This versatility isn't just about adaptability; it's about celebrating our multifaceted identities.

Relating to his own queer journey where he has evolved over multiple phases of transitioning and dared to embark on an exploration of his identity, it makes sense also for his ever changing clothes to have a new perspective in this new world.

As Emrah’s story is one of not fitting into the norms, he has then turned it into an inspiration for his work. His journey to becoming himself is also what gives him the sensitivity to be able to understand that ultimately we all wanna feel comfortable and wear something that represents who we are.

If we’re not comfortable in our skin, sometimes clothing can help us to feel better and create (gender) euphoria. Therefore, Emrah’s clothes are for everyone and he designs in a way that caters to as many different body types as possible as his main goal is to make the person who is wearing his clothes feel truly special, confident and powerful.

"It's for me, for you, for them. It is for everybody." This isn't just a tagline; it's the heartbeat of the collection. From diverse body types to varied fashion sensibilities, Emrah’s designs welcome all with open arms. He understands that fashion isn't about exclusion or elite clubs. It's about expression, empowerment, and everyone.

FASHION FOR ALL MOMENTS & ALL PEOPLE

This isn't just a collection of clothes, it's a manifesto of inclusivity. Let us all join this movement. Let us celebrate every moment, every occasion, and every person with Emrah’s vision leading the way. For in this hyper-real world, fashion truly is for everybody."

Embracing the philosophy of minimalism in an industry driven by excess, Berlin's UK techno luminary BEC introduces EMBARGO, her innovative record label. BEC's musical journey thus far has imprinted on the electronic scene, and now she's poised to redefine the space with this latest venture.

"Embargo is all about escape from constraints, mirroring my own experiences and the universal battle for authenticity," explains BEC. The label's name encapsulates themes of liberation encountered in life's various battlegrounds, where one is often encumbered by imposed limitations.

BEC's EMBARGO is a sanctuary for creative risk-takers within the electronic genre, fostering an environment where experimental sounds can flourish. Variety is key, and diversity and inclusion play a major role for her.

The label kicks off with "ARTIFICIAL MALFUNCTION," a collaboration that exemplifies EMBARGO's mission of pushing boundaries through creative alliances, BEC herself overseeing the creative direction and visual language all herself. Together with Bulgarian producer KiNK the first debut release is crafted — a raw, high-energy odyssey marrying punchy D&B synths with pure techno. The inception of this track was as organic as it gets: a chance meeting following a gig, leading to a spontaneous studio session brimming with chemistry.

BEC UNLEASHES

For a deeper dive into BEC's vision and the future that EMBARGO promises, read our full interview here. Discover the drive and passion behind a label set to usher in an era of minimalist innovation and boundless creativity.

A LABEL MEANT TO PUSH BOUNDARIES

Embargo is your new born label - what is it all about?

It’s all about pushing the boundaries and doing something different. Quality over quantity whilst majorly representing the FLINTA and queer community. I want a home for artists to be themselves.

No need or restraints to conform to one niche genre by opening up the spectrum of sound and welcoming the primarily raw techno sound to be heavily inspired by the likes of other genres and sounds too! Championing artistic freedom and authenticity above all else.

Impactful and it sounds like a very clear direction. You also mentioned the importance of the visual language?

Absolutely! The artwork and music will both be as important as each other as they are meant to complement one another, and be part of a bigger story. The artistic vision and visual identity of Embargo serve as a direct extension of my own creative ethos and values.

With a background in creative direction and design, I personally oversee every aspect of the label's visual representation, ensuring that it all aligns seamlessly with the music and overall ethos of the label. The idea is that each release on Embargo is paired with a unique piece of digital art, which is an integral part to what makes the label so unique.

So how does this come to life in the first release, “Artificial Malfunction”? Tell us a bit about the first track. and the concept you came up with to connect the music with the visual language.

This collaboration with KiNK, titled “Artificial Malfunction” explores the correlation between humanity and technology, or more in particular, AI. I’m actually very passionate about it all myself, also thinking a lot about how technology has been exponentially changing our existence for decades. AI will be the biggest shift we’ve ever seen. Arguably even bigger than the introduction of the internet and computers.

And how did you come up with the concept for the art work?

KiNK and I jammed in my studio in Berlin and made this track, all synths and drums are pretty much programmed using a MIDI mapping tool in Ableton so it again leans back into the collaboration between humanity and AI, which I wanted to reflect in the visual language, too. It features a 3D bug nestled on a computer chip and then cleverly transforms into a representation of a software glitch or you could say, a malfunction. It humanises technology and ties it to our physical world but also explores the theme between nature and technology - which I find extremely enticing.

With you being a queer DJ & producer yourself, how will Embargo reflect the bigger topics of diversity and inclusivity?

As a queer woman in the industry, I am a minority and there have definitely been more challenging experiences because of this through my time. In my personal case I’m especially going to place a major focus on the queer & FLINTA community. I’ve been on my own personal journey when it comes to being fully outspoken about my sexuality. I’m bisexual, and had my first girlfriend at the age of 19. However it’s only until around two years ago I started to speak out openly about my sexuality and challenges that arise because of it. Being bisexual comes with so many stigmas and taboos. It’s always questioned – a lot of the time people don’t accept it as a genuine sexuality. I’d like my new label to really be a home and platform for queer artists to be able to be part of a like-minded community and be able to share their art, self expression and thoughts to the world in a supported way.

And this will be mainly reflected across collaborations through artists releasing?

Can you share some insights into what you hope to promote through your label exactly?

I am 1000% committed to providing a platform for underrepresented voices and marginalised communities to be heard. I feel that the more we represent, the more we grow. The label should be a diverse home, in which I’d like to support more FLINTA, more LGBTQ+, and in general a more inclusive roster of talented DJs and producers. We inspire and support each other, we are a community and we are able to create change. So I will use my platform to enhance this concept as much as possible. I want to see more of an even playground in the industry, and to also be leading to doing my part in changing it.

So you want to be even more outspoken about your journey?

For sure. I would like to be as outspoken as possible moving forwards, making up for over a decade that I wasn’t! Especially as I had some difficult experiences with it, as I’m sure many others from the queer community have. It can take years to get the courage and confidence to speak out, and by sharing my journey, I hope I can act like a role model to others and support them being true to themselves, and everyone around them.

Amazing. Back to music, how does that affect the music you’d like to portray through the label?

Whilst the label is rooted in raw techno, I really want it to be a playing ground for CREATIVITY at it’s core. I feel that sometimes we are all too focused on one small niche genre. It’s very rare that an artist just always creates exactly the same music. I find that in the past I’ve tailored and forced my sound into slightly different directions to accommodate labels. Which is why I would like to invite as much creativity as possible with open arms and for people to release what they authentically love.

Of course, still focusing on quality over quantity and some extremely sick tracks. Got to be head turners - I’m particularly interested in artists and music who push the norms and explore new territories. Would be boring otherwise, wouldn’t it!

Amazing. Back to music, how does that affect the music you’d like to portray through the label??

I’ve got a LOT of really hawwwwwt releases coming. I would never usually use that word haha but seriously i’m very very happy with them. Two releases I’ve got in the next few months are both on labels headed by some serious feminine energy in the industry, that’s the only clue I’ll give you. It’s going to be showcasing my progression

in my sound, which I actually feel is a more in-tune sound that resonates with me on a very profound and deep level. So I couldn’t be more excited to finally get it out in the world.

Photography by Emil Levy

All fashion by HUGO BLUE

IN THE COLD OF THE

Photographer: Labros TyrlisI @labrostyrlis

Make up/Hair: Zacharenia Kanataki @zacharenia.k

Model: George Tokmetzidis @giorgostkm

Ace Models Greece @ace_models_athens

Photographer support team: Kostas Mandilaras @mandi_clicks

COLD LIGHT MORNING

YuYu

IN CONVERSATION WITH YuYu

In the ever-evolving landscape of digital art, it is a rare spectacle to find an artist who not only masters the medium but transcends it, challenging the very fabric of traditional and contemporary artistry. YuYu, an enigmatic force in the digital art scene, is such an artist—playing in his own league, he crafts thought-provoking narratives that push the boundaries of cultural norms and societal expectations.

As we unveil our latest digital issue, we're honored to present an exclusive interview with YuYu, the visionary who has been captivating the international art community with his radical reinterpretations and profound expressions. Join us in exploring the depths of his artistic journey, where each piece is a confluence of past and present, a rebellion against the status quo, and a beacon of inclusion and diversity. With candid revelations and insights into his process, YuYu invites us into his world—a world where blockchain technology carves out new possibilities for creators and where every frame pulses with the heartbeat of progress.

Step into the vanguard of digital innovation and cultural conversation with YuYu, whose work not only reflects his unique identity but also illuminates the path for future creators. This interview is an expedition into the mind of a trailblazer, an invitation to witness the power of art in shaping the world of tomorrow.

YuYu, how did you initially become involved in the digital art scene and what drew you to the medium?

My involvement began without being fully aware of what I was doing. As a millennial, I grew up surrounded by digital art. Of course digital art in the 90s and 00s was not the same as it is today but it was there. Growing up in both the real and virtual worlds, I feel our entire generation started blurring the lines between them. We were more inclined to welcome digitally enhanced art practices and explore how those tools could be beneficial to our practices.

My true connection with digital art creation began during my architecture studies back in Taiwan. The foundations I built during those years helped me to transcend art and explore my narratives later on. There is a sense of complete freedom in digital art, explorations that were not possible a few decades ago. I think that was what initially attracted me to the scene.

Your art often reinterprets Western cultural masterpieces with a contemporary twist. Can you share more about your process for selecting and deconstructing these historical works?

It all began coincidentally. When I first moved to Europe back in 2014 there was a feeling of not belonging that I was unable to shake off. Even though in many aspects I felt very welcomed, the lack of representation in public spaces bothered me. I began modelling for photographers in an attempt to put myself out there and show the world the beauty of diversity, only to realize how their narratives were not always aligned with what I needed to express.

To help me navigate feelings of confusion and frustration, I decided to act and create my own stories instead. Using a borrowed camera and lights, I attempted to take self-portraits in my living room. Having had 0 technical background in photography and lighting techniques, I used classical paintings as a guide. I have always been extremely passionate about classical works of the Western art canon. Artworks from the neo-classical and baroque periods had mastered the art of generating emotions through lighting and dramaturgy. In many ways I see them as the predecessors of photography and cinema, encapsulating complicated and often dark narratives while maintaining an unparalleled sense of beauty.

Still, something wasn’t enough. Even though from a technical standpoint those works were undeniable masterpieces, the lack of diversity was extremely apparent. “What would happen if we switched the narratives? If we used established imagery of our past to discuss topics of our present?”

I asked myself. This is more or less how the idea of ‘infiltrating’ and altering the past became a practice I still explore today.

Now my process of creation is less about deconstructing the old and more about re-constructing its narrative to reflect contemporary issues of our society. Drawing inspiration from my own experiences as a Queer Asian navigating life in the West, I attempt to unravel unspoken social norms and values, challenging the very essence of Western definitions of culture.

As an artist deeply involved in Web3, how do you believe blockchain technology is reshaping the art landscape, especially for digital creators?

Blockchain is such a fascinating and multifaceted technology. The digital art side of it is only a tiny fraction of all the applications it enables. Regardless, and even though following the turbulence of 2022 the on-chain art market is facing challenges, I am a strong admirer of the ethos it entails. For many creators, especially digital natives, the traditional art canon has been an exclusive and highly

alienating industry. With the advent of Web3 and NFTs in 2020 and 2021 we experienced, as people tend to call, a ‘democratization’ of the industry. I don’t find this term exact. Web3 remains heavily attached to Web2 platforms and practices. Large social media followings reflect good sales, pushing creators into an endless act of balancing between developing their visions and feeding what the algorithms want. It might have allowed a rise in direct relationships between collectors and creators but that is not too different from what social media marketing and influencers did to traditional marketing a decade ago. The ways of communication are changing rapidly and we see adjustments in almost every facet of society.

Where blockchain becomes particularly interesting in terms of digital art, is that it provides the foundation for digital ownership, a concept that has long existed but was impossible to implement. Through encryption and the blockchain, digital assets provide a unique, verifiable, and immutable record of ownership, granting individuals unprecedented control and freedom over their digital possessions.

There is a growing interest in this technology from large cultural institutions across the globe and I am sure we will witness big shifts in how audiences perceive digital art in the years to follow.

What role do you feel race inclusion and gender representation play in your work, and why do you feel these themes are important to explore in today’s society?

Representation and inclusion drove me to create and communicate. Their lack to be more exact. I used my work as a way to explore those terms further than the often tokenistic and superficial definitions we attribute to them. You see, in my eyes, representation and inclusion have to do with getting a seat on the table, being heard, and being able to contribute to the shaping of the society you are part of. My work is a visualization of my voice and thoughts, and through it, I can examine the societal boundaries in which I operate.

Amidst a new era of populism, polarization, and capital-induced authoritarianism, civil liberties and hard-earned achievements of progress are being questioned. To put it simply, our bubble is bursting. We raise more walls than we tear down and that makes us forget all the things that bring us closer. The reason I began to create artworks has always been closely intertwined with my perception of the society I lived in, and for that reason, the conceptual commentary they entail reflects what I consider important for a more equitable future.

The nude form has historically been both celebrated and stigmatized in art. How do you navigate this dichotomy in your pieces, and what message do you hope to convey?

The nude form has indeed been historically such a dividing topic. It has also been extremely sided. The very vast majority of imagery created throughout the millennia of human existence has been from the perspective of the dominant gender –male. That has led to stereotypical depictions that saw men in the positions of warriors or heroes while women held passive roles as objects of admiration and sexual stimulation. Add to that the prudish teachings of religions across the globe and you get a very twisted perception of the most natural thing about us –our very form.

In my work, I use the body as a vessel to carry a message. It is not nude for the sake of being nude. In most cases, it’s not even sexual. It is just a body, with any connotations that it may carry. It is interesting though to explore this dichotomy in terms of audience perception.

"WHEN I STARTED CREATING IT WAS A DEEPLY PERSONAL PROCEsS."

How significantly does the reading of an artwork change depending on the viewer’s bias? Does a simple body provoke someone regardless of the message of the work? And if yes, could this unexpected reaction bring more attention to the important topic it communicates? All those questions are part of the structure of my pieces, aiming to help me amplify the message of each piece. To destigmatize the binary perceptions of genders and to find strength within.

Could you describe your most challenging project to date and what you learned from it?

Haha, that is a tough question. Creative endeavours are full of challenges of all sorts. I honestly think the most challenging part of my path so far was not a particular project but rather the very idea of becoming a professional artist (I still cringe when saying it out loud).

When I started creating it was a deeply personal process and was not aiming to share those works with anyone other than my 200 Instagram followers. As a result, I could let inspiration flow at its speed and never had to ‘rush’ it. That of course is a very unsustainable business model. I might sound a bit too corporate using that term but a major realization that came to me down my path is that being an artist is a very demanding, full-time job that entails plenty of aspects of traditional brand building and business operations.

I think the most important factor that distinguishes professionals from hobbyist artists is the ability to learn to channel your imagination, creativity, and motivation at any time, regardless of the circumstances. It’s not easy to do. It’s a learning curve that takes a lot of time and energy and needs massive amounts of determination and self-belief to achieve. That is most certainly my most challenging ‘project’ and I am still working on it.

Queer art has faced significant erasure throughout history. How do you use your platform and blockchain technology to ensure queer narratives are preserved and celebrated in the art world?

Love that you brought it up. It was actually one of the very first things that attracted me to blockchain –digital permanence. Apart from what has historically happened with queer art and art of other marginalized and misrepresented groups, we now live in a time where our entire portfolios are held in enormous server facilities owned by cloud service providers. Sometimes it’s hard to grasp how not in control we are of the content we produce and the brands we build using social media platforms.

It could all go away in a blink of an eye.

With algorithmic censorship being on the rise, blockchain and the ethos of decentralization offer a sustainable alternative where art can exist immutably.

I think this element is extremely important for marginalized voices that can now utilize all the available tools to overcome the challenges of the past.

What I am personally trying to do is to establish a solid brand at the intersection of art and technology, with the hope of attracting more diversity in an industry that a very specific group of people traditionally dominates. I am putting myself and my work out there, discussing topics that would otherwise be sidelined by conversations lacking cultural depth.

Since your work has been exhibited internationally, do you feel that audiences react differently to your art based on their geographic or cultural context?

Absolutely, yes. Europeans seem to be the ones who can relate faster, I assume due to using their cultural heritage as a base for most of my works. I think a sense of familiarity with the original paintings makes them more welcoming to re-interpretations and they tend to enjoy the historical and satirical twists. On the other hand, Americans tend to disassociate faster. Perhaps at first glance, it gives them a very self-centered perspective and they don’t bother digging deeper. There are places like China or the Arab Emirates where I would be asked to either censor my works or somehow show more ‘modest’ pieces. It’s a very interesting, and often funny thing to notice to be honest. How the works need to adjust for certain audiences.

Which one of your works do you consider the most personal or significant to you, and what is the story behind it?

Almost all my works are deeply personal but if I had to choose just one I would go with ‘Veni Vidi Vici’ (2023).

The work consists of an amalgamation of two landmark paintings from 1588 and 1847 respectively. Building upon Cornelis van Haarlem’s “The Fall of the Titans” and Alexandre Cabanel’s “The Fallen Angel”, my self-portrait invades an unorthodox intersection between Greek Mythology and Christian teachings.

Positioned right at the centre of the turbulent composition in the guise of Angel Beelzebub, I assume the role of a character often vilified by mainstream society to highlight the ostracization of queer people from social and cultural narratives.

In this new re-interpretation, the angel is framed by a sea of male figures, tumbling straight out to the viewers through seemingly deep space. Depicting a moment where the Titans’ children defeated them, this conceptual juxtaposition underscores the transformative power of progress and the need for underrepresented communities to have a voice in shaping the future. “Veni Vidi Vici” is an ode to survival, perseverance, and empowerment. It is also a work auctioned with Sotheby’s, one of the largest and oldest auction houses, and thus a significant personal milestone.

You have a growing list of influential collectors. How has their support impacted your career and visibility in the digital art space?

There are a lot of different types of art collectors. Not all of them collect to advance the artist’s career. I consider myself to be very lucky, many of my collectors have been not only supportive but actively trying to help me land more opportunities. Collectors often have a vast network of collaborators, from art dealers and gallerists to other collectors or even institutions. Those connections can be of extreme value to an artist in the early stages of their career. ‘Your network is your net worth’ they say. Having a respected figure in the ecosystem to vouch for you can open many doors which would otherwise be very hard to do on your own. I am extremely grateful to some collectors whom I consider patrons and friends.

What are your thoughts on the concept of digital scarcity and authenticity with regards to NFTs and how do they play into the value of digital art?

Both digital scarcity and authenticity are fundamental elements of blockchain technology, driving the value of anything blockchain-related. NFTs, as a layer of the same technology, allow digital artists to put an immutable signature on their creations. As a digital artist myself, that is huge. You can trace the provenance of all my works down to my identity and verify their originality. The best thing is that all this is public and accessible to anyone using the Internet. I don’t think we have seen yet all the use cases of this technology and how beneficial it can be for the art market as a whole. Both authenticity and provenance of artworks have been under scrutiny plenty of times in the past. Out of the $200 billion spent worldwide on art every year, around $6 billion of that is tainted by illegal activities (forgery).

A blockchain-based system of tokenized certificates of authenticity could theoretically put an end to art frauds of this type.

We are far from it of course but I do like to think of a more equitable art market of the future.

How do you see the intersection of traditional art techniques and digital technology evolving in the future?

Hopefully hand in hand. Technology is like flashy jewellery. It’s shiny and attracts attention. Historically, almost every time a new technological advancement disrupted old practices we discussed the extinction of creativity and the takeover of machines. It happened with photography, digital cameras, with editing software, and it happens again with artificial intelligence and machine learning. In my view, creativity and art don’t come from the techniques. Everything should be a tool in our creative arsenal and used according to the messages we try to convey. The more techniques one can master, the better one will be at connecting with the right audience.

Lastly, what is the next frontier for YuYu? Are there any upcoming projects or collaborative works that you’re particularly excited about?

For the past couple of months I have been exploring an array of new available tools. It has been fantastic and a vastly different direction from what people expect from me. I am very excited to show more. At the same time, I am in discussions with a few galleries in London, Berlin, and New York for upcoming shows for which unfortunately I can share no information at the moment. Make sure to give me a follow on X and Instagram for all the exciting updates.

What I can say is that a sneak peek of the new body of works will be revealed during the Non-Fungible Conference, the largest gathering for Web3 Art in Europe, taking place on the 28 & 29 of May in Lisbon, Portugal. I have the honour to be one of the key speakers and I am preparing a special 360 immersive show for the occasion! Don’t miss it if you can.

Interview by Marcel Schlutt

Follow YuYu via linktr.ee/cyber_yuyu www.instagram.com/yuliangliubln

twitter.com/cyber_yuyu

YuYu

HÜMEYRA DEMIRCIOĞLU

Interview by Marcel Schlutt

"LOVE LETTERS" by Hümeyra Demircioğlu is a poignant tribute to existence—a heartfelt anthology that captures the essence of appreciation for the simple act of living. Delving into the constant and varied expressions of love, the bonds that entwine us, the allure that surrounds us, and the muses that drive our daily lives from the mundane to the remarkable, this collection is a testament to life's underrated moments. Chronicled through a lens aficionado’s eyes, "LOVE LETTERS" compiles evocative imagery snapped across the vibrant cityscapes of Seoul, with a portion framed within the bustling heart of Tokyo, from 2021 to 2023.

It is a true delight for Ümeyra to witness the transformation of her photographic journey from pixels to print, offering a tangible glimpse into her world of wonders.

Hümeyra, your book “Love Letters” is an intriguing combination of photography and written reflections. What inspired you to bring these two forms of expression together in this project?

I like the idea of keeping a visual diary and reliving moments and emotions through photography and writing. Photography by itself is a powerful medium. In combination with words, – impulses that are sometimes vague, other times more detailed – the image comes to life, you’ve got your actors, sounds, a plot and a backstory. If photography is a universal language, then language itself would be my narrative. I would say it adds another layer to the emotions I want to express and evoke in others.

Could you tell us more about the significance of the book’s title, “Love Letters,” and how the concept is represented through your photos?

“Love Letters” is an attempt to capture and celebrate the beauty of all that is around. As ordinary as they may seem, these are the things that made me serenely ecstatic, like seeing elderly couples walking hand in hand, the reflection of the setting sun on the river, synchronicities, strangers who become your closest friends, close friends who become strangers, moments that feel painfully nostalgic, engaging in small talk with strangers in a language you don’t speak well.

81 photos, 54 pages 17 × 24 cm - 23 € + shipping international shipping available

Copyright © 2024 Hümeyra Demircioğlu / All rights reserved.

Photography, design and text by Hümeyra Demircioğlu @nighttmera

Cover design by Alex Bosserman @eyelidmovie

Printed in Berlin, Germany www.huemeyra.com

The ability to perceive beauty (and to call it that) around me was born from a source deep within me I can only describe as “love,” and I could feel this source of love in everything and everybody I encountered, alive or not. I wanted to remember this feeling, remind myself that it does indeed exist.

And so I wrote love letters to life. Paying attention makes a difference, and photography teaches you precisely that.

“Love Letters” explores the “manifestations of love, connection, and beauty.” Can you share an instance or a photograph from the book that particularly embodies this exploration for you?

Well, the cover photo would be an obvious choice.

Another instance that embodies the exploration of manifestations of love, connection, and beauty would be this photo of my friend Federico. The night this photo is still deeply engraved in my memory. To provide context, I wrote something about it in the book.

“You taught me how simplicity and real human connection is the richest, most fulfilling experience one can have.” – this was his response.

For those of us struggling with mental health issues, feeling intense happiness and appreciation for life strikes us like an epiphany. It’s new, it’s exhilarating and liberating. Sharing this experience and many more unforgettable days and nights with Fede has truly enriched my experience in South Korea.

How did your background in cultural studies, literature, and media studies influence the way you approached this photography book?

From a young age, I have been passionate about foreign languages and cultures, noticing parallels and learning from differences. My studies covered everything from film, photography, language, literature and painting within cultural and socio-political contexts, and it influences the way I perceive and interpret art and the world. Everything is intentional, and there is an underlying message and meaning to each element.

As both the designer and the photographer of the book, how did you ensure that the layout and the photographs complemented each other?

I wanted the book to have some sort of structural narrative: summer, fall, winter, spring. I kept it fairly simple: Matching colours and moods, contrasting images, events, what works best in a collage and what deserves its page.

Transitioning from digital photography to a printed book is a big step. What were some challenges you faced during this process and how did you overcome them?

Finishing it. When you sit on a project for too long, you lose interest and you’re unable to make an objective judgments. I felt like it wasn’t worth putting out, I was going to scratch the whole thing.

I wasn’t in the right headspace either. My state of mind didn’t reflect the messages I wanted to convey in “Love Letters,” it didn’t feel authentic anymore, and I couldn’t get myself to continue writing or editing. My advice: Take a break. Put it in a drawer and lock it away. Read books on spirituality and creativity. Remind yourself of its purpose. Come back to it when you’re ready. Except when you don’t feel ready because fear is getting in the way. Then smash the fear.

Releasing a physical product is… scary, as are most things in life. But that’s a topic for another day.

You opted to print your book in Berlin. Why was it important for you to produce “Love Letters” locally, and how do you think this choice adds to its value?

There’s a story here. Back in Seoul, I went to this small independent art bookstore.

I was browsing the photography book section when I found this photo book with a German title. I don’t recall the title, but it mentioned some southern German town unknown to me. I found it fascinating that this person went to a small German town and made a physical visual diary documenting a memorable period in their life. I’m from a rural small town in Germany myself, yet I never considered those places half as exciting and meaningful as the author of the book I was holding in my hands. We lived in similar places, but our perspectives and interpretations were entirely different.

Long story short, that’s what inspired me to make a photo book/visual diary, one that I would print and publish in Germany. “Love Letters” is seen and told from a foreigner’s perspective – a perspective that becomes blurry and tends to go unnoticed when it’s part of your everyday life for as long as you can remember. Perhaps what gives the book meaning is the distance from what it depicts

How did collaborating with Alex Bosserman on the cover design influence the final look of the book?

Alex is a dear friend of mine and I trust his artistic taste, especially in terms of visuals. He understood my vision and helped me with the selection of the cover photos and the design.

We kept the cover design simple yet with a certain sense of nostalgic subtext. The title is in yellow because it reminded him of subtitles in foreign films.

And “Love Letters” is about our time in a foreign country (we met in Seoul) where language and meaning get lost in translation (which is our favourite film).

With an international audience in mind, how did you approach the shipping aspect for “Love Letters” to ensure it reaches a global readership?

I figured it only makes sense to make international shipping available, considering that “Love Letters” consists of photos taken abroad. I have friends in Seoul who I know wanted a copy! Some people I’ve met there are now spread across the globe, and some of them are featured in the book as well. I wanted to be as accommodating as possible and make sure everyone got their piece of the pie.

After capturing 81 photos for this book, what selection process did you use to decide which ones would make the final cut to appear among the 54 pages?

Initially, I was going to include more photos but in the end, I opted for a more compact version to make it more affordable, both in terms of product and shipping costs. For the final selection process, I prioritized photos that hold sentimental value and that I thought were most pleasing to the eye. I’m quite indecisive so I did consult friends for input, too.

(Shoutout Yunil and Alex)

Now that you’ve successfully published “Love Letters,” do you have any plans for future projects or books that we can look forward to?

I recently started a digital zine with my friends McKenzie and Alex and I’m going to be working on that. It’s called FMRA Project, short for “ephemera,” and it covers all things art –literature, photography, music, film, painting, and more.

The idea was to create a space and an outlet for creative expression and exploration. I get to just be free and play with whatever ideas or forms of art come to mind.

My personal goal is to make videos for FMRA since I’m interested in filmmaking. Each month explores a different theme which then inspires the art we create or source.

As we grow, FMRA will accept submissions by artists and thus become a platform for creatives to gain visibility.

In 2023, Laufey captivated the music scene with her groundbreaking debut album "Bewitched”. As well as shattering records, her debut-album marked the biggest-ever debut for a jazz album on Spotify and a Grammy for the Best Traditional Pop Vocal Album – a category previously dominated by the American Jazz-icon, Tony Bennett. Now based in Los Angeles, but having grown up in Reykjavík, Laufey's multicultural upbringing significantly shapes her music, effortlessly blending classical, jazz, and pop elements into a unique sonic tapestry.

“I learned classical cello and piano across China and Iceland, teaching me not to fear mixing cultures and disciplines,” Laufey told KALTBLUT. Her move to the US further expanded her musical horizons. "The U.S. is a melting pot of cultures and music. Moving here taught me to be more daring with my musical choices," she reflects. Embracing modern platforms, Laufey sees TikTok as a creative arena: "It's a fun space to test melodic ideas. It can provide fuel for me to finish a song." Laufey's music resonates with Gen-Z, a generation dismantling artistic boundaries, “because it shares a vibe rather than a strict genre.”

BLENDING CULTURES, BREAKING BOUNDARIES

Drawing from both classical and jazz influences, the singer finds inspiration in composers like Ravel and jazz legends like Bill Evans. "Unexpected chord progressions fuel my soul," she added. Her success has also gained her a comparison to Taylor Swift, with The Telegraph having called her “Jazz’s answer to Taylor Swift”. This comparison honours the singer-songwriter, as she calls herself a huge Taylor Swift fan. And, who wouldn’t want to be compared to the biggest pop star at the moment?

Late February, Laufey performed in Berlin at Astra Kulturhaus as part of her tour. The crowd was a cute mixture of Gen-Z, who either took their boyfriends or their friends to the show. Knowing every song off by heart, they sang along, told the singer how much they loved her in-between songs and screamed their hearts out when her twin sister, Junia, joined her on stage. The setting was romantic, just like Laufey’s music. To the question, what her favourite moment at the show was, she said: "One of the most iconic classical musicians of our time was in the audience. Meeting with an idol was such a privilege."

Touring takes a toll on everybody, though, which is why maintaining a healthy lifestyle is crucial for Laufey. "I try to stick to a consistent diet and explore cities I visit before sound check to stay active." Besides staying active on tour, social media also plays a big part in her life and career. "Whenever I go on social media, it feels like I'm interacting with friends instead of fans," she said.

With her diverse background, fearless creativity, and genuine connection to her audience, Laufey is not just making music – she's forging a new path in the industry.

Follow @laufey on Instagram to keep up with her upcoming projects, releases and shows. All photos by @gemmadwarren

Text by Johanna Urbancik

Creative director & Stylist: Jyothsana Selvam @jyothsanaaa

Muah: Giorgia Massaro @giorgiamassaro_mua

Model: Timothy Kenny @timothy.j.k

Agency: Hercules Models @herculesmodels

Studio assistant: Luca Imperatrice @luca_imperatrice

HALO

Photographer: Federica Loria @loriarsh

pants by MAGSINO necklace & ring by VALENTINA LAGANA ATELIER

jacket Vintage from PWC Milano skirt by ZARA

top with detachable sleeves by LAMAN KHANLAROVA pants by MAGSINO necklace & rings by VALENTINA LAGANA ATELIER

skirt and detachable pants by MAGSINO bracelet, necklace & prop by VALENTINA LAGANA ATELIER shoes thrifted from VINTED

BIGGER

JOSEPH WOLFGANG OHLERT

“BIGGER” is a new photo book project and the third book release by portrait photographer Joseph Wolfgang Ohlert. Many men feel insecure and lack self-confidence because they do not see themselves represented in the media. However, as we become accustomed to images of diverse bodies, we can all feel more liberated. The book features around 80 portraits and various personal texts by five writers, spanning approximately 200 pages. Joseph Wolfgang Ohlert is a freelance artist, portrait photographer, and gallery owner in Berlin. After his high school graduation, he worked at various theaters in Munich as a director’s and stage designer’s assistant before finally moving to Berlin, where he began studying photography at the prestigious Ostkreuzschule and successfully graduated in 2015. He made his debut with the project “Gender as a Spectrum”—a photo book with portraits of a wide variety of people who do not fit into the known categories of “man and woman” and move beyond conventional gender norms. In September 2017, he opened his first own creative space—the P7 Gallery. In the same year, he published his second photo book project “DARLINGS!,” a personal diary of artfully assembled collages, drawings, and photographic works from his creative phase.

What inspired you to create the “BIGGER” photo book, and how is it a continuation of your previous work?

Being a bigger-built person has always been a part of my life. Since my teenage years, I have been dealing with body issues and suffering under the pressure of beauty standards, mostly pressure that I put on myself. It’s absurd how delusional our self-perception can be, especially while growing up but even at that point where you should know better as an adult, that every body is a beach body and happiness doesn’t come from looks. But self-acceptance is not a destination you reach and then have a guarantee; it has to be earned every day anew, a constant challenge which we can complete some days very well and some days not so good.

We just go with it, and try our best. One way of doing so was for me to work on this new photobook. The lack of bigger-built bodies in the (social) media is enormous. All my books come deep from my inner desire to express myself, “Gender as a Spectrum” helped me to understand the topic of gender in general and also my own way of dealing with who I am. “Darlings!” is a photo collage diary of some of my Berlin years and “BIGGER” seems to me just like a natural development of working on myself and seeing the beauty in moments rather than in things or “looks.”

Can you share some insights on how you selected the 80 portraits for the book?

It was a journey of two years. Looking for big guys wasn’t as easy as I thought. A lot of guys were fine showing themselves on dating platforms or social media, but when I approached them, they couldn’t make the move and have the courage to be photographed professionally.

In times of oversharing and over-sexualizing, many men live with insecurity, telling themselves they deserve to be seen but also giving up a bit of control over how their bodies are shown seems, for many people, impossible. Even so, I worked closely with each model, trying to leave them satisfied with the results and make them feel seen.

How do you hope “BIGGER” will impact men’s perception of their bodies?

I believe just the fact of being confronted with pictures of bigger bodies helps to normalize a more diverse body image. If we step outside, we see all kinds of people with different bodies, and nearly everyone wishes to have something changed, myself included. But what if we can all accept that loving yourself is the only thing that makes life worth living? There is always a way to improve yourself, but the first step is to understand that you are enough.

In what ways do you think the media’s portrayal of body image is changing?

The constant influence to optimize yourself is the most toxic thing happening in the world right now. There is no perfect life, and we shouldn’t lose the ability to fail, because it backfires. Balance is the key.

What role do you believe your book plays in the ongoing conversation about body diversity and acceptance?

It’s just a tiny part of what I am doing and also nothing new. Beauty standards have dictated our society since the beginning of mankind, but still, it seems we don’t get any wiser, and maybe that’s just how it is. That doesn’t mean we can’t try to make the world a better place. It’s always about doing something. Nothing is worse than standing still.

Can you tell us more about the personal texts included in the book and how they complement the portraits?

I asked five writers from Berlin to contribute to the book. The results are very personal, and they created beautiful texts or poems that enrich this project tremendously. I want to create a safe place for the people who look through the pages and ideally recognize themselves.

What was the most challenging aspect of bringing “BIGGER” to fruition?

Since it’s so personal for me, I tend to selfsabotage my work and try to escape the mirror I put up for myself. That really was the hardest part, to just keep on going, even on days when I just wanted to delete everything and ignore everyone. Facing yourself is the hardest thing in the world. Working as an artist, I feel this burden even more. I have to keep it going and put it out there; otherwise, I would wither away.

What led you to select the hosting writers for the personal texts, and what perspectives do they bring to the book?

I rather let other people talk and let them show or present themselves; I am just curating. That’s my art, bringing people together and creating a platform. Their perspectives in the books are helping us to find voices we all have inside of us but were trained to ignore, voices that say we are not so different on the inside, and we are allowed to be different on the outside.

Could you describe your experience studying at Ostkreuzschule and how it shaped your photographic style?

I learned that a beautiful photo is not enough. What do you want to say? Do I want to be an artist or a decorator?

JOSEPH WOLFGANG OHLERT

What advice would you give to aspiring photographers who want to tackle subjects like body image and gender in their work?

Keep on going. Just do it. Get it out there. Don’t waste time thinking about whether it’s good or bad, or if it has been done already. Ambition is sexy, so never lose your excitement for creating.

How do you see your photography evolving in the future, and are there any new themes you’re eager to explore?

I am a bit old-school in the way I see and do photography. I didn’t invent the wheel. I still work mostly on film, and it is on the decline. So I can’t say much about the future. Probably AI is taking over. I am kind of curious about what happens, but I feel lucky to live in a time of in-between the old and new world of photography. What I know for sure is that pictures will never die.

Interview by Marcel Schlutt

Follow JW Ohlert via @jwo_studio and @josephwolfgangohlert

SOUL REVELRY

Photography by Weic Lin @weic_lin_photo

Model is Kamilla Osipova signed at MOOZA Management @kamilla_osipova @moozamanagement

Styling by Blanc Yuan,Yvette Chen @blancyuan_ @yvette_fungi

Make up and nails by Yuwei @yuweimakeup0130

Hair by Jing Yang @jing_33333

Hair assistants by Monica Li @monicaliig

Retoucher by Ke @tagco1

REVELRY

Top by PCES Skirt by PCES

Left: Jacket by JUNEYEN Pants by JUNEYEN Shoes by ZARA

Right: Top by UUIN Pants by UUIN

Left: Shirt by DOUCHANGLEE Girdle by DOUCHANGLEE Skirt by DOUCHANGLEE Shoes by Yvette

Right: Suit by Yentity Pants by Yentity Shoes by ZARA

Left: Jacket by JUNEYEN

Pants by JUNEYEN

Shoes by ZARA

Right: Dress by JUNEYEN

Shoes by ZARA

Polaroid Go Generation 2 offers sharper, brighter images

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Rechargeable with USB-C and compatible with Polaroid Go Film: Polaroid’s smallest instant film yet, a color instant film that's battery-free and has real Polaroid chemistry.

EMILIO SAKRAYA

KALTBLUT. caught up with Emilio Sakraya ahead of the release of his third album ‘Blessings’, a cheerful yet meditative release pondering on all the experiences in life – its highs and lows. In his upcoming album, Emilio embraces the exploration of new styles and genres, showcasing his evolution as an artist in these last two years. Emilio wants this album to serve as a companion, offering comfort and guidance amidst life's storms. Filled with melodies to soothe the soul and lyrics that inspire to embrace every twist and turn with positivity, grace and gratitude.

It's been a minute since your last album release, ‘1996’. How are you feeling about releasing a new body of work into the world?

I am thrilled about everything that's about to come with this album, and I'm excited about how the fans are going to react to the sound. Of course, I'm looking forward to playing these new songs on tour, too.

Listening to the album, you can tell it's personal. You're opening yourself up to show the real you. In your songs, “Cacio e Pepe” and “Gartentor Freestyle”, you talk about how you're constantly on the run, as you are always doing so many things. You're not only a musician, singer, and songwriter, but also an actor and a dad. How do you balance all that?

I enjoy everything I do. There are many things I love, and I refuse to give any of them up for another, so I do it all. Sure, it can be tough at times, but it's also incredibly fulfilling. I genuinely relish every moment of it. I play a significant role in organising my schedule and determining when to tackle each task. Therefore, I prioritise self-care and cherish those fleeting moments of peace. I always look at the big picture, and I’m reminded of how far I’ve come. I'm just a young boy living his dreams. Each year, I aim to write an album, followed by touring to promote the music. This year, we're promoting the album, and after, I'll be going on tour again. Then, I'll be filming again. I decided that I wanted this to be my life, and I feel happy and grateful living it every day.

When did your passion for music start?

Since I was a little kid, I was always into music. When I was 11, I started to play the piano. I was a part of a school band where I played the guitar. I covered many songs back then. To be honest, I was more into music than the film business in my early years. I always wanted to become an actor, but I didn't get jobs when I was young. I was a musician my whole life, though. I started to compose and write my songs when I was 19 and got signed with a music label when I was 20. It's been eight years since then, and now I’m releasing my third album. I'm living my dream. It's exactly the way I imagined it.

"I'M JUST A YOUNG BOY LIVING HIS DREAMS"

In your new album, there is a track called “Rote Ampel”. Your gift of storytelling shows. Can you tell me more about this track?

I was driving around town with my car when I saw a young boy standing on the side of the street looking at my car. I looked at him and realised how crazy it was because I used to be a boy looking at cars. Now, I'm the driver. I started thinking about how much I had to go through and work to be the person in the car now.

I was thinking about it all my way back and when I got into the studio I just needed to write a song about that moment and try to narrow it down to what it takes to become the driver and not the boy on the street. The process of writing that song was a reflection of my journey for me so far.

At such a young age, you have two impressively successful careers - actor and musician. From how I perceive it, I would say music is more of a therapy for you. Is that correct?

For me, music has always been more of a passion that drives you. The biggest difference is, that in movies, I play someone else. With my music, I can open my true self and tell my stories. I get to be all: the director, the cameraman, the editor and the writer. In film, I’m a part of a huge team that takes care of a lot of stuff. I trust them and do my work. As an actor, I get to tell the stories of others and live through different lives.

All my life, all I wanted to do was to tell stories. The power of storytelling has always charmed me since my childhood. It's perfect for me to have that balance between telling someone’s stories and my own. With that, I’m able to find myself again in the songwriting process after an intensive period of filming. Especially for actors and actresses, it can be hard because you tend to lose yourself in the character. Music has been my way to help me counterbalance it and find myself again.

In other interviews, you've openly talked about your mental health struggles, which I find was so helpful to many young people. Can you tell us what's your process for dealing with anxiety?

I used to have panic attacks and, luckily, they have got a lot less since. About two years ago, I stopped drinking, which helped a lot. During my day-to-day life, I’m trying to maintain a healthy lifestyle and prioritise taking time off, spending quality time with my family and respecting my recovery time.

I must say what helped me most was openly talking about it. It gave me so much relief because, until that point, I thought I was sick and was the only one experiencing those attacks. It can feel very lonely, and then you can end up in a negative loop thinking there’s something wrong with you. When I started speaking about it, I realised I'm not the only one.

Can you tell me more about the meaning behind your song, “Mond” as it has such a touching sentiment to it?

It's a very personal song about a friend who's always stuck in a very negative situation. We all have friends who have been in a dark spot for a while, it's nice to have something to sing along with and just say: “I'm there for you, I'll take care of you".

Would you say your albums function as your diary or a form of self-reflection? Or is it more of an emotional release?

Honestly, my process isn’t very intentional when I write. It just happens and comes out of me. I don’t start with a specific thought. Usually, my process is about just letting it all out of me until the point when I have around 30 songs. That’s when I started to puzzle it together - like a director.

Can you pick out a few of your favourite songs on the album and tell us more about how they were written, and how did you come up with them?

I'm a big fan of “Fuck It”. Initially, we only had an instrumental with a top line that somehow ended up sounding drunk. I perform the song as if I'm intoxicated, thinking about what topics one might think about or discuss while being drunk. Pain and love seemed fitting. Now that I no longer drink, I often observe how those around me who lose their ability to maintain a coherent conversation. They tend to switch topics abruptly.

From that thought process, “Fuck It” emerged. It captures a particular state of mind. The song immerses you in a heightened emotional state and serves as a compelling opener for the album.

Can you tell us about your single, “Niemand”?

“Niemand” has a unique sound. I wrote it a long time ago, and just recently decided to finish it. In the studio, we kind of recycled it and ended up with a sample out of it. It started from that and lyrically, it tells a story about a doomed relationship.

Your tour is coming up. How are you feeling?

Honestly, I haven't had the time to think about the tour yet. I'm a bit stressed about it because there are still a lot of things we have to do before it starts. Sometimes, I wish I could tell everyone to leave me alone so I can focus on the tour. Overall, I'm most excited about it. I consider it to be the best part of what I do. Seeing people listen to my music and witnessing their reactions is what I look forward to most. It creates this amazing atmosphere like nothing else.

What's one thing you want people to take away from this album?

When I was working on the album and recorded “Blessings”, I felt this song sums it up very well. The whole album takes you on a journey through the last two years. It shows a glimpse into my life and shows my relentless pursuit of personal growth and understanding of life's responsibilities. With that, my blessings are not just positive things, but also negative experiences with people and emotional struggles in my life. But, in the end, they're all blessings to me.

Most of the negative things that happen turn out to be good things because you learn, grow, and develop by experiencing adversity. We don’t learn from things that go well, only from the things that don't go as planned. I understand now that you can't call negative things positive, but you can call them blessings because they taught you something along the way.

Bittersweet tracks, such as “Fuck it” and “Regen”, gradually evolve into a more positive outlook, starting from “Daydream”, guiding you through a journey from a high emotional ego mindset to a moment of release and realisation, ultimately understanding how every experience becomes a blessing. ‘Blessings’ isn't just a title; it's a reflection of my profound gratitude for all my life experiences – the highs, the lows, and everything in between. I hope my album can uplift people, encouraging them not to stress too much about negative situations and to find moments of joy where they can enjoy life.

video

Stream Emilio’s latest studio album ‘Blessings’ here and follow him on Instagram at @emilio_sakraya_ to keep up with upcoming releases, films, and other projects.

Photos by @denisseaps

Interview by Daria Artemova @daria.art5

NEON WAVES

Photography by Verena Knemeyer signed at Double T Photographers www.verena-knemeyer.com @verenaknemeyer double-t-photographers.com @double_t_photographers

Model is Adama Jobe signed at www.modelwerk.de @modelwerk @i_am_adamajobe

Styling by Nicola Berger www.nicolaberger.com @nicolaberger

Hair & Make Up by Josephin Martens signed at Liganord www.liganord.com @josiemartens @liganord_agency

Creative Direction by Veruschka Glage @veruschka_glage Agency @b.m.h_werbeagentur

Digital Operator Leon Schweer www.leonschweer.com @leonschweer

Light Technician Darren Viret @darrenviret

Production by Episode Media www.episode.co.za @episodemediaprod

Ring by Wempe

Swimsuit by Seame Swim Earrings by Radà

left: Bikini by Eres Necklace by Radà right: Bikini by Helene Galwas Earrings by Sonnia Jewellery Design

left: Swimsuit by Seame - Swim Earrings by Radà right: Ring by Wempe

left: Bikini by Helene Galwas Earrings by Sonnia Jewellery Design

left: Ring by Wempe right: Swimsuit by Seame - Swim Earrings by Radà

Sunglasses by KYME Bikini by Helene Galwas

THE FRESHEST FOOTWEAR TRENDS FOR SPRING

WITH THE PROMISE OF BLOOMING FLOWERS AND SUN-KISSED DAYS AHEAD, IT'S TIME TO REFRESH OUR STEPS WITH THE LATEST SNEAKER AND SHOE TRENDS FOR SPRING AND EARLY SUMMER. ELEVATE YOUR SHOE GAME WITH INNOVATIVE DESIGNS THAT BLEND COMFORT WITH CUTTING-EDGE STYLE. FROM VIBRANT HUES REFLECTING SPRING'S VITALITY TO BREATHABLE MATERIALS PERFECT FOR THE SEASON'S SPONTANEITY, DISCOVER THE NEW ARRIVALS THAT WILL PUT A SPRING IN YOUR STEP AND KEEP YOU WALKING ON SUNSHINE. JOIN US AS WE UNVEIL THE MUST-HAVE FOOTWEAR THAT'S STEPPING ONTO THE SCENE JUST IN TIME FOR THE WARMER WEATHER.

OAKLEY FACTORY TEAM SS24

Oakley Factory Team, the creative laboratory for conceptual design and experimentation led by Brain Dead, is back with a new drop featuring new colorways of the iconic Flesh, Flesh Sandal, Paguro, and Chop Saw Mules.

For SS24, unexplored latitudes and fictional landscapes inform new textures and palettes, inspired by techno-utopian architecture, and organic design. Liquid materiality is filtered throughout the collection, from the Brain Dead x Oakley Factory Team collaborative take on the glitter Flesh (available for purchase exclusively at wearebraindead) to the “Ocean” colorway of the Paguro slides, or the maritime shades of the Flesh Sandal. Future-proof footwear for next-generation humans. Oakley Factory Team SS24 (Drop 1) is available on WEAREBRAINDEAD.COM, all Brain Dead locations, oakley.com, Oakley selected stores and Brain Dead selected stockists.

AXEL ARIGATO ASTRO SNEAKER

The women's Astro sneaker pays homage to the styles that were popular during the early ‘90s. Recognized by its chunky silhouette, it draws inspiration from the voluminous models released during the turn of the decade. Each pair is crafted from panels of LWG-certified leather and suede, and features sport-inspired detailing and pops of color. Available via axelarigato.com

OTW by Vans, a dedicated platform where Vans co-creates with trailblazers andinnovators who propel culture forward announces its collaboration with New York-based designer, Imran Potato. Firmly cemented at the crossroads of disruption and design, Imran’s unique perspective is a seamless fit for the visionary mindset of OTW by Vans. Imran has built his creative identity by subverting fashion with humor and honesty in all that he does. Conceptualized from Imran’s deep reverence for the Knu Skool, the designer is back to create a new interpretation of the iconic silhouette. Have a look at otw.vans.com

OTW BY VANS AND IMRAN POTATO INTRODUCETHE KNU SKOOL MTE

SIMONE ROCHA X CROCS

Following its preview at London Fashion Week SS24 in September 2023, global footwear brand Crocs and luxury fashion house Simone Rocha launch their firstcollaborative collection, Simone Rocha x Crocs. Blending Crocs’ iconic brand DNA with Simone Rocha’s directional aesthetic, the exclusivecollaboration explores the creative juxtaposition of femininity, practicality, and utilitarianism,resulting in a distinctive collection that challenges traditional perceptions of footwear.

www.simonerocha.com

DR. MARTENS x SUPREME

The latest instalment of Dr. Martens long-running partnership with Supreme sees two new versions of the classic 1461 3-eye shoe rebuilt in colour-shifting hi-shine rub off leathers.

The new collection utilises distinctive Arcadia and Rub Off leathers with a naturally worn appearance, which reveal hidden colours that become more prominent with repeated wear. The 1461 shoe is available in black and silver Arcadia leather or multi-colour Rub Off leather, which transforms from red to green to blue.

www.drmartens.com

DARKNESS MEETS LIGHT

Photography by Natascha Zivadinovic www.natascha-zivadinovic.com @natascha_zivadinovic Model is Max Uhrmacher signed at Starwatch Agency @maxuhrmacher Make up by Angelique Waltenberg / www.visa-berlin.de @angelique.waltenberg

BRIDGING WORLDS: THE ARTISTIC JOURNEY OF TARIQ ALSAADI

In the realm of contemporary art, voices that traverse the intersectional complexities of identity, heritage, and self-expression are vital for fostering a deeper cultural understanding and promoting diversity. Tariq Alsaadi, a trailblazing illustrator whose work vividly encapsulates the nuances of his Syrian roots and queer identity, is one such voice that commands attention. In this intimate interview for our digital issue, Alsaadi walks us through the rich tapestry of his experiences – from the war-torn memories embedded in his homeland’s history to the liberating yet challenging realities of his immigration to Germany.

As an artist whose narrative ingeniously delves into sensitive topics such as identity politics, gender roles, and beauty ideals, Tariq’s artwork serves as a compelling commentary on contemporary issues faced by minorities and the LGBTQ+ community. With bold colours and evocative imagery, he not only reflects on his personal story but also connects with universal human experiences, prompting us to examine our perceptions.

Discover how Tariq Alsaadi’s potent fusion of Syrian culture, queer identity, and unapologetic artistic expression creates bridges between diverging worlds, offering insights that transcend boundaries and resonate with a global audience. Join us in exploring the depths of his creative vision and his aspirations for the future of queer art.

Tariq Alsaadi lensed by Osman Gazioglu @gopicsphotography

Tariq, how do your Syrian heritage and the experiences you’ve had there influence your artwork?

Being from Syria (and, in general, from the Levant region) is very important to me, and it influences my artwork in both direct and indirect ways, especially due to its rich culture and long history, spanning over 7000 years or even more. Continuous conflicts, wars, occupations, etc., since the beginning of the first human settlements, along with their diversity, lost identity, and contradictions, have significantly shaped my perspective. In this context, creating art serves as both an escape from reality and a means of expressing and exploring reality, as well as searching for identity. I believe that many Syrians, including myself, grapple with identity issues. Our diversity and various political factors often create divisions and erode our sense of belonging to a specific Syrian identity, yet we are united as one people through shared experiences of enduring horrific situations together. Many Syrians employ dark humour as a coping mechanism, stemming from these factors, which serves as a form of expression and escapism simultaneously. I find that the humour present in my artworks is deeply rooted in Syrian culture.

Moreover, I am greatly influenced by the stories of ancient Syrian gods and goddesses, as well as the broader region. These stories are incredibly intriguing and serve as a reminder that humanity, regardless of location, has not changed significantly since the dawn of civilization, with the inception of religions, kingdoms, and empires.

As a queer Arab artist, how do you navigate the intersection of your identity and your creative expression in your art?

I express my identity as an Arab queer artist in nearly every art piece through the characters themselves and various elements reflecting oriental and Arabic influences.

Can you describe a piece of art you’ve created that you feel particularly represents your experience as an immigrant in Germany?

Living in Germany and being away from home for a long time has led me to reflect deeply on the details and stories from my childhood and teenage years, which I might not have considered otherwise. Particularly in the last two years, the theme of nostalgia has become more prominent in my artworks.

For instance, in a piece titled “My Birth,”

I illustrate a story that my mother shared with me about what happened before she brought me into the world. As a modern, working woman, she initially contemplated having a third child but was considering abortion. However, she had a significant dream. In this dream, she saw a white, sparkling horse enter our home and look around.

Upon sharing this dream with our neighbour (a kind-hearted woman who disregarded societal norms and regularly took anti-depression medication) my mom that the horse represented her unborn child and that it was a message to keep the baby. Consequently, my mother chose to keep me, and I am here today because of that decision.

Looking back, how has your art evolved since your days studying fine arts in Damascus?

Reflecting on my art’s evolution, I see a continuous connection with my past work, albeit with advancements in topics and techniques. My journey as an artist began long before my formal studies, as I exhibited a passion for drawing from a young age and asked my parents to give me a pin and paper to draw at 2 years old.

Since coming to Germany, my art has taken on a more political tone, influenced by a deeper understanding of my identity and biography.

How do you approach the topic of gender roles and beauty ideals in your work?

In my work, I aim to illustrate that femininity and masculinity are not exclusive to any one gender; they are inherent in all of us, regardless of our gender at birth or identification.

We should have the freedom to express these aspects of our personalities however we choose, without being confined by rigid categorizations. Being human is far more complex than these limiting categories, which restrict our imagination and hinder our collective human civilization.

Discussing beauty ideals, it’s a significant topic within the queer and particularly the gay community. Physical appearance holds considerable importance in the gay community, and I am actively working to break away from these standards. I strive to depict diversity in the appearances of the characters I create, although it’s a gradual process.

Growing up in a society that prioritizes conventional beauty standards, and later studying in art schools that reinforce these aesthetics, makes it challenging to deviate from these ideals. However, I am committed to this journey, and my art now showcases greater diversity than ever before.

Could you share an instance where your art acted as a bridge between differing perspectives on identity or gender?

During my studies of Design in Münster, Germany, I undertook a project centred around changing perspectives, which I presented as an illustrated book. In this book, everything was depicted in reverse compared to real life. For instance, the wealthy were portrayed as poor, and the impoverished as affluent. Additionally, one of the focal points was identity and gender. In this alternate reality, queer individuals were the normative majority, while heterosexuals constituted the minority, struggling to find their place within the predominantly queer community.

The goal of this book was to build bridges by encouraging readers to empathize with the struggles of others through altered perspectives. It aimed to convey the message that just because the majority may not experience certain struggles, it doesn’t negate their existence. Humour was used as a tool to engage readers, prompting laughter initially before leading them to deeper reflections. I still intend to publish this book, but I am currently in the process of searching for suitable publishers.

What challenges do you face in the art world due to your background, and how do you overcome them?

As a young artist with a Middle Eastern background, I encounter different experiences compared to those from German or European backgrounds. For instance, I often face categorization and fetishization, which can create considerable pressure. To navigate this, I strive to collaborate with the right people/individuals who appreciate my art for its merits rather than exoticizing or pigeonholing me.

If I sense any hint of fetishization or categorization, I promptly disengage from the situation. While I take immense pride in my Syrian background and identity, I am intentional about how I represent it in my work. I ensure that my heritage remains an integral part of every project I undertake, but I assert control over its portrayal, rather than allowing others to dictate how it should be perceived.

As an advocate for queer art, what message do you hope to convey to both queer and non-queer audiences?

My aim is for both queer and non-queer audiences to discover the common threads that unite us as human beings. Regardless of sexual orientation, we are all dreamers. Art inherently possesses a queer quality, regardless of the artist’s sexual orientation. Thus, as an artist, I prioritize presenting my work in a language accessible to all audiences, allowing individuals to freely interpret its meaning.

Rather than being labelled solely as a queer or migrant artist, I seek to transcend categorization by communicating through the universal language of art. This approach allows for a broader reach and fosters inclusivity, inviting diverse perspectives to engage with and appreciate my creations. Indeed, this ability for interpretation is what makes art so beautiful and magical.

How has the Berlin art scene influenced your work, especially considering the city’s rich history in the arts?

The Berlin art scene mirrors the city itself! remarkably diverse. This diversity provides ample opportunities for artists like myself to connect with our audiences and engage in meaningful interactions. In Berlin, the cultural landscape offers something new virtually every day, from exhibitions and museums to performances, providing constant inspiration. Moreover, Berlin itself serves as a profound source of inspiration for me. Its vibrant streets, diverse inhabitants, underground culture, international atmosphere, and sense of freedom all contribute to shaping my artistic vision and creativity.

What role do you believe art plays in creating dialogue around sensitive issues, particularly in the context of the Arab world?

Art can play a crucial role in addressing sensitive issues within the Arab world, including queerness, which unfortunately remains a contentious topic due to various societal factors. In this context, art can illuminate queer moments from Arab history, showcasing instances of direct acknowledgement of queer and gay love and sexuality in Arabic literature and art, even at times when Europe grappled with issues surrounding queerness.

By highlighting these historical queer moments, art serves to educate both queer and non-queer Arab audiences, emphasizing that queerness has always been a part of our culture and history, rather than an imported phenomenon to be rejected. Art, with its symbolic language, offers a softer approach compared to direct discussions, providing a starting point for dialogue and facilitating progress towards further understanding and acceptance.

Do you have any projects that specifically address the experiences of the LGBTQ+ community within the Arab diaspora?

I collaborated on a project with a Syrian platform based in Berlin that focused on highlighting queer characters depicted in Syrian telenovelas from the 2000s era. During the 90s and 2000s, Syrian TV dramas and series experienced a golden era and garnered immense popularity across the Arab world. Many of these series featured queer characters, although their sexual orientation or gender identity was not explicitly addressed. Despite this, it was widely understood that these characters were gay, lesbian, or transgender. These series hold significant cultural and identity value for Syrian millennials, both queer and non-queer, many of whom are now part of the diaspora.

In our project, we aimed to shine a spotlight on these queer characters, providing them with more visibility than they originally received as secondary characters in TV dramas.

By directly addressing their queer identity, we sought to create a space for dialogue and reflection on our experiences as queer individuals while maintaining a connection to our cultural heritage. This project emerged from a sense of nostalgia that binds us together, serving as a testament to our shared experiences and our desire to remain connected to our culture.

Finally, what is your vision for the future of queer art, and how do you see yourself contributing to it?

At times, I find it challenging to label queer art as „queer art” because art inherently embodies queerness in its essence, regardless of the artist’s sexual orientation. Furthermore, queer artists have long served as a significant source of inspiration for all artists and have contributed immensely to the evolution of the art scene.

However, as queer artists, we must remain vigilant to ensure that we retain the freedom to openly express queer themes in society. Unfortunately, our existence and ability to express ourselves are often subject to political factors that can change rapidly. Therefore, we must continue advocating for our rights and the development of our art within a supportive political and social environment, free from exploitation or “pinkwashing” for profit. It is our responsibility to ensure that queer themes remain present and visible in our artworks, sharing our stories and addressing our issues to pave the way for future generations of queer artists.

By doing so, we contribute to the ongoing progress and empowerment of queer artists, striving for a future where we can express ourselves freely and authentically without fear or exploitation of our identities.

by Marcel Schlutt

Interview

Follow Tariq via @tariq_saadi and @tariq_illustration

Leather jacket: Maison Margiela MM6 available at Stijl Store

Body: Y Project available at Stijl Store

Ring ruby with diamonds by Manalys

MODELS: MALINKA / @ZOFIA_______ AND ROSALIE FROM RUN MODEL MANAGEMENT WWW.RUNMODELMANAGEMENT.COM/ @RUNMODELMGMT

STYLIST: SIDNEY FIGEYS / WWW.SIDNEYFIGEYS.COM / @SIDNEYFIGEYS

ASSISTANT STYLIST: FANNY SCHREIBER / @FANNYSCHREIBER

HAIRSTYLIST: KEIKO HAMAGUCHI / @KEIKOHAMAGUCHI_OFFICIAL

MAKEUP ARTIST: JUAN-CARLOS SALAZAR / @JUANCARLOSMAKEUP

PHOTOGRAPHE : ANDREA KLARIN / WWW.ANDREAKLARIN.COM @ANDREA_KLARIN / @FASHION_VICTIM_PRODUCTIONS

ASSISTANT PHOTO: CHRISTOPHE BUSTIN WWW.CHRISTOPHEBUSTIN.COM

ALLAN DAIF @ALLANFOCUS / HELENE

STUDIO: ONE SPACE BXL / @ONE_SPACE_BXL

Leather jacket: Maison Margiela MM6 available at Stijl Store

Body: Y Project available at Stijl Store

Ring ruby with diamonds by Manalys

Shoes: Marie-Adam Leenaerdt available at Stijl Store

Jacket: Maison Margiela MM6 available at Stijl Store

Caleçon: Mariner

Short: Bellerose Earrings: Isabelle Lenfant available at Stijl Store

Jumpsuit: Atelier Margo

Shoes: Dr Martens & Rick Owens

available at Stijl Store

Top: Marie Adam-Leenaerdt available at Stijl Store Panties: Primadonna Earrings diamonds and ceramic "Zebra" by Manalys Ring ruby with diamonds by Manalys

Jacket: Maison Margiela MM6

available at Stijl Store

Caleçon: Mariner

Short: Bellerose

Shoes: Jonak

Socks: Falke

Earrings : Isabelle Lenfant available at Stijl Store

Leather jacket: Maison Margiela MM6 available at Stijl Store

Body: Y Project available at Stijl Store

Shoe : Marie-Adam Leenaerdt available at Stijl Store

Ring ruby with diamonds by Manalys

Special thanks to Brainstorming Communication

DANIEL ZILLMANN

Interview by Marcel Schlutt - Photos by Joseph Wolgang Ohlert @jwo_studio - Follow Daniel at

FROM NEUKÖLLN TO THE SPOTLIGHT: DANIEL ZILLMANN ON ACTING, VOICE, AND VISIBILITY

Join us as we dive into the life and career of celebrated German actor Daniel Zillmann—a native Berliner, who has journeyed from the heart of Neukölln to the grand stages of cinema and television. With candid insights, Zillmann shares his experiences of growing up in Berlin, making his film debut, and embracing a plethora of diverse roles that have defined his dynamic career. His voice acting finesse and his courageous stance on inclusivity and body positivity echo through his thoughtful reflections. In this exclusive interview, Daniel Zillmann lays bare his path to becoming an actor, his most cherished roles, and the importance of representation in the industry. Prepare to be inspired by his words and his remarkable journey in the world of acting.

Daniel, what first sparked your interest in acting and led you down this career path?

I was watching Ghostbusters at the end of the 80s, and I decided, “This is what I want to do when I grow up!” Busting ghosts? No, acting in movies is full of fun and fantasy. During that time, I landed my first leading role in our school theatre play, in which I played the king. I found it easy to learn my lines, and I had a very loud voice, so the teacher thought I was perfect for that part.

After bowing down to the audience and listening to the applause, I realized this was what I wanted to do for the rest of my life. I found my purpose very early. Typical for a Capricorn.

Could you share with us what your experience was like growing up as the son of nurses in Berlin-Neukölln?

My whole family is from Berlin; our roots are deep. My parents are very down-to-earth and yet very special. For me, it’s always good to come home to my parents’ house and calm down. They are proud but not my “fans,” you know?

Your film debut came with Leander Haußmann’s movie NVA; how did this initial experience shape your acting career?

I think it changed everything for me. I was so naive when I landed that role. And it was so well written. The late casting director Simone Bär taped my audition behind the director’s back because he didn’t want to invite me to the casting process. Later she showed him the tape, and he was convinced to invite me to a live audition, which was crazy. Full of improv, and I had to show my whole range of talent… Leander Haußmann was satisfied, and they offered me the role. During the shooting process, he wrote a whole new scene for me, which was a long funny, heartwarming monologue. I was so excited and didn’t want to mess up. But in the end, it was just a wonderful experience, and the scene was kind of groundbreaking for me.

In your varied career, you’ve played an array of different characters. Do you have a particular role that you’ve found most challenging or rewarding?

I loved playing the evil duke in Zwerg Nase, a classic fairy tale because that role was so rich and multifaceted. That character was a danger to everyone around, but he always seemed very delighted when it came to food and art. But the moment he got disappointed by his staff, the duke would explode like a volcano, and his actions were unpredictable.

I often get typecast as a very sympathetic yet strange person, but I love challenges. Once I had to play a very wealthy, queer drug lord who kills people if they stand in his way. He was jealous and very mean to women. When the police came to question him, he just didn’t answer but started to sing. A real psycho. So much fun!

You were hilarious as the cousin in “Die kluge Bauerntochter” and I love your work in Andere Eltern and Ich Dich Auch. How do you prepare for a comedic role compared to a more serious one?

Ha! Thanks! I think the preparation is the same. You create characters that seem vivid and rich. The process of shooting can be different, though. The timing, dynamics, and plot twists are different, but when you do comedy, you always need to remind yourself that it’s drama that you’re doing. So, acting-wise, there should be no difference.

We know that you have a passion for voice acting as well. How does your approach to voice acting differ from on-screen performances?

In the end, both processes are quite creative. There are also different versions of voice acting. Radio drama, for example, is like filming a movie but without cameras. You act with your partners, and microphones record the sound.

But when it comes to regular dubbing, you kind of need to adopt the original sound, tone, and dynamics. This can feel much more technical. I love voice acting for animes or animated feature films. You have much more freedom during the process.

Your work with Joseph Wolfgang Ohlert’s book “BIGGER” highlighted body positivity. Can you tell us more about the shoot and why you chose to be involved?

I have always been a fan of Joseph’s work, and when he asked me to be photographed for his new book, I was honoured. I was like, “Wow, he knows me!” His work is so progressive but not in a loud, blunt way. Very sensitive and always delicate. He came to my apartment on a sunny day. Just by himself.

He only brought his camera, no lights, only a reflector. We had a quick conversation and started immediately. I think you can sense the warm feeling I had during the shoot. And I must admit, it was a strange feeling I had at first when I saw the results for the very first time. On the one hand, it looks so intimate and simple, and on the other, it has huge radiance power in a way that only exists if there is a connection between the photographer and the model. So, you kind of feel there is a vulnerability most safely. That’s what makes it so interesting for me. I have the same feeling when I look at other pictures from BIGGER.

How have you seen the conversation around body positivity evolve within the movie and television industry in recent years?

I never felt like an activist, maybe more like a pioneer. Sounds so weird to say, but I never start my work with activistic ideas or political agendas. It all starts with creating something new. I was always interested in that. But I am who I am, a queer fat actor. So my visibility is important. Not only for my selfish career but also for other actors or people out there watching my work. I didn’t realize it at the beginning of my journey. All I wanted to do was act. My passion always made me strong and resilient to boundaries. And I also had a lot of fun.

With your column in Curvy magazine, you bring attention to life as a “fat actor.” What message do you aim to convey through your writing?

The look at my career got more interesting when I reflected on the past 20 years in my column My Fabulous Life as a Fat Actor, in which I write about my life on set or during costume rehearsals, etc. I never felt like a victim. But there were certain things we needed to talk about. And there still are. Progress never comes straightforward. It’s always going back and forth, back and forth, so we should never get lazy. But I also like to entertain, I try to bring joy, laughter, and absurdity to my own life. And maybe there are some people out there who think it’s inspiring or just enlightening. That column also led to the inspiration for my podcast My Fabulous Life, in which I meet people, and we talk about the fabulous life moments that changed our lives for good or gave us game-changing inspirations, empowerment, and so on. That was such an interesting, inspirational experience. People sometimes have a hard time remembering their good life moments because they are too focused on negative situations. Maybe that’s part of “my message”? Focus more on the good stuff in your life. Not in a toxic way, but be more aware of your luck and your power from time to time.

The #actout campaign marked a significant moment for inclusivity in the acting community. How has coming out influenced your personal and professional life?

I came out when I was 19. A long time ago. And my sexuality was no secret to the industry. So, #ActOut for me was more about building a strong community. I kind of underestimated that being part of something important and historical feels so empowering.

What are the changes you’ve observed in the industry since the #actout campaign, both positive and negative?

There is still so much work to do, but there is progress within the German film industry. One thing I loved about the campaign is that it directly addresses the industry for bigotry and a lack of diversity. Nowadays, you can feel the tension, a lot of people are afraid to do something wrong now; they are insecure when it comes to dealing with topics like casting queer roles, for example. But that’s part of the progress.

Don’t be afraid. We need to make mistakes to become better or more aware. And we shouldn’t lose the fun in it. But I must admit, progress is slow here in Germany, and there are always new boundaries, but compared to, I don’t know, 2014, the difference is remarkable. I’ve been around at that time.

Looking back at your career so far, is there anything you would have done differently?

Absolutely not. Everything happened for a reason.

Photography by Zander Opperman

Model is Marian Rey @reymarian signed at The Circle Models and Viviens Model Management @thecirclemodels

Jeans: G-Star Raw

Jeans: G-Star Raw Crop Top: Roxy

Pants:

Jeans: G-Star Raw

Jersey: Diesel

Briefs: Calvin Klein

Top: Diesel Shorts: Levi’s

Top: Tiger of Sweden Briefs: Zara

Top: Diesel

Jeans: G-Star Raw Crop Top: Roxy

Briefs: Calvin Klein

Liza is wearing

Dress by Haderlump

Belt by Ann Demeulemeester

Vintage gloves

Leather pants by Haderlump

Vintage shoes

Ahmed is wearing

Vest by Luis Buchwald

Arm sleeves by Ann Demeulemeester

Tank top by Haderlump

Pants by Rick Owens

Shoes by Rick Owens

Johann is wearing

Blazer by Haderlump

Leather pants by Haderlump

Vintage shoes

Creative Direction and Styling by Katharina Bollgöhn @kathi.arwen

Photography by Alma Leandra

almaleandra.vsble.me @almaleandra

Hair and Makeup by Florina Vyas @florinavyas

Models all signed with Mint Artist Management

@mintartistmanagement

Johann K @jjohannnnnnnn

Ahmed @ahmed.ys1

Liza Edward @liza.edward

Stylist Assistants Luis Buchwald @luisjbuchwald

Laetitia Pelzer @laetischaa

Garments courtesy of Haderlump @haderlump.berlin

ANALOGOUS

Left: Liza is wearing Jacket and suit pants by Haderlump

Vintage belt Vintage shoes

right: Ahmed is wearing

Vest by Luis Buchwald

Sleeves by Ann Demeulemeester Tank top by Haderlump

The editorial is titled “Analogous” and it revolves around the phenomenon of the optical unconscious. In its origin, the adjective ‘analogous’ refers to elements which can be placed in comparison, due to their natural similarities.

We as a society have adapted to the fact that there is always a chance of a lens being pointed in our direction and an image being taken with us in the background, as part of the optical unconscious of the camera. The concept of the optical unconscious parallels a target-like symbolism, wherein their use can intrude upon privacy and be seen as a modernized weapon, stripping away our control over our own image. In essence, we become the very image itself. In most cases, the individual taking the shot is not even aware of someone elses presence, focused on another aspect of the image, but the camera is always aware.

Through this editorial, we worked on showcasing the true emotions of an individual finding themselves within the optical unconscious, —with a great focus on capturing the unspoken bond formed between individuals appearing within the same frame. They share common ground, and similar emotions, and therefore can be seen as analogous.

Considering the current socio-political climate being engrossed in war, this editorial’s narrative serves as a metaphorical translation of a weapon target parallel to the aim of a camera. To translate this concept into visual elements, the editorial is set in Berlin’s brutalist post-war architecture.

Liza is wearing

Top by Haderlump Vintage corset s Johann is wearing Corset designed by Laetitia Pelzer Blazer by Haderlump

Liza is wearing

Dress by Haderlump

Leather pants by Haderlump

Vintage shoes

Johann is wearing

Leather pants by Haderlump

Vintage shoes

Ahmed is wearing

Vintage coat s

Button-down by Haderlump

Pants by Rick Owens

Shoes by Rick Owens

Johann is wearing

Blazer by Haderlump

Leather pants by Haderlump

Vintage shoes

Ahmed is wearing

Vest by Luis Buchwald

Arm sleeves by Ann Demeulemeester

Tank top by Haderlump

Pants by Rick Owens

Liza

Jacket

Vintage

Vintage shoes

Johann

Corset

Jeans

Pants

Belt

Vintage

is wearing

and suit pants by Haderlump

belt

is wearing

by Haderlump

sleeve by Haderlump

by Haderlump

by Michael Kors

shoes

Liza is wearing

Top by Haderlump

Johann is wearing Corset by Haderlump Jeans sleeve by Haderlump Pants by Haderlump Belt by Michael Kors

Ahmed is wearing Vintage coat Button-down by Haderlump Pants by Rick Owens

Liza is wearing

Top by Haderlump

Johann is wearing Corset by Haderlump Jeans sleeve by Haderlump Pants by Haderlump Belt by Michael Kors

Vintage shoes

Johann is wearing Corset by Laetitia Pelzer Blazer by Haderlump Pants by Haderlump

INTRODUCING DENIS GRIGOREV

Exploring the contrasts between a backdrop of industrial conformity and the expressive rebellion of street style, Denis Grigorev is a name that now resonates across the photographic corridors of Berlin Fashion Week (BFW). Marking his territory with a win at the coveted Street-Style Photography Contest, Denis's lens captures more than moments; it encapsulates stories woven into the fabric of the city's fashion tapestry.

Decoding the unpredictable and often fleeting world of street fashion, Grigorev's ability to parlay spontaneous elegance into award-winning snapshots has earned him the spotlight and a new venture with the Fashion Council Germany (FCG).

As he prepares to lend his eye to the upcoming BFW, we sit down with him to understand the man behind the camera and the passion that turns the cityscape into his canvas.

Join us as we traverse the insightful pathways of Denis Grigorev's world, where every capture is a testament to the beat of Berlin's vibrant heart.

Interview

Schlutt Follow Denis Grigorev @denisgrigorev Special thanks to Fashion Council Germany @fashioncouncilgermany (FCG) and Berlin Fashion Week @berlinfashionwe

by Marcel

What initially drew you to photography, and at what point did you decide to pursue it professionally?

I used to live in an industrial city the center of heavy industry and oil refining and there was not much beautiful around. This motivated me to take up photography to create and document what I like and what I think is beautiful.

Street-style photography has a spontaneous element to it. How do you prepare for the unpredictability of this genre?

I just set my camera to fast shooting mode. Thankfully we live in a period when there are fewer and fewer technical barriers to creating quality content.

Winning the Street-Style Photography Competition at Berlin Fashion Week must have been an exciting moment. Could you share your experience with the event?

I haven’t entered any competitions for a long time but I’ve recently moved to Berlin and I have to fight for my place in the sun in the world of photography. That’s why I took part in the competition at Berlin Fashion Week. Winning brought positive emotions. I hope that this is my first small step towards getting to know about me in Berlin so that I can be more active in what I love to do to give people beautiful moments.

In street-style photography, capturing the essence of the fashion moment is crucial. What is your secret to getting the perfect shot?

I guess I don’t have a secret. It’s just a general awareness, the ability to catch the right light and the desire to make people look beautiful in the pictures.

Given your diverse experience, how do you adjust your mindset and techniques when switching between different photography s ubjects like architecture and fashion?

There is a general understanding of what is best for this or that type of shooting. What angle, focus, and depth of field? Especially nowadays the boundaries between subjects in photography are blurred and you can easily experiment.

How do you ensure that your work in advertising photography remains creative and artistic while still fulfilling the commercial aspect?

As Helmut Newton said, “There is rarely any logic in advertising photography. Every such photograph is a frozen moment without beginning or end”. So you just need to catch this moment skillfully, so that as much beauty as possible is frozen in it.

Jorge Hölkeskamp & Eladio Torres @eladiotorres_official

@leonardochiocca

Can you tell us about a particularly memorable photo shoot that you’ve done and what made it stand out for you?

In the French city of Marseille, there is a building by the famous architect Le Corbusier it’s called Unité d’Habitation. I love this kind of functional architecture from the 50-60s of the 20th century and I always want to photoshoot some stories there using ambient light. This time we ended up there with my girlfriend and made a nice photo set. This house is a perfect place for different kinds of shoots.

You’ve mentioned that you photograph a wide range of subjects. Is there a particular type of assignment that you find most rewarding?

It all depends on your mood. You can spend all day shooting pears on a plate and be satisfied.

What role does post-processing play in your work?

Post-editing takes a pretty significant place. Add some volume to a photo, make a nice colour, and remove unnecessary things. I like to spend time on this process.

How has your photography style evolved over the years, and what has influenced this evolution?

Over time I gave up overly staged poses, reduced the level of retouching, and tried to add more dynamism to the frame. This was influenced by the fact that my background is expanding every year, I began to distinguish deception from truth and I want to make photos more truthful.

Being based in Berlin, a city known for its vibrant art scene, how does this environment influence your work?

Yes, Berlin is a very interesting creative city, but unfortunately, I’ve been living here for 7 months and I haven’t been able to get into this creative environment yet. I still have very few acquaintances, I don’t always fully understand the main trends in a city that is new to me, but I want to figure it all out and become a part of it.

You’ve taken a lot of photographs at various events. What do you look for when capturing the atmosphere of an event?

I just watch interesting faces and try to understand where the centre of the action is at the moment, sometimes I try to detach from the situation photos.

What advice would you give to aspiring photographers who are just starting in the industry?

I would you advise to broaden your horizons, pay attention to the colours in your photography and always be in search of your best shots.

@marvinmarioo

What do you think about the role of social media in the promotion and distribution of photography today?

Social media is very important when promoting visual art. In the era of society’s love for beautiful pictures, photographers and videographers are given good tools to make themselves known.

Having witnessed the last season of Berlin Fashion Week up close, what are your thoughts on the trends and the overall street style of the event?

It’s hard to say. The main trend of the last decades is unisexualization in clothing. I think it will continue to evolve.

@avitheaviavi

Team of @helenegalwas_official

BEYOND BINARY

Photography by Keiko Gui @keiko.work

Garments Design by Ziming Wang @zimismarchivist

Shooting Assistant by Lamu @lamu.sc

Models: Matthew Scott @matthew.scott__ and Jordan Godchaser

Model Agency @amckmodels

Makeup by Liz @piecebyliz

LA CASA DE BERNADA ALBA

This editorial reinterprets and updates the story of “La

by Federico

It acts as a metaphor for the societal conditions we encounter today. Symbolically, the father's death signifies the end of universal values like tolerance, respect, equality, and freedom of expression.

In the original play, Lorca offers a realistic depiction of society. In contrast, this version opts for a utopian portrayal, where envy and rivalry are replaced by a sense of sisterhood among the siblings. In this narrative, Adela also dies, reflecting the ongoing loss of women's lives. However, her death is not without purpose; it fuels the resolve of those who follow her.

Casa de Bernarda Alba”

García Lorca.

Creative idea Maria Sánchez García @maria.sanchez.g

Photography Alejandra Comellas Pons @alecomellas

Photography Assistant Albert Rocafort @zolthyc

Stylist Leire Crespo Manjarrés leirecrespostylist.myportfolio.com @leire.crespo

Stylist Assistants: Bibiana Sánchez Rodríguez @bibiroxan

Maria Sánchez García @maria.sanchez.g

Rita Ruiz Blancher @ritaruizblancher

Art Direction: Bibiana Sánchez Rodríguez @bibiroxan

Leire Crespo Manjarrés leirecrespostylist.myportfolio.com @leire.crespo

Maria Sánchez García @maria.sanchez.g

Rita Ruiz Blancher @ritaruizblancher

Set Designers: Bibiana Sánchez Rodríguez @bibiroxan

Maria Sánchez García @maria.sanchez.g

Set Designer Assistants

Esther Velázquez @esthervelazquez

Rubén Alonso @ruvenyavoy

Uxia Gayoso @odiariodauxia

MUAH by Clara García @claragarciastylist

Cristina López @rolop_makeup

Nerea Mansoa @nereamansoa

Nery García @nerygarcia_mua

Starring by Agustina Cuoco as Angustias @aguscuoco

Carla Concellón as Magdalena @carlaconcellon signed at Uno Models www.unomodels.com @unomodels

Laura Cordón as Martirio @lauri.ty

Karma Mish as Bernarda Alba @karmamishbcn_model

Marta Sierra as Adela @martasierra12

Minerva Piqué as Amelia @minerva_p.g

Casting by Bibiana Sánchez Rodríguez @bibiroxan

Leire Crespo Manjarrés @leire.crespo

Rita Ruiz Blancher @ritaruizblancher

Runners: Carla Pujolar @_caarla.pv

Francisco Sánchez @fsanch10

Laura Castro @lauracastrovzy

Rita Ruiz Blancher @ritaruizblancher

In Collaboration with Marc Juan Comunicación www.marcjuancomunicacion.com @marcjuancomunicacion

With the Advice of

David Urbano @david_urbano

José Tirado @josetiradoad

Special Thanks to

Francisco Sánchez @fsanch10

Julia García @julia.garcia.b

Oriol Pozo @one_gangsta

Pol Pujols @polpujols_

Xavier Navarro @xavinavarro.coach

Fashion by Najjat Harb @najjatharb

Beatriz Madureira Atelier @atelier_madureira

Giselle Matamala @gisellematamala

Daniela Millán @danielamillana

Zoe Fillaudeau @zoefillaudeau

Georgiela Studio @georgielastudio Goez @goez.official Aleksander Revas @aleksanderrevas

Photographer @claryn.chong

Stylist @freyathomastaylor

MUA @kanako_makeup

Hairstylist @soulkittten

Styling assistant @abiwood

Photography assistant @dajianahuang

Nails @leaha.nails

Boob look - @freyathomastaylor @ellendunn3

Red look - @xtcy_n @balenciaga

ALLIE X UNSMASKING

We had the pleasure of sitting down with pop innovator Allie X, fresh from launching her much-anticipated fifth studio endeavour, "Girl With No Face." Steeped in the defiant essence and pioneering soundscapes reminiscent of the early '80s, the album's tracks are a unique blend of comforting nostalgia and brand-new auditory experiences.

"Girl With No Face," takes listeners on a high-energy escapade into the most shadowy corners of Allie's imagination, all articulated with her distinctively sharp humour. The lead single, "Weird World," is paired with a visually arresting video directed by Allie X herself. The release also includes a powerful trio of tracks: "Girl With No Face," "Black Eye," and the breakout hit "Off With Her Tits," which quickly achieved iconic status in the queer community and exploded with millions of streams within just weeks of its release. Showcasing the apex of her vocal range, Allie X oscillates between fierce cries, haunting whispers, and a presence that is unforgettably beguiling

Can you tell us more about the concept behind your new album, "Girl With No Face," and how it explores your personal journey?

I didn't start out with a concept. It all began with the idea that I would try to write and produce something myself. I knew I wanted to make it on synths and drum machines, and I knew my references sonically. What I didn't know was that it would end up being my angriest and most aggressive record. I describe the Girl With No Face as a presence that emerged and guided me through the process. Undoubtedly something inside of me that was so buried she felt like an out of body presence but so familiar at the same time. She came for blood and was pretty funny too.

How did spending three years in isolation as the solitary producer, writer, and creative voice for this album impact the overall sound and themes of the project? What kept you going during this time?

Well it's pretty unhinged, and that certainly reflects my mental state. Isolation and no feedback loop except your own mind will do that to anyone. What kept me going was my willpower, stubbornness and obsession. I had to see it through.

We understand that you took inspiration from the technology and hedonism of the early 80s new wave scene for this album. Can you discuss how this influence is reflected in the songs and the overall sonic experience?

Ya. it's pretty simple. I tried to use the same gear and approach as all my favorite bands from the early 80's. I trusted putting it through my own lens would be enough to make it unique. And I think it is, despite how referential it is.

You mentioned embracing the limitations of old temperamental equipment for this album. How did these limitations contribute to the sound that you wanted to achieve?

Well outboard ear, especially old gear, is always going to be unpredictable and imperfect. A lot of personality. Plug ins/soft synths are limitless and bit too perfect for me.

Uninspiring. The gear I used had so much personality it would get my imagination going right away. Sort of felt like conversing with someone with a strong viewpoint VS a yes person. I also prefer a more tactile hands on experience.

Can you discuss the significance of the masks in your album's visual campaign? What role do they play in portraying and exploring your identity as an artist?

I've always explored identity in my work. The "X" in Allie X has always had a connotation to identity/anonymity, so it's not a new exploration for me. Masks just felt right as the visual thread.

Unnerving, like the experiencing of making this record, and maybe listening to certain parts of this record. I never saw the face of this presence I mentioned at the beginning of the interview, so it made sense to give her face multitudes of interpretations. We tried to do this with the makeup design too.

How did your collaboration with Justin Meldal-Johnsen help elevate the album's sound? Were there any specific challenges or breakthrough moments during this process?

Justin was an angel that came in at the end of the process and got me to the finish line. I'm not sure I could have done it without him. With the exception of the title track "Girl With No Face", I would say that all songs were "cracked" by the time I approached him, so I wouldn't use the word "breakthrough".

I would use the words "refine" or "perfect". We did arrangement changes, sound additions, sound replacements. He has an INCREDIBLE studio. A total dream for someone like me wanting to make a record on almost exclusively outboard equipment. He also had vast knowledge of the genre I was referencing. Far beyond my knowledge. I totally trusted him as a sounding board, and was able to "let go" and feel good about these songs/productions with his approval.

A far better and more experienced producer and sound designer than me, I was so lucky to work with him at the end of this process.

The album cover, with you clutching a cracked papier-mâché replica of your own face, seems to be a direct portrayal of your identity. Can you elaborate on the symbolism behind this image and how it reflects the album's themes?

Ya I think i've explained this above, but I'll sum it up by saying in my forever exploration of identity throughout my work, this was the most violent. I'd never felt possessed by an idea or a feeling like this. I think the cracking mask was a great representation of the violence and pain. I'm trying to breakthough to something.

In what ways do you hope listeners will connect with "Girl With No Face," and what do you want them to take away from this bold and reflective musical journey?

I hope that I will get the privilege of being truly seen and heard by some.

Are there any artists you're keeping your eye on at the moment? For collaborations, inspiration, or otherwise?

Not really. Starting to look for a co-producer for the next album.

What else can we look forward to from you this year?

Maybe tour, maybe remix, maybe other stuff….

Allie X @alliex

Interview by Nicola Phillips

INTERVIEW BY MARCEL SCHLUTT

BRANKO

In this issue, we take a moment to celebrate the visionary force behind one of the most dynamic and boundary-pushing fashion festivals of our time, FASHIONCLASH Maastricht. Co-founder Branko Popovic has not only nurtured this incredible platform from its conception but has catalyzed a cultural movement that transcends fashion. As we approach the 2024 edition, Branko reflects on the unwavering mission of FASHIONCLASH: fostering talent development and championing awareness of fashion’s societal impact. From its inception, FASHIONCLASH has been more than just a fashion week; it’s been a clash of creativity, a laboratory for experimentation, and a breeding ground for new narratives in fashion culture. With an ever-growing focus on activism, social issues, and sustainability, Branko and the team continue to harness the power of imagination to provoke thought and inspire change. Branko’s candid interview reveals the passionate partnership with Kaltblut, detailing the profound effect such companionship and mutual support can have in the industry.

As we anticipate what’s next, Branko hints at exciting themes for the upcoming festival that echo the current societal pulse: queerness, inclusivity, and a deepened conscience in fashion practice. FASHIONCLASH’s evolution mirrors the shifting currents of our times, embracing co-authorship, holistic programming, and a dedication to environmental sustainability.

Navigate with us through the crossroads of fashion, art, and activism, as Branko Popovic shares the journey, successes, and aspirations of FASHIONCLASH—a festival that is as much about fierce fashion as it is about the pressing issues of our world.

POPOVIC

Branko, what sparked the creation of FASHIONCLASH, and how do you see its mission changing as you approach the 2024 edition?

FASHIONCLASH was founded by a group of young designers with, first and foremost, an accessible platform to present work and, secondly, a stage for experimentation around fashion(culture). These goals were always driven by the passion to contribute to a better world through fashion.

We consciously chose FASHIONCLASH as the name when it was founded, because we thought at the time: 'Who needs another fashion week?' We needed a different kind of stage where the boundaries of what fashion is and can be can be stretched.

The initial vision and mission has not actually changed. FASHIONCLASH is still a development and presentation platform for fashion (culture) that contributes through crossovers to, on the one hand, the individual talent development of the new generation of fashion makers and, on the other hand, to general awareness of the role of fashion in the world.

It is true that we have taken a much more activist and proactive position because we live in a time where there are many urgent social issues in addition to the larger demand; the impact of climate change and the role of the fashion industry in this. But we do believe in the power of imagination of the art of fashion. Because we cannot contribute to positive change with dystopian messages alone.

Reflecting on our 10-year media partnership, how has this collaboration contributed to the growth and success of FASHIONCLASH?

Collaboration with KALTBLUT is one of the most special, because it goes beyond partnership. It's also about friendship and supporting each other on a human level. That's what I think is also needed in the (fashion) world.

KALTBLUT is more than a media, it is a platform for polyphony and multi-dimensional celebration of contemporary culture. KALTBLUT t gives a platform to voices and makers who push the boundaries and/or operate from the margin. We always see that there is a good crossover and co-relationship between Kaltblut and FASHIONCLASH and that has helped us enormously in exposure. But above all, Kaltblut has contributed enormously in providing a platform for the artists and designers involved in FASHIONCLASH.

Can we expect any new or evolved concepts in the upcoming FASHIONCLASH Festival given the current state of the fashion industry?

We have always experimented with our format in order to contribute to current issues.

We are currently paying attention to co-authorship and co-creation because we want to continue working from the bottom up and let the new generation of artists have their say.

For a number of years we have been working on a more balanced annual program and not around the festival as a goal.

Festival is now a means to present the results of various projects and processes. For example, we have residency programs.

At the New Fashion Narratives residency we invite designers to curate the exhibition program for the festival with us.

In 2024 we have a new residency program around Decoloniality and fashion. Creating space for thinking about decoloniality, unlearning, revaluing, restoring, etc. is more important than putting even more new products into the world.

The Clash House program, with its aim of developing performances and crossover between fashion and other art forms, remains an important focus to contribute to innovation.

With your considerable influence on the modern fashion scene, how do you perceive its current trends and future trajectories?

As far as we are concerned, there are mainly inspiring initiatives among the new generation of makers. The big brands and the powerful industry are too slow to bring about the change needed to save the world from destruction.

It is important that there are independent platforms and that value-driven initiatives receive more attention.

At the end, we are just a small player in a big world where a lot of power and money is converted. But we believe that impact on a small scale is just as valuable. That is what FASHIONCLASH will try to continue providing.

What are some aspirations for FASHIONCLASH in the next edition that you haven’t fulfilled in previous years?

The program design for this year will not be very different from last year, we have had many new activities since last year that we are very excited about. And we see that there is a lot of interest in this among the community, so we are going to further develop a number of formats.

Attention to decoloniality is a new program that we will give a real platform to for the first time this year with the residency and participation in the Global Fashion Assembly.

We are working on a possible cool new location. And we are entering into several new partnerships that will connect fashion with other art forms. In particular, we want to investigate collaboration with music, sound and language disciplines, for example.

Festival edition in November will be a beautiful and full program.

In the context of your Eastern European heritage, how do you integrate this into the dynamics of FASHIONCLASH?

I have always approached my Eastern European (Yugoslavia) background with an open mind and looked at how I can have a connecting role. Of course, I follow initiators from Eastern Europe and my own country of birth.

In general, there has always been a lot of enthusiasm for FASHIONCLASH from Eastern Europe, from both designers and organizations. That is certainly not thanks to me, but I think the accessible and openness of FASHIONCLASH makes it possible. We also consciously collaborate with organizations in the Eastern European context. For example, we have often been to Poland to attend fashion events, but we have also had good partnerships with initiatives in Czech Republic, Slovakia and ex-Yugoslav countries for many years. We have been working with Zlin Design Week for a number of years now.

In this way we meet designers and fashion practitioners personally and ensure that we show fashion here in Western Europe as pluriverse and one with diverse perspectives and world views.

FASHIONCLASH bridges fashion with cultural discourse. How do you feel the social responsibilities of fashion designers have changed recently?

The new generation of designers, the target group we mainly focus on, is extremely proactive and aware of their social responsibility. It is becoming a norm and that is inspiring. As a platform, we also take our responsibility by supporting and presenting these designers to the public. And by also taking responsibility ourselves. In recent years we have paid a lot of attention to youth participation and empowerment. We believe that the most sustainable thing we can do is invest in collaboration and education.

Given our long-standing partnership, how do you envision the role of media will evolve in fashion cultural events like FASHIONCLASH?

The role of media is changing all the time. This is a really big challenge for a small non-profit organization like FASHIONCLASH. We have now become even more dependent on our own media channels. Fashion media has become very difficult and it is really difficult to get media attention in print and even online. We see this especially in the Netherlands, we receive more media attention abroad than in the Netherlands.

We are sometimes told that our message is 'too difficult' for readers or not commercial enough because our designers are not concerned with selling products and are therefore not potential customers in the future.

There are fewer and fewer independent and critical fashion media and voices. And we need more of these!

Fortunately, there are still media such as KALTBLUT, Fucking Young, Arts Thread 1Granary who support emerging talent, but also people such as Sara Maino, Philippe Pourhashemi and Diane Pernet who, with a lot of intrinsic passion, are committed to young talent and reflect critically on developments.

As a creative force, how do you select the themes for each festival, and can you give us a hint of the theme for 2024?

In the past we have worked more with an overarching theme, but we have now let go of that. We create themes from the bottom up through what the participants themselves put on the agenda with their projects. We are more concerned with creating formats in which there is a clash between ethics and aesthetics.

There are a number of themes that we find important and that we see a lot in the community, such as gender diversity, body positivity, queerness, equality, decoloniality, social design and of course sustainability.

This year we will pay extra attention to queerness and queer narratives. We have a number of activities planned to contribute to this.

How are emerging technologies shaping the experiences you are planning for the next festival?

As mentioned before, but more than in the past, almost the entire program is co-created with the participants.

We have co-curatorship residencies, we commission new work, we set up collaborations between designers and organize many participatory workshops.

Our New Fashion Narratives Trajectory is a good example of that.

Discussing sustainability, what steps are you taking for the 2024 FASHIONCLASH Festival to promote environmental consciousness?

Almost everything we do is somehow related to environmental consciousness. For us, sustainability is not a theme but a standard, we only show designers who are also working on this and organize activities to contribute to awareness of issues that affect this.

We even made a theater performance ‘Who cares what you wear?’ is for young people and schools about fashion and sustainability. This play will be developed further also in Austria later this year. We also regularly organize workshops such as upcycling and mending, and only work with existing and discarded materials.

We work together with initiatives that are also committed to this.And we approach our entire working method holistically, looking at a sustainable and healthy interaction between program, content and organization.

In the Netherlands we are co-initiator of Culture. Fashion.nl, a value-driven fashion network. And in collaboration with State of Fashion, we are the Dutch representation at the recently established European Fashion Alliance.

As someone with a finger on the pulse of international fashion, how do you maintain cultural sensitivity and inclusivity at your events?

To maintain cultural sensitivity and inclusivity, it is especially important to remain open and curious to learn to listen without judgment.

I personally invest a lot of time to stay up to date, to visit different events, to speak to designers and, above all, to look beyond my own bubble.

At FASHIONCLASH we do not work hierarchically and always in co-creation with designers, partners, the public and the world.

Can you share how FASHIONCLASH has impacted the careers of particular designers or artists?

I don't want to take credit and the impact is always a combination of factors. FASHIONCLASH helps designers and artists in various ways. Sometimes something small can have a lot of significance for someone's practical development. That is why we always try to see what someone needs made-to-measure.

For example, sometimes we connect a designer with a theater maker and that collaboration also extends beyond FASHIONCLASH.

Sometimes we literally give someone an assignment and then FASHIONCLASH is a source of income. Or someone is picked up thanks to participation in one of the events, and then it goes from there.

Because we use very specific curation, we offer a platform to artists and designers who have an alternative working method and do not fit into a revenue model box. And so we were the first for many designers to say YES to their proposal.

An example is The Fabricant, co-founded by Amber Jae Slooten,a Premium Digital Fashion Platform leading the fashion industry towards a new sector of digital-only clothing.

Amber studied with a digital fashion collection and then had difficulty finding a platform for her project. She said we were among the first to welcome her. Another example is Studio Dennis Vanderbroeck, actually a performance student from the Theater Academy who also wanted to work in fashion. Today Dennis has an impressive portfolio.

Marlou Breuls (House of Rubber) is someone we know for many years, actually she was my first intern. We supported each other throughout on different levels. She is always so curious and eager to experiment and you can see that in her practice. Some other inspiring examples are practices such as from Das Leben am Haverkamp, Carlijn Veurink, Lotte Milder, Bobbine Berden, Esra Copur and Tom van der Borgt.

During our 10-year media partnership, how have you witnessed the perception of FASHIONCLASH change among industry professionals?

We have been in business for over 15 years now and a lot has changed. From an emerging platform, we have now established ourselves and are also more appreciated for our continuity and perseverance.

In the Netherlands we are one of the longest running constant platforms and have built up a very broad network, as well as a lot of knowledge about developments over the years. We literally see designers come and go, and every year there is a new class and new challenges.

We now have the feeling that people know where to find us and know what we do and what our signature is.

Can you explain the selection process for participants in the FASHIONCLASH Festival and what you look for in their work?

I have already said this in different words in the previous questions. Selection process is via open calls and in most cases we select ourselves. Sometimes we call in external expertise and lately, as with New Fashion Narratives, we invite the designers themselves to participate in the selection.

Since last year, we have been investigating how we can make selection processes more accessible and, above all, more inclusive.

We try to look broader than aesthetics, because who actually decides what is good and who deserves a platform?

In principle, everyone who signs up is good enough and has meaning in their own context or for someone. What we do look at is what a designer's motivation is, what values he uses and what he wants to be responsible for.

And finally, we mainly look at whether we think FASHIONCLASH will be able to provide a good platform. Can we make it happen and is there potential for a longer-term relationship?

Finally, we are paid by public money and have a social responsibility, including to use our resources sustainably.

With FASHIONCLASH being a platform for reflection, have you witnessed any concrete changes in the industry resulting from discussions or presentations at the festival?

Difficult to come up with concrete examples here. Within the scale in which we operate and our target groups, we see that our working method resonates and has a positive influence. Sometimes it is literally about how we work and interact with people. Creating safe conditions to be and express yourself is not self-evident.

We always tried to provide these conditions, and were always struck that designers and people we work with would highlight how rare that is. It is shocking, that still, there is so much to change within the system so that we have more equality and justice. We often hear that experience witFASHIONCLASH positively inspires in the way of doing and working.

Another example from artistic point of view. We have been committed to crossovers between fashion and theater in the early years. People sometimes thought what we showed was strange or not ‘fashion’, but now you see that more and more. And what is fashion and who gets to say what fashion is and should be?

Also, we have always been invested in creating participatory projects such as inclusion of seniors, refugees or young people with aim to break the normative ways in how fashion is made and presented.

The urgency of social issues such as social inequality, inclusion and decolonization, sustainability and well-being concerns the new generation of fashion makers. Due to the urgency of these issues, the intrinsic motivation of the current generation of fashion makers to contribute to a better world is greater. This ensures that they are more critical but also more open to new visions, approaches and working methods in fashion. They are open to experiment, collaboration and mutual exchange. These principles have been inherent in FC's working methods for 15 years, meaning that the profile it has built up fits seamlessly with the current generation.

As a result, FC's activities are becoming less and less of an agenda-setting and recruiting character, but are mainly focused on depth, experiment and impact. We will be investing more time in the coming years to make the impact more explicit and measurable.

Looking back over our decade of collaboration, how would you describe the impact of media in shaping the narrative and reach of FASHIONCLASH?

Media simply has a big impact. FASHIONCLASH is a very small organization, but we manage to generate a lot of reach.

We invest a lot of time in our own content and for us online is an extension of the physical stage.

We see that thanks to media we can really make an impact and showcase designers. Even though many people have not yet been to Maastricht, many people know FASHIONCLASH, or at least heard about it in some way.

Interview by Marcel Schlutt

Photos by Laura Knipsael

NEBULA

Model is Soline De Medeiros signed by CURVE Model Management @solaae___ @curvemodelmanagement

Photography by Carmelo Donato @carmelodonato

Styling by Nawid Qureischi @nawi.d

Creative Direction by Nawid Qureischi @nawi.d

Hair and MakeUp by Telma Oliveira Pereira @telma_makeupartist

Soline is wearing corset GUOVARDE

gloves & legwarmer GUOVARDE

skirt COS

rings KOSKI Bremen

heels DKNY

leather coat Vintage boots Tamaris jewelry BIMBA Y LOLA

top Vintage skirt by Marvin Thäte glasses Off-White jewelry by Nawid Qureischi

dress GUOVARDE shoes Steve Madden

jacket NAMILIA

top & shoes by Nawid Qureischi

skirt Calvin Klein

NEXT presents young design talents from Europe who are committed to shaping a sustainable future. In collaboration with EUNIC Berlin and the Museum of Decorative Arts of Berlin, NEXT creates a space in which the potential of European design to promote social change and act as a catalyst for innovation is highlighted.

Immerse yourself in the vanguard of aesthetic innovation as the iconic Peter-Behrens-Bau in Oberschöneweide becomes the pulsating heart of the BERLIN DESIGN WEEK 2024. From the 27th of April to the 5th of May in the year 2024, this is the event horizon where creators, curators, and connoisseurs converge.

Within the hallowed halls of Peter Behrens’ architectural masterpiece, encounter a meticulously curated panorama of design, spanning exhibitions that push the boundaries, to provocative dialogues and interactive workshops that forge connections and challenge perceptions. The Esperanto of design is spoken here—not just as a language of beauty, but as a dialogue on its tangible impact on the weft and weave of society.

Alexandra Klatt, the sagacious Director of BERLIN DESIGN WEEK, elucidates, “The Peter-Behrens-Bau in Oberschöneweide is the quintessential arena for a kaleidoscopic journey through design’s potential and its daring quests into the realms of the future. This structure, an enduring legacy of Peter Behrens’ revolutionary foresight in architecture and design, epitomizes the symbiotic tapestry of design and societal evolution—an ethos that BERLIN DESIGN WEEK holds in reverence as we embark on this expedition of creativity and enlightenment.”

NEXT - Young European Design, exhibition

27.4 - 28.4. & 1.5 - 5.5.; 11 am - 6 pm, 2 & 3.5. until 5 pm

Opening: 26 April, 6 pm

Museum of Decorative Arts, Matthäikirchplatz, 10785 Berlin

Project presentations by the designers: 27 April, 2 - 5 pm

Registration: from 15 April, at berlindesignweek.com/next

Museum of Decorative Arts, Matthäikirchplatz, 10785 Berlin Event link: berlindesignweek.com/next

The DESIGN POOL is the only sales format that offers designers the opportunity to present and sell their craftsmanship and products. This market is characterised by a variety of small series, special editions and fresh creations from a wide range of design areas, from interiors to jewellery and industrial design.

DESIGN POOL, design market 27.4 & 28.4; 11 am - 6 pm Peter-Behrens-Bau, Ostendstraße 1-4, 12459 Berlin berlindesignweek.com/design-pool

The interplay between design, science and research takes centre stage here. Through a series of talks, presentations, workshops and an exhibition, the festival brings together designers, researchers, engineers, innovative companies and academic institutions. The aim is to demonstrate the potential of interdisciplinary collaboration. It will highlight how research and technology open up unlimited possibilities and how design makes these innovations accessible, gives them social relevance and creates an ethical framework.

DESIGN + SCIENCE, exhibition & talk program Exhibition: 27.4. - 5.5.

Opening hours: 27.4. - 28.4. & 01.5. - 05.5. 1-20 hrs; 29.4. - 30.4.14-20 hrs

Talk programme: see website Peter-Behrens-Bau, Ostendstraße 1-4, 12459 Berlin

Event link: berlindesignweek.com/design-science

BERLIN DESIGN WEEK 2024

27 April – 5 May berlindesignweek.com

BERLIN DESIGN WEEK is an annual festival that presents and celebrates the diversity of design in Berlin and beyond. It provides a platform for designers, companies and organisations to present and discuss the latest trends and innovations in design. The main location of BERLIN DESIGN WEEK 2024 is the Peter-Behrens-Bau in Oberschöneweide. The historic building is part of the BE-U Behrens-Ufer, which will be transformed into a globally unique sustainable commercial quarter in the coming years.

Mobility partner Polestar As a mobility partner of BERLIN DESIGN WEEK 2024, the e-car manufacturer Polestar will connect two locations in Berlin-Mitte with the main location of BERLIN DESIGN WEEK 2024, the Peter Behrens Building, and offer visitors both a shuttle service and the option of driving themselves.

Carla Martini + Valeria Schwindt Canvas of Consciousness

Prasklo Klara Vaculikova

RUE CAMELS

Mask by Zana Bayne

Top by Transe Paris Pants by Transe Paris

Top by Transe Paris Pants by Transe Paris

Mask by Zana Bayne

Jewelry by Tumulu

Pants by Transe Paris

Cap by Innangelo

Jacket by Denzil Patrick

In the ever-evolving tapestry of fashion, where bold creativity intertwines with nostalgic tributes, Antía Vieiro emerges as our One To Watch designer. Her latest oeuvre, the ‘Florita’ collection, is a time capsule that transports us to the 1960s— a decade known for its distinct fashion statements and cultural shifts. Antía’s collection is a heartfelt homage to her grandmother’s era, the craftsmanship she witnessed in a quaint haberdashery, and the intimate connection between apparel and the comforts of home. Masterfully blending past and present, Antía’s designs celebrate vintage aesthetics with a contemporary flair, earning her well-deserved attention in the competitive world of fashion. Join us as we introduce the skilled hands and visionary mind behind ‘Florita’, and delve into the nuances of Antía Vieiro’s artful collection, which pays meticulous tribute to the generation that sewed before her.

Antía, can you tell us more about your heritage and how it influenced the Florita collection?

My family owned a haberdashery where my grandmother worked alongside her sisters and aunt in the late ’50s and early ’60s.

“Confecciones Laurita” was the original name of the shop, located in Santiago de Compostela. The name that the company carried was that of my great aunt, the founder of the family business in the post-war era of the 1950s. Alongside selling haberdashery items, they also sold household linens such as nightdresses, slippers, and baby clothes, which they crafted themselves. This world that I’ve described sparked the inspiration for the concept and design of the garments in the collection.

FLORITA

In what ways do you believe your Fine Arts background has contributed to your approach to fashion design?

An awareness of the creative process is crucial in any project, and my training in Fine Arts, which preceded my Master’s in fashion, has made me increasingly conscious of this. With a broad spectrum of visual artistic references, a keen grasp of the colour palette, and proficiency in drawing for print design, these are skills that were enhanced during my Master’s degree but were already partially developed during my Bachelor’s degree.

The ’60s is a distinct era with vibrant fashion statements. What drew you to this period specifically for your collection?

I intended to correlate the relaxed, pyjama-like aesthetic of the ’60s with elements from the home reminiscent of that time, such as the floral prints of bedspreads, crochet curtains, the cretonne of upholstery and haberdashery details like trimming.

The baby doll style also came into prominence during this time, featuring matching pyjama tops. Furthermore, the palette of pastel shades that were used in bathroom fixtures of that era plays a significant role in this project.

You’ve incorporated a “Coquette style” and references such as Sofia Coppola in your designs. How do these influences materialize in your collection?

The American filmmaker Sofia Coppola has greatly influenced this collection with her retrospective of vintage aesthetics and romantic, flirtatious settings in two of her films, “The Virgin Suicides” (2000) and “Marie Antoinette” (2006).

She has delved into various facets of femininity, exploring the transition from girlhood to womanhood and the thrill and trauma of these changes. Coppola has elegantly challenged the predominantly male world of cinema with a type of dreamy intimacy; her films are sophisticated and romantic.

“The Virgin Suicides” offers a poignant fable about the destiny of a group of sisters, with much of the action set within their home. Here, the romantic nightgowns align with the psychological exploration in poignant settings. Meanwhile, “Marie Antoinette” aesthetically transposes an 18th-century tale to contemporary relevance. With a fancy dress, a grand palace, opulent carriages, and a dominant pastel colour scheme in costume and décor reflecting leisurely moments, the film seems contemporary, reminiscent of perfume commercials and coquettish artworks, an influence echoed in Jacquemus’s Chou Chou collection from autumn 2023.

What is the significance of the name ‘Florita’ for this collection?

Florita is the name of my grandmother, who is the central figure and principal inspiration for the aesthetic and concept of this project.

Sustainability is a hot topic in fashion right now. How do you address this in your design process?

After sifting through my grandmother’s trunk of memories, collecting quilts, crocheted curtains, sheets, towels, and other decorative items, I repurpose them to create many of the outer garments such as “las mañanitas,” a type of bed jacket that I’ve redesigned to be oversized for this project.

Could you elaborate on the importance of pattern-making and tailoring techniques from our grandmothers’ time in your current work?

Today, society often prefers inexpensive, mass-produced items regardless of fit or fabric quality—people pay less attention to whether the materials are polyester or 100% cotton or how much time and effort a tailor spends on custom-fitted clothing. This was not the case in our grandmothers’ time, as most women in the ’60s would sew, adding many details by hand.

My project aims to celebrate these vintage values in the design process and tailoring, as many details such as the flower appliqués and lace are hand-sewn, just as my grandmother did in the ’60s.

You mention that your collection revives elements such as floral wallpaper prints and pastel bathroom colours. How did you modernize these elements to appeal to today’s fashion enthusiasts?

To modernize these classic designs, I’ve printed denim with floral patterns taken from my grandmother’s quilts to give them a cretonne appearance. Although the collection’s colour palette is derived from vintage bathrooms, these hues are currently quite attractive and playful. This project aspires to revalue haberdashery and the bidet—two elements undervalued in contemporary society—by merging the past with home intimacy and the ornate, floral aesthetic with the popular dolls of today.

What challenges have you faced as a new designer in incorporating vintage aesthetics into modern-day fashion?

The coquette style is currently in the spotlight, and it is fundamentally a vintage romantic aesthetic. I believe in the cyclical nature of fashion, where all past styles serve as a reference for the present. This world has enough space for every style, which inevitably returns in time.

The Barriguitas dolls are a key inspiration for your silhouettes. Can you discuss the significance of these dolls and how they are represented in your collection?

The Barriguitas dolls have been cherished in my family since their market debut, handed down from mothers to daughters and granddaughters. As affordable, pocket-sized collectables available even at newsstands, they were accompanied by crochet garments made by relatives, notably Florita. It’s no coincidence that the doll’s attire, reminiscent of pyjamas, undergarments, or other elements of this collection, as well as their pastel tones, greatly inspired the collection’s round silhouettes and embroidery.

As a recent graduate, how do you navigate the competitive fashion industry and make your mark as a new designer?

Currently, I am furthering my education in pattern-making and dressmaking. I have several plans for runway shows and desire to continue drawing, as I did during my Fine Arts studies. Digital drawing is a skill I aim to master since it’s a medium where I lack manual dexterity. With immense ambition, I want to keep developing projects to enter competitions and build recognition, but I’m progressing step by step until I feel prepared to launch my brand..

Finally, what can we expect next from you? Are there new themes or eras you are particularly interested in exploring in your future collections?

Looking ahead, I aim to establish a vintage pyjama brand, reviving the patterns and prints from bygone days and perhaps revisiting the floral papers of the Victoria & Albert Museum or Liberty catalogue. Underwear and the concept of intimacy have long fascinated me, and this project has allowed me to explore these interests in a way that connects to my roots.

Interview by Marcel Schlutt

Creative direction & Fashion by Antía Vieiro @antiavieiro

Photography & Edition by Sara Gil @saragilmz

Cast by @antiavieiro

Models: Laura Balagones @laubalaa

Yolanda Rodriguez @yoliriri

Hector Velasco @hectorvelascof

Shara Pérez @shaperez122 & Ricardo Rodriguez @rikiii_rd

We delve into the dynamic world of London's own Bklava, producer, DJ, and vocalist behind the much-anticipated mixtape "c u l8r" launching under their new label Spin Suga. Known for electrifying the dance music scene with anthems since their 2019 breakout, Bklava has been heralded for their multifaceted talent and resilience through the pandemic, staying connected with fans through various high-profile sets and radio shows. Now branching out with Spin Suga, originally a network for underrepresented talent in the dance music industry, Bklava is pioneering as an indie label front-runner, ready to drop a mixtape that echoes the underground club culture that's defined their journey. The "c u l8r" project boldly shifts focus from their vocal prowess to a darker, club-ready sound, reflecting Bklava's evolution as a producer influenced by early encounters with the UK garage scene and formative radio inspirations.

Through collaborations and solo tracks on the mixtape, Bklava channels an energetic fusion of beats and emotions, distancing from the nuanced songwriting of their past. It's a culmination of their musical theatre studies, familial influences, and relentless exploration of genres, crystallising in a mixtape that Bklava describes as their most authentic work yet — a blend of passion, purpose, and the sheer joy of club music.

Can you tell us about the inspiration behind your mixtape "c u l8r" and how the themes of club culture and various music genres influenced its creation?

When I’ve approached my music in the past, I’ve written the music coming from a singer first and foremost. The music I initially released was always a nod to club sounds I've been inspired by, but took a more emotive and storytelling route as this was always something I wanted to do with my music. It’s worth noting that when I first released music, we were deep into lockdown and the pandemic was making everybody emotional and therefore my music was too. Not having that space to DJ and play music and be inspired by the hustle and bustle was challenging- as it was for most! When I was able to get out post lockdown and start DJing frequently, I understood more than ever that not all my music transpired in the sets I was playing. The difference between what I played in my sets to the music I released was a bit of a jump and I wanted the two to link. It’s taken some time to get that balance right but I essentially wanted it to make a little bit more sense so that’s where the birth of this mixtape came from! It’s hard to get the right blend of underground influenced tones when your vocal inspirations differ. A vocal can easily change the feel of a track and sometimes, it makes it lighter without intention. It’s a process that I feel I'm more well versed in now.

Could you share with us the significance of the evolution of Spin Suga from a network for female, non-binary, and gender nonconforming DJs to an indie label, and how it has impacted your career and music?

It’s always been an initiative close to heart that has come from my own journey as a DJ and feeling like I didn't have a core network of women in Brighton where I was residing at the time. I was studying music and I wanted to write my dissertation on the gender imbalance within the electronic industry- Spin Suga was a project I started to coincide with but it took on a world of its own. At the core, it was a radio show on Platform B, a grassroots station in Brighton; I had then participated in workshops and panel talks with friends and Spin Suga supporters over the first few years.

I had many big plans but over time I didn't have the resources to keep the momentum going - especially whilst trying to grow as Bklava and trying to put all my funds and setting up a project is super hard to do without the funding or the right people on board! However, I knew to grow Spin Suga, it would help with the growth of my individual projects. It was always a huge goal of mine to set up a record label but putting the Spin Suga initiative into the label was just the cherry on top!!! It’s the best step I’ve taken in my independent journey alongside my Spin Suga aspirations. Whilst the label has just begun and set up for my next run of releases, I intend to bring in other artists to their label and kickstart their campaigns. There’s 100 things I want to do with Spin Suga but creating a community takes priority! If you’re interested in being on board - reach out.

In your latest project, you mentioned collaborating with underground artists like bullet tooth, Big Ang, and MJ Cole. How did these collaborations come about, and what did each collaborator bring to the mixtape?

I’m honoured that such esteemed artists want to work with me! It’s truly a joy and honestly some of these were like a masterclass. It’s taken me a while to get others to really understand my vision but with this mixtape, it came together so nicely. It was patience, trust and a shared love and vision with each collab. I’ve never felt so blessed to work with people who just fucking get it! The priority in all these sessions was about the feeling and the purpose of the song: what does this song mean, what are we going for, what inspirations do we want to draw on. These things sound simple but are not prevalent in every session, let alone the core focus. I honestly felt the same level of care amongst each collaboration.

Your mixtape emphasises the darker, speedier DJ tools you've utilised since the beginning of your career. How do you balance showcasing your powerful vocals with the production elements in your music?

It’s not been easy! As a singer in the dance/electronic sector, there’s always a stigma that singing can take the underground credibility away once vocals are brought into the mix- especially amongst the “headsier” listeners or fellow peers. However, I think this was a bigger problem way back when. The general tastes and inspos of listeners today feel more open and varied now than ever before, with more artists bringing forward a blend of genres rather than a straightforward sound. This is essentially the purpose of my mixtape - to showcase the sonics and prove that my music can transpire into club spaces

and I think the new music relates more to that than any of my previous tracks. I’ve navigated the impact that various features have had on my career (a classic dance singers tale i think) and how it’s almost set me back. HOWEVER, it’s never final… and the impact I hope for this mixtape, will be a reset and hopefully a deeper understanding to my listeners of what my sound really is.

You’ve mentioned your upbringing in a household filled with classic rock and a mix of Irish and Lebanese backgrounds. How have these diverse musical influences shaped your artistic identity and sound?

I don’t think any of my influences are directly heard in my music. I’m inspired by so much so I think there’s little pockets from each corner of the musical entities I've drawn from over the years. Although saying that, I intend to do a project focusing on the music from my heritage and getting more percussive! It’s something I've said before that is still an ongoing conversation!

As a multifaceted artist with a background in singing, songwriting, and DJing, how do you navigate between these different creative roles when working on new projects like "c u l8r"?

This last year I've had time to write and studio time has taken the reins and all my focus - it has been tunnel vision onto this project really! This mixtape draws on all my creative outlets with singing and songwriting - along with taking musical inspos from my DJ playlists so yeah it’s definitely not left anything out!

The mixtape celebrates the energy and essence of club culture. How do you hope listeners will connect with your music on a personal level and experience the same sense of euphoria and emotional connection you draw from club settings?

I want new people to find out about me through this project and kinda neglect my previous work hahah and i want my DJ friends to play it :D. If you’ve ever had a strong connection to dance music or can relate to the rush of euphoria and the essence of community within club spaces, then this mixtape is for you. I want it to transport everyone to a place of sanctity. It’s not the kinda music to listen to before ya go to sleep though, it’s first thing in the morning and late at night before or during the shubs hahahah.

With the release of "c u l8r," your move back from Brighton to London, and your journey as an independent artist, how has this period of transition and artistic growth shaped your perception of success and fulfilment in your career?

I think most people assumed I was still in London because I was basically commuting there 5 times a week before anyways haha but being back in London feels like home to me. I love the new little pockets I've been finding since being back here and also surrounding myself in the greener parts of London has been a bit of a blessing too. I’m always inspired in London, it’s hard not to be when so many wonderful people reside here from all walks of life. When it comes to my independent journey, it all stems from taking matters into my own hands and having more control in my narrative. It’s not something I've always been able to emulate but I do believe these are the steps to come into my own.

Interview by Nicola Phillips

Gray Brame @graybrame

THREADING

by Corta Cabeza Creative Team

www.cortacabeza.com @corta_cabeza Corta Cabeza Creative Team members: Luciano Cañete @peluqueroyconfesor

Danni Zúñiga @dannizu Yolanda Campos @yolbecool

Laura Salvador @_lulu_cest_moi_

Make Up by Adrián Calle @call_adrii with Nars @narsissist

Assistants Eneko & Josu

Photography by Felipe Huertas @felipe_huertas_

Video by Víctor Vega @vicvandekamp Products: Schwarzkopf (color) @schwarzkopfpro.spain & @schwarzkopfpro & Authentic Beauty Concept (styling) @authenticbeautyconcept.spain products

Models: Santi Amen @santi.amen Cirenia @_cirenia

"THREADING symbolizes a virtual wiring that not only unites people, but nourishes the human being. It is undeniable that our differences make us unique and irreplaceable beings. Some prefer to go unnoticed, shaping themselves within anonymity to stand out from the rest. Many others do it with an uncovered face, gifting the world with their most original version. But no matter how exclusive we may be, from the moment we are born, we spend our lives seeking special connections with other mortals, thus threading the threads that form our essence, weaving a mesh that interlaces those interconnections, extending them to infinity. This is THREADING, our new collection, a virtual wiring that not only connects people but also nourishes the human being each time, intentionally or unintentionally, they come into contact with those common points of others."

... and even if we have little or almost nothing in common with others, we will always be eager to discover those small connections that make us feel we are not alone.

THERE’S NO RAINBOW WITHOUT YELLOW AND BLUE

Veselka, a transformative queer collective and event series founded by Stas Tweeman and Denis Pinchuk in December 2018, spearheaded Kyiv'scultural revival. Now, with a significant portion of the team living abroad dueto Russia's full-scale invasion, they're planning events all over the world – from New York City to Berlin. More than a party, it's a movement fostering inclusivity and freedom. "I wanted it to be a party for everyone," Stas told me the day after Veselka’s Hör showcase in mid-February. On a pleasant spring day at a charming café in Prenzlauer Berg, I met Stas, aka Tweeman, Veselka resident Ruslan Mays, and Vadim to chat about Veselka and its history.

When Stas and Denis planned the first event, he remembers friends being sceptical, telling him he has a good standing in the scene; this might ruin his career. He didn’t listen. "When your heart is convinced, it needs to be done," he said. They put on the event, and it was a success. The first event attracted around 200 people –the second around 700.

Since the full-scale invasion, the collective has been scattered around Europe and the rest of theworld. Some stayed in Ukraine, others left. Supporting their country has become one of the main aspects of their events nowadays. Besides dancing, punters are also encouraged to donate money to the armed forces and humanitarian aid. Collecting money for weapons such as drones or cars for the frontline has become a grim reality for many Ukrainians. Just like the rest of us, they’d love to invest their money in other things, but due to Russia’s aggression, they’re forced to put everything into their own defence.

There are hardly any Ukrainians who don’t know someone fighting in the army. For Stas, collecting donations for his friends at Veselka events has become somewhat of a mission. Unlike sending money to big organisations, he knows where the money is going, Stas told me.

GET TO KNOW: VESELKA

“We’re not collecting money to kill people; we’re collecting money to support our friends at the frontline who are protecting and fighting for us,” he explained. Besides donations, collaboration plays a vital role for Veselka.

Their upcoming Berlin showcase at RSO on 17 May is a collaboration between the collective Dissident. “Collaborations like this are a good way of communicating with other communities and creating something new,” said Stas. Veselka and Dissident invite to embark on a journey “where shadows dance and laces shimmer with perspiration—an introduction to a dystopian adventure”. Half – if not more – of the community has left, he added. Inevitably, this means the scene in Kyiv has changed, but it’s also opened doors for newcomers and new collectives, said Stas. “It’s not getting worse, it’s just changing.”

Since the full-scale invasion, partying has a new meaning. People go to clubs to forget about reality for a couple of hours; servicemen go dancing on their days off to clear their minds. “I remember in the first month of the war, I couldn’t listen to music at all,” said Stas, “I moved to western Ukraine, and we organised our first charity event there. A lot of people came; everybody was smiling, thinking about different things and not about the war. For me, it was something different; when I start playing, these two hours disappeared.”

Veselka – which translates to “rainbow” – filled a void for liberated expression, galvanising Kyiv's queer community and redefining the city's club culture.

Follow @veslka_kyiv to keep up with upcoming showcases. Tickets for the event at RSO on 17 May can be purchased here.

Text by Johanna Urbančik

SVEA:

I'm Svea, a trained tailor and pattern director with a degree in womenswear fashion design from CSM in London. During my studies, I realized that dressing similar body types was getting monotonous. So, I began creating different characters, starting small with clay models and then scaling up. My largest sculpture to date measures 3 meters in length and width. I then dressed these characters, resulting in clothing that can be worn by people. With the fundamental idea of inclusion and freedom, I'm currently establishing my own label.

Alexis:

I'm Alexis. I am also trained as a tailor and later studied fashion design in Berlin. Afterwards, I freelanced as a costume designer and made bespoke garments. However, I realized that the traditional fashion industry and my label weren't aligning well. So, I'm currently pursuing my Master's in Critical Fashion Practice to question my role in the fashion and textile industries and explore how I want to position myself and continue working with textiles in the future.

Alexis: Hello, I have started the recording.

Svea: Hello Alexis, I am thrilled.

Alexis: Let’s jump right in. How did we meet, Svea?

Svea: We’ve known each other indirectly since our tailoring training, so for about ten years? We met in Hamburg, or ...

Alexis: We’ve actually never met.

Svea: No, we just knew of each other.

Alexis: I actually didn’t know about you until we won FashionXCraft in 2022. Then, when I did some stalking, I realized we had mutual friends.

Svea: Yes, that's right.

Alexis: And then we were at FashionXCraft.

Svea: By The Fashion Council Germany. And the Kings Foundation. And the Swarovski Foundation.

Alexis: A quick name drop. Exactly. So, our shared background is tailoring and sewing. I think this project was a significant bonding moment for us in terms of how we view our craft within the fashion industry and how we position ourselves in it. I believe I have a pretty similar approach to you in reimagining the body.

I feel the absence of physicality in the fashion industry; it's very detached and alienated from actual bodily experiences. So, the question arises, how can we, with our craftsmanship, find a way to reconnect with the human and physical aspects? You have this approach of completely removing yourself from the human aspect.

Svea: Yes, I think through this approach, new and interesting things emerge. Because it allows me to break free from typical beauty ideals and standardized bodies. It gives me the freedom to think about clothing in a completely different way. Of course, I still apply what I've learned, but the intention is different. For example, gender plays no role anymore. Because the sculptures exist outside of societal boundaries, and so does the resulting clothing.

When a person wears this clothing, the potential for self-expression is entirely different. It's much more open and allows for much more.

The relationship with the sculptures is also somehow surreal: I'm not just creating an external form; they are complete characters. Often, they start as a part of myself and then develop completely differently. You get to know yourself and the sculpture continuously in new ways. They develop their own lives, and through clothing, they become even more personalized.

Alexis: That's true; I think personifying bodies is an essential part of fashion, giving subjectivity to the body in our clothing and causing wearers to react differently to their environment. As designers, we in a way have a responsibility in this interpersonal aspect. The care in making clothing for specific bodies is often overlooked in the fashion industry.

Svea: Absolutely, I agree. Also, I often feel there's a lack of opportunity for self-expression; clothing is often not customizable. The design identity of some labels is so dominant; you don't want to look like an advertisement for any label. We should give wearers the opportunity to express themselves through their clothing.

Alexis: But at the same time, our signature as designers is extremely important. Unfortunately, it contradicts the individualism of our target audience. I am very responsive to the needs of my customers. While the signature remains, collaborative processes with customers may sometimes lead to a sense of detachment. What about you? Do you feel it's more important for your signature to remain, or is it more important that the customers can express themselves in your garments?

Svea: I believe it's important to have your own signature to stand out and appeal to people. I don't think the signature is lost when wearers personalize clothing. I might see it more as a form of 'open source,' allowing room for individuals to contribute without being a designer's mannequin. I think something much better could emerge when wearers have the opportunity to contribute.

This also includes direct communication between wearers and designers. Sometimes I feel like fashion labels are so far removed from humanity that feedback isn't even possible. Yet, I believe learning from each other and exchanging ideas is crucial to the design process. Relying solely on sales figures for feedback isn't sufficient.

That's an important point I want to implement in my label. There must be room for mistakes to evolve and grow in our work. We deprive ourselves of the opportunity for development if we're not open to feedback.

If that makes sense.

Alexis: Yes, I believe it does. It also relates to care. There's a profound intimacy involved in making clothing, not just with what we create but also with the wearers of our clothing. When working with performers, observing how they move, what are their needs in their clothing or costumes, what are the things that wear out quickly? How can I improve that? How can I tailor clothing to fit those needs? This aspect is completely absent in large fashion labels. And as you said, there often isn't even room for feedback.

Svea: Yes, especially constructive feedback. Starting a social media shitstorm is quickly done, but does that help?

I mean to engage in a conversation where discussions are usually incredibly important. Unfortunately, that’s often not possible. I find that very unfortunate.

Alexis: Agreed. Design processes are often invisible to consumers, and validation requires reflection and direct interaction with customers. Customers are the ones who wear the garments. They know how the clothing feels on their bodies. It's highly subjective, which is why retaining the craft of tailoring in a fashion label is important.

There will always be customers who want to adjust things to enhance their experience with clothing even more. With our background, we can actually work as catalysts. However, this approach isn't feasible in a fashion label, making it challenging to find a place in the fashion industry. I love clothing. I love making clothing. But finding my voice amidst the noise of 'how you should run your label' is extremely difficult. Where or how would you position yourself?

Svea: Wait, I have another question: Your transition from tailoring and fashion design, both fields deeply rooted in the technical, hands-on production of clothing meant for the protection of the body, to a field of study that explores a completely different perspective. How did that happen?

Alexis: How did it happen? I think it’s again a matter of positioning. The way people act in the fashion industry is so contrary to my upbringing on a farm. I had this need to let these values from my childhood flow into my work and fashion. I find it so important, that these bodily, intimate, and caring values, and how we deal with society, must also flow into our work as fashion designers. Especially because we influence the subjectivity of people through our designs. This indirect process wasn't clear to me before, and I followed my intuition. However, I also faced many disappointments along the way.

The Master's in Critical Fashion Practice at ArtEZ feels like a continuation of these thoughts and positioning. It's extremely helpful in finding my place and raises many questions. How can we play with the discrepancies in our lives? How can I somehow liquefy the structures and find new ways to navigate through this barrier? How can we reach out to each other and arrive at a point that is socially more valuable than something as alienating as the fashion industry? Here, one of the approaches is again the other extreme, to create it more humanly by alienating oneself, as you do, and imagine a new world. To invite people and realize, wait, I can participate here, my voice is heard, and I feel seen. And I think such approaches are totally important.

Svea: Thank you, I’m glad that you feel that way. It might be my way of rebelling against societal norms and boundaries and the desire for authenticity and respect—not just for individuals but for our whole environment.

You’re not a better person just because you happen to meet the beauty standard.

Another thought that was particularly new to me, came to me during the design process for the sculptures’ clothing: How do I dress a character?

To consider how someone feels and what this character needs to feel comfortable. So, looking at clothing as a form of support and expression for each person’s inner world. This made me realize once again how fashion shapes not only the outer appearance but also reflects and supports personality, moods, and needs. Somehow I feel that through the sculptures I’m much closer to people.

But as you already mentioned, not only the output of the fashion industry shows the alienation from people, but also the way the entire fashion industry operates.

Unfortunately, I have had so many negative experiences concerning mutual respect. Around the end of the 2nd year during my studies, I wasn’t sure if I really wanted to work under ego power struggles for the rest of my life.

I think we both have had similar experiences because we have seen the world of fashion from different perspectives. The development of the relationship and hierarchy between fashion designers and craftsmen to this day still surprises me. The complete devaluation of craftsmen. This led me to seek the connection between fashion and art. Because I needed to show a different kind of interaction, like a small alternative society. Within this society is a certain safety to experiment. I like that.

Alexis: So, we're back to my favourite critique, capitalism. Yay! But honestly, I don't even feel like talking about it anymore because I just think, burn this shit down. However, I do believe that people who have the skills to implement things and inspire others to envision the world differently pose a threat to the concept of capitalism. Yet, once the detachment from clothing to craftsmanship is achieved, there's also a lack of understanding of how the clothing we produce influences society and individuals.

Svea: Another question, because you keep emphasizing humanity: How do you see artificial intelligence in the fashion sector?

Alexis: Oh, there are many views on that. For my position, we first have to delve briefly into the concept of “Failure of Language.” An AI is first and foremost trained through explicit knowledge, so everything that we can communicate in words or codes. A large part of my current research lies on the idea of “Tacit Knowledge,” that is, implicit knowledge, bodily knowledge that is extremely difficult to articulate and communicate verbally. So, when training an AI, there is a bias that does not reflect a large part of society, often workers, because these bodily processes fall outside of these grids.

An AI can reproduce and copy our work. But giving it soul and the intentions that go into the process of creating will be missing.

When you think about how long you work on embroidery and how many thoughts go through your head, that all suddenly becomes part of this piece of clothing. This is something that can never be imparted by a computer into the garment.

Here I also see the point where we import the consequences of exploitation through the industrial fashion system into our lives, which is supported by the alienation from bodily processes in fashion. The stories that we incorporate into our clothing through manufacturing are erased, and the dark sides of production become invisible. But the whole thing is also a pretty deep topic that can be quite draining to think through. Therefore, we must be aware of how we want to deal with the medium of fashion and our environment.

Svea: Yes, absolutely, I think you're totally right. Especially with the point that our stories embedded in clothing are lost due to exploitation and alienation in the fashion industry.

This is exacerbated by fast fashion.

On the other hand, it also highlights how much this depends on financial background. A large number of people resort to fast fashion because they want to express themselves and be part of the 'fashionable' society but cannot afford the more expensive and sometimes sustainable brands. In that case, buying second-hand clothing is the closest solution.

Again, I found it interesting to see the perspective of 'The Nest Collective' when we were both at Documenta 15: The effects on people who exclusively wear second-hand clothing and how flooding with Western second-hand clothing leads to the loss of identities and local cultures.

That again aligns with what you said about detachment and the stories embedded in clothing: that clothing isn't just a piece of fabric but also carries the history and culture of the previous owner and can transfer that to the new wearer. Wearing something that belonged to someone else brings a special connection.

Alexis: es, what was their question? What does it do to your own sense of culture when you wear the culture of other people? There's this fitting link to buy something new because you want to charge it with your own identity. Somewhere, we're still forced to participate in the structures as they are. But how can we become little glitches while we participate? How can we not completely adapt? And sometimes, it feels like me against the rest of the world. But I think it's important not to be discouraged.

To express ourselves, articulate our thoughts and criticisms, and possibly transmit it visually, in the way you work, in the way I work, and thereby find like-minded people. We need to communicate our worldview, how we envision it, and how we deal with fashion, to reach a point where we can inspire people and maybe make a difference. Mere criticism, without action, doesn't lead us closer to a goal that brings us together. Criticism must be followed by solutions, and we need to work on those together.

Svea: Grandial, you should write a book!

Follow @alexis.mermaid

All photos from Alexis and his work by @barbie.who

and @house_of_sveason

@lenasiebels_photography

Model:

@louisamodels

Camera assistant: Matthias Peper

@Matthias.peper

H&M: Sanja Philipp @sanjap

Styling assistance: Jessica Meyer @jessicapiep

Photos by Lena Siebels

Anna Chan @anna_chanchan

WHITE HEAT

Assistant

Photography by Amanda M. Jansson @amanda_mjnssn Styling by Kim Jihye @kim.jihyekim

Hair and make up by Seo Hana @kittenhan.a

Daehyun Kim @tearsstainhard Modeling by Elina @e.l.i.n.a.213

A MAGICAL OASIS UNVEILED: VASSILIKI KOUKOU’S ‘WHERE FLOWERS ARE SINGING'

Zoumboulakis Gallery is delighted to announce the solo exhibition “Where Flowers are Singing” by Vassiliki Koukou, opening on Thursday, April 25, 2024, with visiting hours from 18.00 to 21.00. The exhibition, curated by Angeliki Baras, will run from April 25 to May 25, 2024, showcasing Koukou’s enchanting blend of paintings and textile sculptures. In this captivating display, visitors are invited to step into a world where flora is not merely depicted but seems to resonate with song. The gallery space itself transforms into a vibrant, poetic sanctuary filled with imagery drawn from the fantastical realms of illusion and mythology.

Koukou’s work is a heartfelt exploration of colour and form, bridging childlike wonder with complex narratives. Her ecofeminist perspective breathes life into a world where cooperation surpasses individual success, and existence is portrayed as an everlasting cycle symbolized through nature.

Included are not only Koukou’s hybrid paintings but also an array of real plants interacting with her surreal fabric creations. This interplay crafts an immersive environment where reality and imagination converge.

Vasiliki Koukou (b. 1996) graduated from the Athens School of Fine Arts (BA & Integrated Master, Painting). In 2019 she was awarded the Rosa's Luxemburg Foundation Award in Greece and Berlin and in 2020 she won the second prize "Gre-Taste: The taste of Greece" from the Vassilis and Marina Theocharakis Foundation for the Visual Arts and Music. In 2017 she was a performer for Documenta 14 and in 2020 she curated and performed "A Metamorphosis performance?" for the project Performance Rooms Kappatos, St. George Lycabettus Hotel. Her works have been shown in museums and institutions such as the Michael Cacoyannis Foundation, the War Museum, the Byzantine Museum and others. She has participated in numerous group exhibitions such as, "Resilient by Nature", Zoumboulakis Gallery (2023), "Open-Ended", Zoumboulakis Gallery (2022), "Inertia II", Bageion Hotel (2022), "Volcan of Santorini Project", Zoumboulakis Gallery (2021), "Learn To Swim", Zoumboulakis Gallery (2021), "Art on Boards | The Skate Project", Zoumboulakis Gallery (2021), "The Empty Gallery", Shrine Gallery, New York (2021), "Counting Approximately 1,5M", a.antonopoulou.art gallery (2020), Maximos Mansion (2019-2020), "Rooms Contemporary Art Exhibition", Kappatos Gallery (2019), "Rosa's New Clothes", Ikastikos Kiklos D.L. (2019) and others. In her work she uses abstraction and surreal representation to invoke a sense of the mythical and magical. She lives and works in Athens, Greece.

Exhibition Details:

Dates: April 25 – May 25, 2024

Opening Reception: April 25, 2024 | 18.00 – 21.00

Visiting Hours: Tue., Thu. & Fri. 11.00 – 20.00

Wed., Sat. 11.00 -15.00 | Closed on Sundays & Mondays

Find out more at www.zoumboulakis.gr and @zoumboulakis_contemporary

Follow Vasiliki Koukou www.vassilikikoukou.com and @vassilikik

SISSY MISFIT: The ForceBone-Shaking Behind

We caught up with Istanbul-born, London-based musician SISSY MISFIT as she teases the release her debut album EXXXOSKELETON with the new single and video for “PUSH THE NEEDLE”. Known for her electrifying industrial dance and screamo-pop sets, SISSY is also the mastermind behind the 'CEHENNEM' events spotlighting trans+ producers and artists. With a unique blend of electronic, industrial, hardcore, and pop music, she draws inspiration from a diverse range of artists, crafting a captivating sound and live performances that have gained recognition across the EU and UK. Collaborating with fashion designer Rick Owens and inspired by a wide array of influences, SISSY's forthcoming album promises to be a dark, sexy, and fun journey. The title 'EXXXOSKELETON' reflects her fascination with creatures possessing exoskeletons, symbolising her own evolution and self-presentation. Crafted over four years in her East London bedroom, the album is a labour of love and a significant milestone post-transition, celebrating pride, fierceness, and strength.

Can you tell us more about the concept behind your new single 'PUSH THE NEEDLE' and the accompanying video, and how it ties into your upcoming album?

Well sonically I created a sound that would have all the extravagance, dynamics and feel of a 2010s pop song mixing it with more industrial music elements and experimentation through my own sound design.

Thematically it is a love letter to the lonely and lost girl I was. My mom used to put on Fashion TV while she cooks and I use to come back from school and sit in front of the TV wishing to be one of those women one day. I would go to my room close my eyes and imagine myself in a campy and glamorous future with leather jackets, big lips, strutting down the streets. Of course that was the bubbly dream world of a little kid and I don’t see my journey defined by these material things but the idea is pop, it is funny and sometimes real. It is all about creating a fantasy world. The title had a meaning in my mind of putting the needle on a record and starting the music as this song is the opening track of the album while also pushing the needle deep into my skin giving me that plastic pump and transforming me in the ways I want to look. Funnily enough I have a huge needle and hospital anxiety so it is also a contradictory song about desires and unrealistic standards too.

The music video reflects all these ideas. With my music I really want to push the medium of music videos more and more. I miss when music videos were so important and glorious. I want to try to bring that back with my work which is all self directed and edited. PUSH THE NEEDLE will be the opening chapter of a series of music videos that will accompany this album and I can’t wait to share it all with everyone.

Could you share with us the inspiration behind the title of your debut album, EXXXOSKELETON, and how it reflects your artistic identity?

I have been making, performing and producing music for a decade now. It is my entire life and it always will be, I can’t breathe without it.

I have had so many previous projects, bands, aliases before becoming SISSY MISFIT and crafting myself this sound. EXXXOSKELETON is almost an industrial pop opera about my identity, it's the very first record I have done after starting medically transitioning and publicly coming out so in a way it is the shield and the bone structure I have built around myself. A cocoon, a new body for the audience to experience. It is a part of me and I am made of it. It is a metaphor for my chameleon nature of always wanting to change, always wanting to look and sound different, push for the hardest challenges while wearing my armour.

As an artist who has been actively involved in both the underground music scene in Istanbul and the UK, how do you feel your diverse experiences have shaped your unique sound and style?

I always say this, I owe everything I am today to the community I have in Istanbul. Everything was so hard for us but we made it happen. The more oppression they threw in our way the harder we created and connected. It is a fairly different community than in London. In Istanbul we collaborated with each other endlessly, gave unconditional love towards our craft and just kept on producing more and more. Competition was never a big driving factor in the way we created. Here in London, the climate is much more relaxed in comparison, people are more individualistic. You can definitely feel the burdens of capitalism much more too. Both scenes have their pros and cons of course like with everything but I find myself not really enjoying the isolation I experience here in London that much even though I have some really nice and cool friends who inspire me everyday. I miss my home and my scene quite a lot. But I was suffocating during my last years before I left Istanbul and I had the privilege to make a way out of there to move to London for a bit and I don’t hate it, don't get me wrong. I feel so lucky to be finally able to fully express myself and have bigger tools and platforms to show what I can do. The hand in hand melancholy and joy of the whole changing countries process do make me write and produce songs in a different way.

You mentioned organising 'CEHENNEM' events to spotlight live electronic music by trans+ producers and artists, could you tell us a little bit more about them? How and why you started? Who you met along the way?

So one of the other things I kept on doing while I lived in Turkey that I used to put together event series of unique kinds. Line-ups with performance artists, drag artists, punk bands, DJs coming all together under different concepts. I really enjoy curating shows personally and it gives me great happiness to somehow try to contribute to the nightlife. I thought that spirit would already exist in London and I didn’t really plan to curate a night at all at first. But spending my first year here I have realised there was almost no room for people like me to perform. Raves didn’t really wanna book me because the organisers were probably seeing the live music performance aspect not very fitting to their vision and I couldn’t fit in punk shows at pubs with my act. The more I talked to my friends the more I have realised there are so many of us like this enough to come together and start a new kind of platform. So I immediately started CEHENNEM to highlight trans+ electronic music producers who performed live. A platform where we are the headliners, we get paid equally and we don’t care about experience or clout. The way I curate the night has always been about booking as many hidden gems as possible rather than create a line-up of acts who would just sell tickets. Of course it is so hard and we do it less often now because ever since I moved here the economic depression has been getting heavier and the cost of throwing an event has increased quite a lot. But quality over quantity. Seeing everyone so happy each night makes my heart filled with joy. Each edition of these nights are highlights in my life.

Could you walk us through the creative process of crafting your debut album, especially with the challenges of working between different cities and environments?

My creative process is really random. I don’t follow a pattern. Song ideas usually come to me suddenly in random days and ways. I usually sit down in my room for days, chain-smoke and make it happen without talking to anyone. But I know it can happen anytime too so I always carry my laptop around. I made some of these songs on the 149 bus, some of them on a train, some of them in my room and so on. I don’t need a studio or good environmental conditions to make a track and sketch out ideas, I can be anywhere. These 10 songs are the chosen tracks I felt that fit the most for the debut out of 60 to 70 songs I have produced in this time period and the way I create is super fast ADHD infused chaos. My best friend Trashedbaby was with me on a train back from a gig we played in Glasgow and I was working on some tracks. She just turned to me and was like ‘I can not believe you literally work on 4 songs at the same time’. So that’s really how it is.

In what ways does EXXXOSKELETON symbolise a shift of themes compared to your earlier work?

It doesn’t completely symbolise a shift in sound but it is definitely the record I feel most comfortable on. My art used to heavily be about melancholy and anger and self-deprecation. EXXXOSKELETON is about self-boasting, embracing my power and glamourising my problems in a fun way instead of pitying them and feeling bad about my sadness. In this record I’m a bit more like ‘I am sad on the dance floor yeah but fuck it come over here and kiss me then you might find heaven in my hell’.

EXXXOSKELETON will be released June 7th, 2024

Follow SISSY MISFIT @sissymisfitt

Given your collaborations with iconic figures like Rick Owens, how do you see fashion intersecting with your music and overall artistic vision?

I can’t think of music without its aesthetic properties and power. Everyone that has ever inspired me has always been musicians with a very strong fashion sense and a specifically crafted visual world.

I start thinking about the style and visuals of imaginary editorials and music videos and movie scenes while I make a song or listen to another song by another artist. It really does come natural to me and my art will always have fashion and visual arts hand in hand with its sound, I am not interested in creating in another way. I want to create fully realised fragments of fantasy.

Looking ahead, what do you hope listeners take away from your music and upcoming album?

I honestly don’t have any expectations from the listeners. When it is released it's not just mine anymore it's public domain, I wanted to share it with everyone and so there you have it, do whatever you please with it. The food is ready to be served and digested, I can’t expect you to not have an allergy.

Do you have a favourite David Lynch film/scene/ score?

Grandmother, Eraserhead & Mulholland Drive are my top 3 David Lynch works for sure and for the score the it is definitely the genius work of Alan Splet and David Lynch for Eraserhead. The soundtrack will always be number one for me, the way it was recorded and edited. You’ve got your good things and I’ve got mine.

Photos by Joseph Delaney @director.of.doom

Interview by Nicola Phillips

RESPOND

A F/W24 COLLECTION BY LEO PROTHMANN

"2FOR THS COLLECTION I WAS VERY DRAWN TO SEBASTIAO SALGADO’S IMAGES OF THE OIL RIG INFERNO, PROMPTING DEEPER REFLECTION ON THE IMPACT OF HUMAN DECISIONS ON OUR ENVIRONMENT. THIS CONTEMPLATION HAS LED ME TO VISUALISE POTENTIAL EVOLUTIONS IN OUR AGRICULTURAL PRACTICES, PARTICULARLY IN RESPONSE TO THE NECESSITY OF WEARING PROTECTIVE GEAR DUE TO HAZARDOUS ENVIRONMENTS.

CONE LIKE SHAPED SILHOUTTES CURVE AROUND THE SHOULDERS AND BODICES ARE A SCULPTURAL REFERENCE TO ANTHONY CARO’S ‘SACKBUT', 2013 SCULPTURE. I FOUND THIS TO BE QUITE A DYNAMIC ALTHOUGH VERY IMMOBILE PIECE. THESE SHAPES ASK FOR A LARGE SURFACE AREA FOR THE WEARER TO INHABIT, WHICH REMINDED ME OF REBECCA HORNS CONCEPT OF ‘SAFE SPACES’ EXPLAINED IN HER PIECE ‘WEISSER KÖRPERFÄCHER, 1972’. THIS CONCEPT SEEMS TO BE A DEEP-DOWN DESIRE FOR ME TO FEEL, AS I KEEP ON REVISITING HER WORK LOOKING FOR ANSWERS.

IN SOME LOOKS, I INCORPORATED 'M' SHIRTS AS A PERSONAL TRIBUTE TO MY BROTHER MAX, SYMBOLISING MY SUPPORT FOR HIS ONGOING BRAIN T UMOUR TREATMENT. THESE SHIRTS WILL BE LAUNCHED ON THE ANNIVERSARY OF HIS SURGERY, APRIL 28TH 2024, ON OUR ONLINE STORE. ALL PROCEEDS WILL BE DONATED TO THE BRAIN TUMOUR RESEARCH FOUNDATION IN BERLIN."

WWW.HIRNTUMORHILFE.DE

WWW.LEOPROTHMANN.COM

CREATIVE DIPECTION: LP @LEOPROTHMANN

PHOTOGRAPHY: STEFANO GIULIANO @STEFANOGIOVANNIGIULIANO

CASTING DIRECTION: CELESTE CASTING @CELESTECASTING BY @HARPERPFION AND @MANTAZVY

MAKE-UP DIRECTION: OPHELIA LIU @IN.TEMPLUM.OPHELIA

MAKE-UP ASSISTANT: KRISSIE MARIE HELIODORE @KRISSIEMARIEHELIODORE

HAIR DIRECTION: TAKUMI HORIWAKI @TAKU_HAIR

HAIR ASSITANT: ANNA CICHON @NERDSFX

MUSIC DIRECTION: HOLDEN FEDERICO @90STECHNO.REDUX

VIDEOGRAPHER: DIMA @PMYTRO

PRODUCTION: SARAH FASSOLD @SARAHFASSOLD

PRODUCTION ASSITANT: EVITA VITOLINA @VIITOLINA_

LOCATION: SILVERSPACE STUDIOS @SILVERSPACESTUDIOS

STYLING ASSISTANTS 1: EDEN SHERRY @WHOARETHEY_EDEN STYLING ASSISTANT 2: JOHANNA CRAFOORD @JOCRAFOORD

SPECIAL THANK YOU TO RICK OWENS FOR SUPPORTING WITH LP x RICK OWENS KISS BOOTS

WWW.HIRNTUMORHILFE.DE