Issue 22 - The Class of 2025

GIGOLO TEARS

KOHLBEN VODDEN

ERIN WASSON

EKKSTACY

EFFENBERGER COUTURE

AMIR FATTAL

SHIV

CLOUDY JUNE

ABSENT FINDINGS

BLUSH DAVIS

TATA CHRISTIANE

ELODIE GERVAISE

LUCKYBAMERO

NORA DE FABIANI

THE CLASS OF 2025

Meet the Team

Editor-in-Chief

Fashion Editor

Art Director

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

Contributors

Kiko Dionisio

Asidorn

Nilo Yamandi

Lorenzo Nafissi

The Trackers

Laura Knipsael

Amira Toleimat

Kewan`n Tauliaut

Chiara Giantforte

Ian Kline

Ondrej Lebeda

Polina - Sextravaganz

Roman März

Jessica Frayne

Vec Samoano

The Real Panther

Guiseppe Cannone

Laur Loncar

Nora De Fabiani

Alexander Ekholm

Lorenzo Ferranti

Sara Bravo

Kasper Jernhag

Sarah Trox

Trent Pace

Maria Salivonova

Luis Araujo

Welcome to our issue number 22, a landmark celebration of 13 years of KALTBLUT Magazine! As we turn the pages of our vibrant history, we invite you to immerse yourself in the creativity and innovation that defines our publication. This issue is not just a milestone; it’s a testament to a community that thrives on the extraordinary.

In this edition, we proudly present an impressive array of talented artists, emerging from art, fashion, and music. These are the visionaries, the models who dare to redefine beauty, the photographers who capture souls, and the creative minds ready to take over the world in 2025. Their passion and dedication fuel the spirit of KALTBLUT, inspiring us all to dream bigger and bolder.

Each contribution reflects a unique narrative, a blend of styles, and a push towards the avant-garde. We hope you find their stories as compelling as we do, and that they ignite your creative aspirations. We are excited to showcase the brilliance of these individuals who are shaping our cultural landscape and setting new trends for the coming years.

As you delve into this new issue, we wish you an exhilarating experience filled with inspiration and wonder. Thank you for being part of our journey. Here’s to the next chapter of KALTBLUT Magazine, and to all the ambitious creatives ready to shine!

Enjoy the exploration!

Photography by Amira Toleimat Model is Akello Boma Venusto Make up by Yeva Kolomiets Head of Fashion is Jane Korporal Fashion Assistant is Alicia Striewe

A Celebration

EFFENBERGER COUTURE of Expression

"The Tom of Finland collaboration felt like a true honour for us, almost a „knighting“ that we are right where we’re meant to be."

AS WE STEP INTO A VIBRANT NEW ERA FOR FASHION, 2025 STANDS AS A LANDMARK YEAR FOR THE QUEER COMMUNITY TO CELEBRATE THE UNCONVENTIONAL GENIUS OF SARAH EFFENBERGER AND HER BRAND, EFFENBERGER COUTURE. BORN IN BERLIN AND SHAPED BY THE ELECTRIFYING ENERGY OF THE CITY’S NOTORIOUS QUEER PARTY SCENE, SARAH HAS SKILLFULLY COMBINED UNIQUE PRINTS, DARING CUTS, AND PLAYFUL DETAILS TO CREATE A FASHION LINE THAT TRANSCENDS TRADITIONAL BOUNDARIES. HER DESIGNS ARE NOT JUST CLOTHING; THEY ARE A POWERFUL STATEMENT, A LOUD EMBRACE OF INDIVIDUALITY AND SELF-EXPRESSION FOR PEOPLE OF ALL SEXUALITIES AND GENDER IDENTITIES.

IN A WORLD THAT OFTEN SIDELINES THE CREATIVITY AND FLAIR OF QUEER LINGERIE DESIGNERS, EFFENBERGER STANDS OUT AS ONE OF GERMANY’S MOST UNDERRATED FASHION TALENTS. HER WORK ENCOMPASSES A DARING VISION THAT CHALLENGES NORMS AND EMBRACES VIBRANT IDENTITIES, PROVIDING A REFRESHING ALTERNATIVE FOR THOSE WHO CRAVE MORE THAN THE MUNDANE OFFERINGS OFTEN FOUND IN MENSWEAR.

“EFFENBERGER COUTURE IS A TRUE PRODUCT OF MY TIME SPENT WITH AND WITHIN THIS INCREDIBLE SCENE.” THIS SENTIMENT PERFECTLY ENCAPSULATES THE ESSENCE OF SARAH’S JOURNEY AND HER COMMITMENT TO CELEBRATING THE UNIQUENESS OF QUEER CULTURE THROUGH FASHION. JOIN US AS WE DELVE INTO THIS POWERFUL INTERVIEW WITH SARAH EFFENBERGER, AN EXPLORATION OF THE BOLD SPIRIT OF EFFENBERGER COUTURE AND ITS IMPACT ON THE BURGEONING WORLD OF QUEER FASHION.

Effenberger Couture is known for its unique prints and bold silhouettes. What is your creative process for selecting these designs and materials?

Our creative process for selecting prints and silhouettes at Effenberger Couture draws heavily from historical imagery, vintage visual language, and pop culture. We immerse ourselves in these elements to develop a unique aesthetic that speaks directly to the queer community. Whether it’s creating a striking print for the next rave or placing a queer-focused message on items typically associated with heteronormative culture, our designs aim to reflect both beauty and relevance.

We often design pieces that reveal their deeper messages only upon closer inspection, inviting a second glance. Humour and playfulness are crucial to us, not just in our prints but also in the way we structure and shape each silhouette.

Our goal is for each piece to be as expressive as it is fun, offering layers of meaning and joy to those who wear it.

Sarah, how did your upbringing in Berlin’s dynamic queer party scene shape your perspective on fashion, particularly for Effenberger Couture?

Moving to Berlin at 19, long before founding Effenberger Couture, it was almost inevitable that I’d be influenced by the city’s dynamic queer party scene. I found some of my most glamorous and cherished friends within this vibrant, mostly queer, world. Surrounded by inspiring queer people from the start, this influence felt completely natural. An old party friend, seeing me after many years, summed it up perfectly by saying, “Finally, one of our fag hags found a way to make something out of it.” That captured it all, Effenberger Couture is a true product of my time spent with and within this incredible scene.

What drove you to specialize in men´s bodywear, and how do you feel it complements the current trends in gender-fluid fashion?

I have always designed for men, even during my studies. My interest in it grew over time, and I find it rather dull to design “for myself.” I much prefer creating something for the person opposite me. In the world of men’s fashion, you can still find so many intriguing tensions and creative possibilities. For me, that has always been the genderfluid line, and I began experimenting with it early on during my studies, mostly inspired by styles from bygone eras. Fashion was so much more gender-fluid back then but unfortunately diverged during industrialization.

My focus has always been on giving men back the enjoyment and sensuality of fashion. Thankfully, in the gender-fluid scene today, we see a resurgence of that freedom to play, which brings me so much joy and fulfilment.

Can you elaborate on your famous collaboration with Tom of Finland? What inspired this partnership, and how did it influence your brand’s identity?

The Tom of Finland collaboration felt like a true honour for us, almost a „knighting“ that we are right where we’re meant to be. From the beginning, we dreamed of working with images from the Foundation’s archive, so when we were invited to collaborate, it was almost surreal. Tom of Finland had a brilliant way of responding to a suppressed world for gay men through art, infusing it with humour and a distinctive style that spoke volumes. This is exactly what we intend to do with our fashion, so I think this was a match made in heaven.

We are beyond proud to feature his imagery in our pieces; it’s something we hold with deep respect. This partnership has not only strengthened our brand’s identity but also reinforced our commitment to bringing queer art into fashion. Moving forward, we’re inspired to continue this journey by going on to spotlight other queer artists, including those who may be lesser-known, to further celebrate and represent the diversity of our community.

Your collections are designed for individuals across all sexualities and identities. How do you ensure inclusivity in your designs? In what ways do you think Effenberger Couture challenges traditional norms in men’s fashion?

I mean, look at it… hahaha….

Effenberger Couture is far from conventional. Men’s fashion traditionally steers clear of daring elements like exposed buttocks, which remain provocative in a heteronormative context, unlike similar styles in women’s fashion, where they’re often seen as less shocking.

We are probably challenging traditional men’s fashion norms completely or not at all. I’d say Effenberger Couture truly defies categorization within any corner of mainstream fashion. We exist somewhere between men’s fashion and leather fetishwear, perhaps “fetishinspired fashion with a high-fashion edge.” Even for me, it’s challenging to place our style in one specific genre.

We’re intentionally pushing boundaries and creating a unique, unapologetic space that doesn’t conform to the usual norms, and that’s what makes it exciting.

Comfort and functionality are essential in bodywear. How do you balance these aspects with aesthetic appeal in your creations?

To be honest, achieving that balance is quite straightforward with the materials we use. Stretch fabrics make it much easier to combine comfort and aesthetics. We’re always careful to select materials that feel soft and non-irritating against the skin, ensuring that wearability is never compromised. The elasticity of the fabric, particularly from the elastane content, allows for a flattering fit while maintaining the flexibility and comfort essential for bodywear.

This way, our creations can look bold and stylish without sacrificing comfort or functionality.

What materials do you prefer to work with, and what specific characteristics do you look for when sourcing fabrics for your designs?

We primarily look for materials that feel comfortable for long wear, especially in club settings, where freedom of movement is key. Stretch is essential; we want bodysuits to mold to the body beautifully without feeling overly tight.

Can you share any memorable feedback you’ve received from customers that has impacted your design philosophy or strategies?

We rely almost entirely on feedback from our community and customers, paying close attention to what resonates and what doesn’t. Without the indirect feedback from our customers, we wouldn’t have become experts in designing bodysuits for queer individuals with male body parts. Initially, we weren’t sure how well bodysuits would be received, but influencers and customers made it clear that this was exactly what they wanted from us.

Being able to create these pieces, knowing they bring joy and confidence to our community, makes me incredibly happy and motivates our work every day.

You often incorporate playful details into your work. How do you approach the concept of fun in your fashion designs?

For me, fun is truly essential in design. I want people to enjoy wearing the pieces just as much as I enjoy creating them. Over time and with experience, I’ve realized that this sense of fun is what keeps me passionate about fashion—it’s the driving force that keeps me inspired to continue creating.

How do you envision the evolution of bodywear for men, and how does Effenberger Couture fit into that vision?

I truly hope to see more fun and playfulness return to everyday men’s fashion—more ruffles, bows, and more camp! The queer community already knows how to embrace this, but I’d love to see even more of it on the streets. At Effenberger Couture, we keep the commercial side of our pieces in mind, but we’re excited to push the envelope even further towards campiness.

We’re ready to bring more bold, expressive bodywear that challenges norms and adds a sense of joy and freedom to men’s fashion.

Reflecting on your journey, what challenges have you faced in the fashion industry, and how have they shaped your brand?

I think the biggest challenge was pinpointing what I’m good at and having the confidence to pursue it seriously—without losing the element of fun. I had to learn to trust my instincts more and worry less about what everyone else was doing. Even if it sometimes makes you the odd one out in conventional fashion circles.

Following trends or the fashion crowd can seem like the safer route, but I came to realize that carving out my path in the fashion world is gold. Creating and defining a unique niche that I can develop over time has become incredibly rewarding, even though it took a long journey to understand this fully.

Are there particular fashion icons or designers that you draw inspiration from, and how do they influence your design ethos?

There isn’t just one set of icons, I draw inspiration from a broad range of people—both past and present—who have dared to push boundaries and challenge societal norms.

Queer artists and art has always been a major source of inspiration for me. Already as a teenager, I was hooked if someone was playing with the gender roles. Icons like Tim Curry in The Rocky Horror Picture Show or Klaus Nomi—an incredibly unique and brilliant artist from near my hometown. Or let’s name some big ones like Freddie Mercury, George Michael, Ru’Paul, Tom of Finland, and John Waters, the obvious ones, were early influences that fueled my creativity.

"Our pieces are undeniably sexy, but they’re also designed not to take themselves too seriously."

Equally important are their allies—legends like Liza Minnelli, Cher, and Dolly Parton—who have embraced and celebrated queer culture, bringing its vibrancy to the mainstream. I realize I tend to reference the old-school icons, but I’m an old soul and especially admire the boldness it took to be so unapologetic in their time and I am grateful for the path they have laid for us!

Those are the roots of my curiosity but every camp person of our time makes me happy and keeps me going.

The whole Camp culture, with its fearless embrace of eccentricity and boldness and this explosion of fun has been a constant source of energy and motivation for me.

But influences also come from my background and the social structures around me. For example, I’m fascinated by the contrasts between traditional institutions, like the Catholic Church, which has long held power in Europe, and the progressive ideals of the queer community. Medieval imagery and its portrayal of gender roles also inspire me, especially as I grew up in a medieval town close to the Alps. These sources all lead me to question and reinterpret the heteronormative past but also pop culture and its conventions.

However, If I had to choose one designer as a role model, it would be Jean Paul Gaultier. He has always played with gender roles in such an iconic way, and despite his enormous success, he has remained humble and grounded. That’s something I admire deeply.

How important is the concept of nightlife and club culture in your designs, and how do you feel it resonates with your audience?

The concept of nightlife and club culture is essential to our brand, everything revolves around it. When designing, we consider each piece with one key question in mind: Can you wear this in a club? Effenberger Couture wouldn’t exist without nightlife, and, in a way, nightlife wouldn’t feel the same without Effenberger Couture, at least I heard that’s the case with some clubs around here. Our audience resonates with this deeply, as our designs embody the freedom, energy, and self-expression that are at the heart of club culture.

What are some of the key elements that you believe define the Effenberger Couture aesthetic?

At the core of the Effenberger Couture aesthetic is a balance between bold sensuality and a playful spirit.

Our pieces are undeniably sexy, but they’re also designed not to take themselves too seriously. We aim to create fashion that feels empowering yet lighthearted, capturing a sense of confidence with a huge wink of fun.

Looking to the future, do you have any plans for expanding your product lines or exploring new markets?

We plan to keep building on our current approach but are also looking to expand around the bodysuit concept. Right now, we’re working on a pair of pants designed to pair with the bodysuits, for those who want a slightly less exposed look. We’re also exploring more “apparel-inspired” pieces, with playful elements—a direction we had initially when we launched, inspired by my first brand, Fomme, but which we haven’t focused on as much recently. Looking ahead, we’re excited to bring back some of those fun, gear-inspired pieces. We’re also eager to create bold show and stage outfits, pushing the boundaries of creativity and adding a new layer of excitement to our brand. Commissions welcome.

What role does social media play in your marketing strategy, and how has it helped in building your brand?

Social media has been everything for us—it’s really how we grew our brand from the start. Thanks to Instagram, our amazing influencers, and the community out there, we’ve been able to get where we are today. We honestly couldn’t have done it without them, so a huge shoutout and thank you to everyone!

But shadowbanning has been a real hurdle for us for a while now. It’s limited our reach, so growing the way we did in the beginning just isn’t working anymore. It’s a struggle but we keep connecting with people and getting our message out there. Social media is still a huge part of our strategy, and we’re always finding new ways to work around these challenges.

Could you describe your typical design cycle? From idea generation to final product, what does that look like for you?

Our design cycle typically starts with image and inspiration research, using resources like Google and Pinterest. From there, we dive straight into sketching initial ideas for prints in Illustrator and Photoshop. This is altogether a very long-lasting task with a lot of trial and error, deciding if things work, are cool or not working at all and need to go straight to the trash.

Simultaneously, we are sketching silhouettes, and creating early prototypes in our studio to test ideas in 3D and see the fit. At this stage, we decide things like whether a print works better on a long- or short-sleeved piece, if we should also have a version as a top etc.

We often sketch directly on our online shop models to get a better sense of how the designs will look on the body.

There is a long decision process happening, a lot of discussions, disagreements and finally choosing the one we want to move forward with.

Once we finalize the silhouette, print, and colours, we move into production. We create a prototype using our pattern-making software and send it to our producer, who then sends us a finished sample. This sample is fitted, usually at home with my husband! And we typically only make small adjustments at this point. Finally, the piece is graded into different sizes and given the green light for production.

As the conversation around sustainability grows within fashion, how do you see Effenberger Couture addressing these concerns?

As a dear colleague once said, for small brands like ours, sustainability is thankfully practically a given, we don’t have the massive resources of large fashion chains. Still, it’s a topic we take seriously and approach thoughtfully.

At Effenberger Couture, we’ve chosen to step outside the seasonal cycle entirely. We release pieces when they’re ready and keep them in our collection as long as there’s demand. This way, we avoid waste—every piece is sold, and none are discarded. We also avoid frequent sales to reduce overproduction and sales cycles, ensuring each piece has value and purpose. Additionally, by keeping our production in one place, we avoid long distribution chains. This prevents the materials and trimmings from being flown in from around the world, which keeps our CO2 footprint lower.

What legacy do you hope to leave in the fashion industry, and what message do you want your designs to communicate to your customers?

I’d love my legacy in fashion to show other designers that it’s okay to follow your unique style, even if you don’t fit perfectly into the usual mould. Focus on what makes you great, don’t worry about blending in, and find your people who genuinely vibe with what you’re doing. Social media has made it possible to connect with an audience that truly gets you, no matter how niche you are.

For my customers, my wish is pretty simple: I just want them to feel amazing, confident, and sexy in our pieces. I hope our designs help them have the best nights out, unforgettable festival days, or carefree beach moments. And honestly, seeing our pieces pop up on Grindr? That would make my day!

ESSENCE UNVEILED

DRESS BY VICTORIA BECKHAM EARINGS BY UNCOMMON MASERS RING BY YASEMIN MENTES

TOP & SHORTS BY ATU BODY COUTURE NECKLACE BY YASMIN MENTES

DRESS BY LUDOVIC DE SAINT SERNIN

CATSUIT

TOP BY ATU BODY COUTURE NECKLACE BY YASMIN MENTES

DRESS BY LUDOVIC DE SAINT SERNIN

NECKLACE & EARCUFF BY YASMIN MENTES

DRESS BY LUDOVIC DE SAINT SERNIN

NECKLACE & EARCUFF BY YASMIN MENTES

DRESS BY VICTORIA BECKHAM EARINGS BY UNCOMMON MASERS

GIGOLO

TEARS

INTERVIEW BY MARCEL SCHLUTT

Gigolo Tears is making waves as Germany’s hope for queer indie pop, the solo project of nonbinary artist Chris Schalko. With their new EP “Heul doch,” out since November 8, 2024, emotions are transformed into a superpower, exploring themes from PMS to the patriarchy, but most importantly, delving deep into feelings.

GERMANY’S QUEER INDIE POP SAVIOR FOR 2025

Founded in 2019, Schalko’s Gigolo Tears was born from a desire to move past anger and instead embrace vulnerability. The experiences of navigating the music industry as a female-presenting artist have shaped Schalko’s resilience. However, with Gigolo Tears, that chapter is closed: feminist rage evolves into a softer empowerment. Following the debut EP released in 2023 with Audiolith, featuring the menstruation anthem “Cramps,” Schalko continues this empowering journey with “Heul doch.”

Gigolo Tears crafts a striking empowerment pop sound steeped in queer feminist messages, while occasionally flirting with the infectious beats of Hyperpop and Hip Hop. The music channels a vibe reminiscent of a queer Apache or Bilderbuch, embodying the spirit of a heartfelt weeper on the dance floor and evoking the essence of Blond, Alli Neumann, Dorian Electra, Sophie, and Mariybu. Gigolo Tears is set to be one of my favourite artists to watch in 2025

What inspired you to write “Loser,” and how does it reflect your personal experiences?

A tiny part of me always feels like a loser. I think it’s called Imposter. It has something to do with I always being that person, who gets underestimated. But in the Song, it’s not about that part of feeling like a loser (or someone that can’t win) – it’s about Losing people on the way of self-growth. I came out as trans nonbinary very late.

And that feels like I lost quite some things. Some privileges, some perspectives, and a lot of spaces where I feel safe. And people. The song is about the loss of a relationship, that had to end because of my change. I had to lose this person, to become who I am or who I want to be. So it’s sad, but it was an empowering step, to stand up for myself.

How do you feel the themes of your new EP “heul doch” differ from those in your debut EP “Crybaby”?

I grew so much in that time between those EPs and I wasn’t done with the topic of being a very sensitive and emotional human being. So I guess the topics do not differ so much from one another – but I do. After years of being very cold and hard, which I thought I had to be, cause that’s how you are a strong and empowered person. I still grow into being warm again and soft and vulnerable, cause I think that is so much stronger, cause I don’t hide behind a wall of this coldness, I am a softie and a crybaby.

Can you discuss the emotional journey you’ve taken as an artist leading up to this new release?

To be completely honest, being an artist in 2024 means that you have to suppress your emotions and needs and always push them to the limit. My emotional journey from the last release to this one was: if you want to be seen as a queer indie artist, you have to push even harder and stop listening to your emotions. So I try to relearn that. I try to push and still stay connected to my emotions and my needs.

What significance do you attribute to the title “heul doch” about the content of the EP?

What I love about the title: “Heul Doch” is, that it usually is used as an insult. But in the original meaning of the word it is just an invitation to cry. This is what my music and this EP is. An invitation to cry and to enter your feelings.

How do you believe your perspective as a nonbinary artist shapes your music and connection with listeners?

For me, it is so wholesome to write songs, that other queer and nonbinary folks can relate to. My main audience is girls, gays and theys. And that is not by accident. What I want to create is a space, a tiny bit of music, that other queers can listen to, when they need a little bit of empowerment. I just played a concert in Berlin, where the audience was just very mindful, very cutesy, very queer, and having them sing along and feel safe means everything to me.

In what ways do you celebrate vulnerability and emotional honesty in your songwriting?

I try to write in a poetic but still matter-of-fact kind of way. I feel the lyrics when they are honest. So for example on the EP I tried to write about the moment of not being able to leave the bed or accusing the macker of being a macker simply. Not make a big metaphor but, just say “Würd so gern löschen, was ich dir gesagt hab. Hab vergessen wie man Spaß hat.“ But also I like lyrics like: „Ich bin ein Cis Macker und natürlich bin ich selbstverliebt. Ich mach die Beine breit, weil mein Ego dazuwischen liegt.“ where I have fun with things that are really annoying like menspreading Cis Het Dudes.

«ALL I WANT IS, THAT SOME QUEER KIDS TO FIND MY MUSIC AND THINK: OH COOL, I FEEL SEEN.»

Can you describe the production process for “Loser” and what unique elements were incorporated?

I worked with my main producers Daniel Husten and Nils Hansen on the Song. Normally I produce a Demo on my own, where I write some lyrics and parts of the song and then Danny and Nilo do their magic in the studio. In this case – between my first demo and the studio session, I had a Session in the Woods of Brandenburg with Nilo (who also plays guitar on my live gigs). Cause he is good at finding the finest guitar progressions and melodies. So we went to Brandenburg, had some time at the lake, had BBQs and worked on Loser. Which is kind of my thing, cause I always have the worst heartaches when it’s summer and everyone else is happy.

How are you incorporating themes like menstruation and the patriarchy into your music?

Very good question. I mean, I am a simple human. So love and relationship things are a big topic for me. But also these queer-feminist topics are big themes. I try to sing about these things without being educational. I just want them to be seen/ heard. I use humour as my tool to write about more heavy topics,

I guess. To be honest, If it’s about if I am writing a more political song, and when I am struggling how to find the right words and perspective I ask myself: what would Peaches do? She’s my Idol no. 1.

How do you envision the relationship between your music and the queer community evolving with your new work?

To be completely honest: All I want is, that some queer kids to find my music and think: oh cool, I feel seen. Or even better: I’m cool, if they can do music and stand on that stage, maybe I can do that, too.

What role does danceability play in the messaging of your songs, especially in “Loser”?

Haha, I love that question. I love to write and perform more dance songs. Probably because I like the contrast of emotional and empowering messages and a good groove.

What are your favorite tracks or moments from the new EP “heul doch”?

Ufff, such a tough one. I think because there is this personal journey in it, I love love love “Loser” and “Loser pt. II”. But I love all the Songs on the EP. And “tAnZ mIt MiR dUrCh DiE nAcHt“ has such a cool Teen-Rock vibe – I have to jump around when I hear it. Haha.

How do you balance your artistic expression with the demands of the music industry?

I try to focus on what I want and what I feel good and comfortable with, but it is really not easy. Can you share any collaborations or influences that have inspired your latest work?

My collabs with LILA SOVIA inspired me so much. They are truly a hurricane of energy and inspiration. Also try to find a mélange of Hyperpop tongekissed by 808s, Indiepop and Y2K Boy/Girlgroup Sound. I love Artists like SOPHIE, Dorian Electra, Christine and the Queens, Peaches and Charly XCX. But I find Inspiration also in Art and Memes, haha.

What challenges have you encountered in expressing your identity through your art?

Through art, I can find many ways to express my identity. I have the lyrics, I have the music, I have Social Media, that I can use. The clashes happen more in daily life, where Bookers or FOHs would misgender me. On the Internet, where people would hate. In transactions, where I have to insert my deadname somewhere or choose between two genders, both do not fit me. But in art, I feel like in a safe space. It’s my playground, where I can communicate and form new ideas and perspectives.

How do you see your musical style evolving with the release of your new EP?

Part of my personal growth is to embrace who I am and make peace with it. I tried to be someone else and something else for so long. This translates also to my music. I am a bit goofy. I am queer. And I make hyperpop. With references to rap and indie pop and a bit of 80s in it.

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MIDNIGHT FLOWERS TEA POT BY MARNI, THIS TEAPOT FROM THE MARNI TABLEWARE COLLECTION FEATURES HAND-PAINTED ANEMONES IN A WARM MAUVE, ACCENTED WITH SUBTLE GREEN AND SOFT BROWN HUES. ITS LIGHT ASYMMETRICAL DESIGN ADDS A CREATIVE TOUCH TO THE HANDMADE PORCELAIN, WHILE THE GLAZED FINISH PROTECTS THE COLORS FOR LASTING BEAUTY.

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BLACK PALM ROUGH NECKLACE, FOUNDED IN 2014 BY GERMAN INFLUENCER SANDRA EBERT, BLACK PALMS BEGAN AS A JEWELRY BRAND AND QUICKLY EXPANDED INTO FASHION, GAINING RECOGNITION IN THE GERMAN FASHION SCENE. WITH TIMELESS DESIGNS AND DISTINCTIVE OVERSIZED SILHOUETTES, QUALITY REMAINS UNCOMPROMISED. BLACK PALMS EMPHASIZES SUSTAINABILITY, PRODUCING EXCLUSIVELY IN FAMILY-OWNED BUSINESSES ACROSS GERMANY AND EUROPE, ENSURING FAIR CONDITIONS AND RESOURCE CONSERVATION. ALWAYS MODERN AND ATTUNED TO CURRENT TRENDS, YET A STEADFAST ALTERNATIVE TO FAST FASHION—THAT’S BLACK PALMS. GET IT HERE

PEGASUS

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DANTES

SHORT-SLEEVED CHECKERED SHIRT BY ZARA LEATHER JACKET BY STYLING ARCHIVE

VINTAGE BOOTS BY STYLING ARCHIVE

JULIUS

SWEATER WITH COTTON SLEEVES BY POLO RALPH LAUREN

WOOL TROUSERS BY MASSIMO DUTTI VINTAGE BOOTS BY STYLING ARCHIVE

DANTES

RIBBED WOOL TROUSERS BY MASSIMO DUTTI

VICHY CHECKERED SHIRT BY TOMMY HILFIGER

VINTAGE BOOTS BY STYLING ARCHIVE

JULIUS CALEB CASHMERE PULLOVER: ISABEL MARANT

VINTAGE BOOTS STYLING ARCHIVE

DANTES SHORT-SLEEVED CHECKERED SHIRT BY ZARA

LEATHER JACKET BY STYLING ARCHIVE

VINTAGE BOOTS BY STYLING ARCHIVE

DANTES SHORT-SLEEVED CHECKERED SHIRT BY ZARA

LEATHER JACKET BY STYLING ARCHIVE

VINTAGE BOOTS BY STYLING ARCHIVE

DANTES SHORT-SLEEVED CHECKERED SHIRT BY ZARA

LEATHER JACKET BY STYLING ARCHIVE

VINTAGE BOOTS BY STYLING ARCHIVE

JULIUS SWEATER WITH COTTON SLEEVES BY POLO RALPH LAUREN

WOOL TROUSERS BY MASSIMO DUTTI

VINTAGE BOOTS BY STYLING ARCHIVE

DANTES

RIBBED WOOL TROUSERS BY MASSIMO DUTTI

VICHY CHECKERED SHIRT BY TOMMY HILFIGER

JULIUS LONG-SLEEVED TRANSPARENT T-SHIRT BY LEONARDO VALENTINI

LARED GABARDINE TROUSERS BY ZARA

SUEDE FRINGE BRACELET BY ECLÈ STUDIO

VINTAGE BOOTS BY STYLING ARCHIVE

DANTES

SUEDE JACKET WITH FRINGES BY SANDRO

LARED GABARDINE TROUSERS BY ZARA

HORN NECKLACE BY ECLÈ STUDIO

DENIM JEANS BY POLO RALPH LAUREN

JULIUS

LONG-SLEEVED TRANSPARENT T-SHIRT BY LEONARDO VALENTINI

LARED GABARDINE TROUSERS BY ZARA

SUEDE FRINGE BRACELET BY ECLÈ STUDIO

DANTES

SUEDE JACKET WITH FRINGES BY SANDRO

LARED GABARDINE TROUSERS BY ZARA HORN NECKLACE BY ECLÈ STUDIO

DENIM JEANS BY POLO RALPH LAUREN

WE HAD THE PLEASURE OF CONNECTING WITH FEMME BASS MAFIA (FBM), A VIBRANT MUSIC COLLECTIVE BASED IN BERLIN, AS THEY GEAR UP TO CELEBRATE THEIR FOURTH ANNIVERSARY. THIS MILESTONE IS NOT ONLY A REFLECTION OF THEIR GROWTH BUT ALSO COINCIDES WITH AN EXCITING EU TOUR, MARKING ANOTHER CHAPTER IN THEIR IMPACTFUL JOURNEY. SINCE ITS INCEPTION IN 2019, FBM HAS BEEN AT THE HELM OF CULTIVATING SAFER AND MORE INCLUSIVE SPACES FOR WOMEN, TRANS, AND NON-BINARY INDIVIDUALS, FOSTERING THEIR GROWTH IN THE DJING AND MUSIC PRODUCTION REALMS WITHIN THE ELECTRONIC MUSIC LANDSCAPE.

FOUNDED BY A DEDICATED ENSEMBLE OF MUSIC ENTHUSIASTS FROM BERLIN—INCLUDING INFLUENCERS LIKE DANGERMAMI, MSJY, LUZ1E, AND MARIE MIDORI—FEMME BASS MAFIA EMERGED WITH A WELL-DEFINED MISSION: TO ENHANCE THE ACCESSIBILITY OF THE ELECTRONIC MUSIC INDUSTRY FOR FLINTA (WOMEN, LESBIAN, INTERSEX, NON-BINARY, TRANS, AND AGENDER) AND BIPOC COMMUNITIES. SINCE ITS CREATION, FBM HAS BLOSSOMED INTO A VITAL PLATFORM, CONTRIBUTING SIGNIFICANTLY TO AN INCLUSIVE AND DIVERSE MUSIC CULTURE NOT ONLY WITHIN BERLIN BUT ALSO EXTENDING ITS INFLUENCE ACROSS BORDERS.

INTERVIEW BY NICOLA PHILLIPS

THE INITIATIVE GOES BEYOND MERE REPRESENTATION; THROUGH A DYNAMIC ARRAY OF WORKSHOPS, MENTORSHIP PROGRAMS, ELECTRIFYING CLUB NIGHTS, AND VIBRANT COMMUNITY EVENTS, FEMME BASS MAFIA HAS EMPOWERED COUNTLESS ASPIRING ARTISTS. THE COLLECTIVE PROVIDES ESSENTIAL SKILLS AND CULTIVATES CONFIDENCE, ENCOURAGING MANY TO CONFIDENTLY NAVIGATE AND THRIVE IN THE ELECTRONIC MUSIC INDUSTRY.

Can you share the journey of Femme Bass Mafia from its inception in 2019 to now, and how it has evolved over the past four years?

The idea of the project came during the first lockdown in 2020 through Lilia (Dangermami), and was born out of frustration not to have a group of other femmes who to practice DJing with, the lack of FLINTA people in bass music behind the decks and on the dancefloor, and to always hear the same sounds in Berliner clubs! Lilia was already working in the music industry, and kept on seeing the same artists all over again without having lots of FLINTA references to look up to or to share this passion with. While club spaces were empty the idea to start a small practice group and involve other femme DJs in Berlin emanated and about 6 months later in November 2020 she launched Femme Bass Mafia online with a few slides taken from the projects’ Manifesto, thanks to her friend Neale Johnston who created a visual identity from scratch and who is still working with us to this day.

The draft of a program started to form, the intention was always to create a long term project with a solid foundation! The energy was so fresh as there was nothing else to do. While she was scouting for people to join the project and chatting to those who reached out. Very quickly Luz1e, Marie Midori, MSJY, DJ Fuckoff, and later on Monibi & jpeg.love were interested in hosting DJ workshops and the ball kept on rolling. Lilia launched a first open call for applications for a 3 month program with weekly practice sessions, with different mentors for each session. As clubs were closed, we had the chance to practice at some of them, and we had our first generation of mentees right there.

After a hyperactive start, FBM landed its first funding by Musicboard and transformed the 3 month program into a 6 month long one, with more in depth classes, allowing for steady progression. In total, since 2020, we have run 5 DJ mentoring programs of 6 people each. At the end of those, a club gig (graduation party) was held where all the mentees would play their first gig, as well as a radio takeover on Refuge Worldwide where every mentee could present their work. We used to also organise streams on different platforms, providing great visibility for the mentees, and for the project.

Shortly after starting FBM and once the lockdown lifted, requests for showcases and bookings started to come in, but this was initially not a part of the plan nor the focus, but we figured these opportunities only help spread our work and help our crew land more shows and gain experience. This is how in 2022 we started to curate and promote the Plasma nights at RSO, which are focused on bass music and through us it became a focus on FLINTA talent from our community but also gave the opportunity to invite some of our idols!

Realising that we had a lot of different activity streams which needed attention, Lilia onboarded Luzie and Marie to join her on the organisational side of things, which formed a core team where every member was responsible of one area of the project - soon joined by Jenny as in 2023, a new branch of the project developed, where we focused on music production in partnership with Ableton, a project that she still grows and runs this year.

As it stands today, Jenny and Lilia are the core team with support from Luzie and Marie in some areas. We adjust when we need to depending on everyone’s capacities and whatever is going on in our lives, the goal is for things to stay fun as it’s not our full time job. There has been lots of learning by doing, the team has grown and evolved together and led the project to where it is now!

What have been some of the most impactful workshops or events you’ve hosted, and how have they contributed to the goals of Femme Bass Mafia?

It’s hard to name one! The impact of our work has been simmering over the years and we only took conscience of it until quite recently. We will say that our graduation parties hold a special place in our hearts, it’s always a time where all the mentees come together, play their first sets in a club, surrounded by their friends and support from the crew. There have been lots of smiles and tears during those, and where the mentors would stand in a corner, realise what is happening and stand proud with the mentees. The period before those nights is always intense as there is a lot of practice, questions, and preparation involved, so to see all the work come to life after 6 months together is truly special.

We also just hosted a night at a listening bar, Kwia, where we had lots of different alumni from all generations play, and it was really beautiful to see our community reunite in a literal cuddle puddle. The best reward after spending half a year with smaller groups learning and bonding over music is to see those strong bonds & friendships form, and for us to know that we played a role in this. It was a very eye opening moment to see the joy of being together and put the accent on the community aspect of FBM - we think this was a wonderful moment during this 4 Year Tour to realise why running the project the past years was so worth it.

In a way, we realised that we contributed to creating better, safer, spaces for people to evolve in this industry and show that they don’t have to do it on their own, and that was also one of the goals of the project since its inception. For us as mentors, it also solidified a base we had in the scene and allowed us to share experiences as FLINTA artists and learn from some situations together.

The bonds after relating to many instances together automatically grow stronger and we hope it spreads a message amongst our colleagues to act with care and kindness.

Can you explain the concept of "adelphity" and how it guides the collective's approach to fostering community and collaboration?

We believe in creating a supportive and nurturing environment where everyone feels like they're part of the crew. It's about building a space that feels like a safety net, where we can all lean on each other. This sense of community is really important to us, and we think many people in the scene truly feel it too.

There’s a term in France, Liberté, égalité, adelphité, which replaces ‘fraternity’ with adelphité — a concept that has gained popularity among feminist activists. Essentially, it means siblinghood without gender distinctions, and that's the kind of inclusive spirit we aim to cultivate.

When people first start out as DJs or join the scene, it’s common to feel a range of emotions, everything from self-doubt to comparison, and sometimes even competition. But we really want to move away from that. We try to foster an environment where it's okay to make mistakes, where people are encouraged to support one another, and where collaboration is prioritized over competition. In our view, sharing music wouldn't feel nearly as meaningful if we weren't surrounded by a community that is cheering each other on.

Through our programs, we actively encourage mentees to collaborate - whether it's practicing together, doing back-to-backs, or sharing music. In a scene that still has a lot of inequalities, we want to remind everyone that there is space for all of us to shine and we try to reinforce that message throughout the programs.

How does Femme Bass Mafia select its mentors, and what qualities do you look for in them to support your mission?

It’s mostly been the same team since the beginning, which we think translates into a healthy environment of feedback and evolution, and we've all grown into our mentoring roles together over time. We quickly noticed who preferred doing what and kind of wrote

the education program based on the mentor’s strength. Should it be Monibi’s ‘Know Your Tech’ workshop, MSJY’s Ableton skills, Dangermami’s DJ Profile Management one. But a big part of what’s kept us aligned is making sure everyone’s heart is in the right place. We all genuinely love the feeling of bringing people together through bass music - it’s such a rewarding experience.

At the core of what we do is not just sharing knowledge, but offering the kind of support we wish we’d had when we first started out. For a lot of us, we’re looking for something deeper within the music scene, something beyond just the act of DJing itself. It’s about creating a space where being part of the scene is an exchange, where we support each other, and where we’re all working together to build something meaningful. There’s the idea that being part of the scene is a responsibility, and that real growth happens when we lift each other up.

What are some challenges you’ve faced in promoting diversity and inclusion within the electronic music scene, and how has Femme Bass Mafia addressed them?

A few things come to mind but those are also experiences that - unfortunately - a lot of us had to live as an introduction to the scene. When trying to dismantle a scene that's been built on the wrong base it is quite a tedious job to get the key players out of their comfort zone and make them see another (more equal) reality.

This translates into gatekeeping of resources or network, or the unwillingness to cooperate without putting some ridiculous conditions on our collaboration. We had it that a venue in Berlin wanted our DJs to send in a mix before the gig to see if they would fit the space with the sound, all while the mission of FBM was clearly focused on all things bass.

Obviously the tokenism and some random bookings with dire conditions just to have a FLINTA person on the lineup, or to be associated with FBM in some way.

This also goes to working with brands, which we have done and it didn’t always go as planned, but over time we learned what to look out for and to set our expectations with the partner from the get go. We’ve noticed fees would differ and smaller budgets would be given to us compared to our non FLINTA colleagues, or a different treatment during gigs.

With time we found our groove though and attracted a vast range of truly amazing people we work with, with fair conditions and professionality.

How do you measure the success of your mentorship programs and workshops in empowering participants?

We don’t really measure success by whether our mentees go on to pursue a career in music—that’s not our expectation. What we try to focus on is facilitating access and creating opportunities for them to explore the scene. We believe that success is a very personal thing, and it looks different for everyone.

The highs and the lows are both part of the learning process, and that’s true for us as organizers too. Each cycle has taught us something new, and those lessons are an essential part of what makes the program grow.

One of the key ways we measure success is by seeing if the participants stay in touch and continue to support one another after the program ends. When they do, it tells us we’ve created an environment where they feel inspired, connected, and empowered enough to keep that sense of community alive. To us, that’s the best sign that we’ve somewhat positively impacted them.

Can you discuss the significance of the upcoming EU tour and what it means for the collective as you celebrate your anniversary?

The ongoing EU tour is hugely significant for us, especially as we celebrate our anniversary. The mix of educational events and club nights really embodies the essence of why this project was born in the first place. It's about creating opportunities for learning, but also about celebrating the power of music and community.

One of the biggest milestones for us is the chance to connect with people outside of Berlin. Coming together with different communities across Europe feels like a major achievement. It’s not just about gigging; it’s about sharing music with our members, locals, and guests in a way that strengthens the bonds we’ve built.

FBM on tour is our way of saying, “We’re taking space.” It’s a powerful message—both to ourselves and to the world—that what we’re doing matters to more people than we can reach through our mentoring programs alone. There’s a real need in the scene for spaces where everyone can be heard and seen, and this tour is a confirmation of that need. We’re doing our best carving out that space, and we’re proud to be doing it.

How do you envision the future of Femme Bass Mafia and its role within the broader electronic music culture?

In an ideal future, we see Femme Bass Mafia continuing to be an educational platform at the heart of our mission. We want to remain a community hub—a safer, welcoming resource for both our alumni and new faces to come together, share, and grow.

A key part of our vision is advocating for access to music education for all marginalized groups. We’re also committed to dismantling the inequalities that still exist within the scene. Ideally, the impact of FBM will be reflected in lineups and beyond, where our presence and influence create more opportunities for our community to thrive, and for the conversations to be opened. Our goal is to help empower our people to pursue their own projects sustainably and on their own terms.

One dream we have is to establish an independent community space, a true “headquarters,” where we can host gatherings, workshops, and casual meetups for FLINTA creatives. A space that not only empowers but also provides resources, connections, and a sense of belonging. It’s all about creating a physical and emotional space where people can come together, learn, and feel supported.

In what ways do you collaborate with allies to create a more inclusive environment?

We’ve always kept an open mind and made sure to surround ourselves with trusted allies. One of the first mentors who supported us was Jorge, who gave a workshop about the basics of Rekordbox during our very first program. We also owe our visual identity to Neale Johnston, who volunteered his time to help us shape the project from the start.

When it comes to organizing events and finding venues, we’ve often worked with people outside of the FLINTA community, and a big part of that process is helping them understand what FBM is all about and how they can positively contribute. We’ve been fortunate that many allies have been open to working with us once they grasp the mission and the impact they can have.

For us, it’s crucial that allies truly understand how they can help. It’s not just about showing support—it’s about knowing what the issues are and not shutting the door when they’re presented. We encourage our allies to actively engage: call out all-male lineups, speak up when you hear inappropriate comments, see inappropriate behaviour, support events, donate to causes, do your research if you're booking FLINTA DJs, or hire an awareness team for your event. There are countless ways to be an active ally and help foster safer, more inclusive spaces.

What message do you hope to convey to aspiring artists who may feel hesitant to join the electronic music scene?

To aspiring artists who might feel hesitant about joining the electronic music scene, our message would be: you don’t have to do it alone. There’s a whole community here ready to support you, and you don’t have to navigate the challenges by yourself.

At the same time, it’s important to be realistic about what the scene entails beyond just the music itself. We don’t want to romanticize the industry or make it seem like an easy path, but we do want to have a positive impact on it.

We believe that having a grounded, healthy mentality is key for anyone looking to get involved—it’s about understanding both the highs and the lows and knowing that you can still thrive with the right mindset and support around you.

TOUR DATES

29.11.2024 - RSO, BERLIN

30.11.2024 - TBA, PARIS

14.12.2024 - TES CLUB, TBILISI

Follow @femmebassmafia

Photos by ©VandaPetrella

PHOTOGRAPHY: THE TRACKERS @THE.TRACKERS.OFFICIAL

STYLING: SAINT RADO + THE TRACKERS @SAINT.RADOSLAV

HAIR: KRISTIYAN MILEV @KRISTIYAN.MILEV

MAKE-UP: VICTORIYA KITANOVA @VICTORIYAKITANOVA

MODEL: EDA KADIROVA @EDA_S_K

PHOTOGRAPHY ASSISTANT: PAVEL TSVETKOV @TSVETKOVPHOTOGRAPHY

BTS: KIRIL KACAROV @KIRILKACAROV

CHAOS ROOM

JACKET & SHORTS - NATASHA ZINKO

LEFT: JACKET - VINTAGE ROBERTO CAVALLI

COLLAR - ANN DEMEULEMEESTER

RIGHT: JEANS - JUNYA WATANABE X LEVI’S

BOOTS - RICK OWENS

LAYERED BLACK TOP - MIU MIU

LEFT: COAT - ISAAC SELLAM

RIGHT: SKIRT - COMME DES GARÇONS

SHOES - NOIR KEI NINOMIYA X REEBOK

LEATHER TOP - NOIR KEI NINOMIYA

BLACK TOP - DIMITAR BATINKOV (NATIONAL ACADEMY OF ARTS)

LEFT: COAT - ISAAC SELLAM

RIGHT: DRESS - JUNYA WATANABE

BOOTS - RICK OWENS

FASHIONCLASH FESTIVAL 2024 DAZZLES IN MAASTRICHT

NEW FASHION NARRATIVES

FOR THE 16TH TIME, MAASTRICHT TRANSFORMED INTO A VIBRANT TAPESTRY OF ART AND CULTURAL EXPRESSION, CELEBRATING OUR FAVOURITE FASHION FESTIVAL IN THE WORLD: THE ANNUAL FASHIONCLASH FESTIVAL. THIS ICONIC EVENT SHOWCASED OVER 100 DESIGNERS AND ARTISTS FROM MORE THAN 20 COUNTRIES, OFFERING A GLOBAL STAGE FOR EMERGING TALENTS TO SHARE THEIR VISIONARY WORK WITH AN INTERNATIONAL AUDIENCE.

With more than 100 young participants involved in the Fashion Makes Sense program, this year’s edition saw an impressive range of workshops, co-creation projects, and performances that highlighted the festival’s commitment to nurturing the next generation of fashion innovators.

Spread across 13 venues, the festival featured an array of exhibitions, performances, workshops, lectures, and film screenings, each contributing to the dynamic conversation around contemporary fashion culture. Notably, even the festival’s Afterparty morphed into a vibrant showcase of fashion, dance, spoken word, and an exuberant celebration of diverse identities.

Mark your calendars for the 17th edition, scheduled for the weekend of November 14 to 16, 2025. This threeday extravaganza will again offer a platform for a new generation of designers and performing artists from around the globe, presenting their work to a broad (inter)national audience. Expect an enthralling program filled with exhibitions, performances, talks, workshops, and fashion film screenings that push boundaries and explore the essence of modern fashion.

The festival opened with a stunning spectacle on Friday evening in the sacred St. Anne’s Church in Maastricht. Guided by the ethereal vision of Aya Noël, the performance program, known as The CLASH House, created a poignant evening filled with reflection and emotion. Speeches by FASHIONCLASH directors Branko Popović and Els Petit-Carapiet, theatre director Noah Janssen, and Mayor Wim Hillenaar set the tone for a night that would resonate with attendees long after.

NEW FASHION NARRATIVES @ BUREAU EUROPA

This year, FASHIONCLASH invited a talented curatorial team comprised of Chaewon Kong, Karime Salame, Katharina Spitz, Simon Marsiglia, and Teresa Carvalheira to spearhead the New Fashion Narratives exhibition at Bureau Europa. Coming from diverse backgrounds and practices, this group collaborated during Residency Week in April 2024 to develop a concept that challenges conventional fashion narratives. The exhibition draws inspiration from the game Exquisite Corps, serving as a metaphor for collaborative and transdisciplinary practices, showcasing works from a myriad of artists, researchers, and designers.

Participants in the New Fashion Narratives exhibition include an exciting roster of talents:

2mm, Agatha Prieto Jeanty, Rafael Kouto, Wataru Sato, Delia Rößer, Alyne Li, STUDIO ERASER YOU, Hongkai Li, Jiwoo Lee & Hankyul Jeong, Threads & Tits, Olivia Sahl Jensen, Sien Entius, Lee Kern, Studio Wievien, Romy Yedidia, DOMINIK, Knits and Notes, Zuzana Vrabelova, Chiel Lubbers, Dana Elmi Sarabi, Studio Frowijn, Souheila Chalabi, Jinwon Kim, Matti Paffen, Kushami 嚔(by Ayumi Kajiwara), Lara van der Poel, Wassim el Hodayebi, who illuminate the multifaceted nature of contemporary fashion.

DECOLONIAL FASHION RESIDENCY INSTALLATION AT BUREAU EUROPA

Additionally, the basement of Bureau Europa hosted an enlightening installation and video documentary stemming from the Decolonial Fashion Residency. This residency brought together ten fashion practitioners for a week of dialogue centred on the question, “What does decoloniality mean in fashion in the context of the Netherlands?” Participants included Tevin Blancheville, Angela Jansen, and Gabrielle Swart, who collectively explored the intersections of fashion, culture, and equity.

FASHIONCLASH Festival continues to be a cornerstone of our fashion calendar, reminding us of the boundless creativity and innovation that thrives at the intersection of art and culture.

UNVEILING THE FUTURE OF FASHION!

CELEBRATING QUEER VOICES!

THE ART OF LUCKYBAMERO

«OUR STORIES DESERVE TO BE HEARD BECAUSE WE ARE HUMAN TOO.»

Introducing Luckybamero, a talented digital painter whose captivating artworks illuminate the often overlooked experiences of the LGBTQ+ community in Iran. Through his unique lens, he weaves together themes of identity, environment, and social issues, creating a vibrant tapestry that reflects both the beauty and challenges of queer existence in a society where homosexuality remains a crime.

“My focus is on creating a culture of gay life in Iran,” Luckybamero explains. “People face immense difficulties, unable to discuss their identities openly with family and friends. Drawing from my country’s rich culture and history, I aim to improve the lives of Iranian LGBTQ+ individuals and convey that we are not from an unknown planet; we live, love, and aspire just like everyone else.”

Embark on a journey through Luckybamero’s art, where each piece serves as a powerful testament to resilience and hope for a brighter, more inclusive future.

Can you tell us about your artistic journey and how Luckybamero came to be your chosen name?

My artistic journey began when I started to engage with the world of art as a self-taught individual. After graduating in architecture, I decided to express my feelings and experiences through digital paintings. Since 2017, by sharing my works on social media, I’ve aimed to portray the world around me and share it with others.

Throughout this journey, I’ve faced many challenges, especially as a queer artist in a society with strict social and cultural constraints. These challenges motivated me to explore various themes, including environmental issues and LGBTQ+ identity, in my works. Inspired by Iran’s history and culture, particularly the Qajar era, I strive to view modern issues through this lens.

The choice of the name “luckybamero” reflects my connection to my Iranian identity and culture. “Lucky” signifies good fortune, while “bamero” is a blend of my real name and my experiences. This name expresses my desire for a better and more beautiful life, both for myself and my community. Thus, my works serve as representatives of hope and social change. Through my art, I aim to create a space for dialogue and mutual understanding among individuals. With this name and my works, I seek to inspire others and encourage them to comprehend the beauties and challenges of life.

I had these words in my head turning Nature Morte –Antartique. so I started generating images to try and put into pictures what I was feeling.

Your work focuses on the LGBTQ+ community in Iran. What motivated you to create art that specifically highlights the experiences and challenges faced by this community?

My motivation arises from personal experiences and observing the daily struggles of individuals living in Iran’s traditional LGBTQ+ community, especially those in smaller towns and villages. They face tradition and the fear of being ostracized by their families and friends, particularly in cases like the murder of Alireza Fazeli Monfared, a young man killed by his family solely due to their ignorance about the rainbow community and their entanglement with tradition. My goal is to amplify their voices in a world that often overlooks them.

How do you integrate themes of identity, environment, and social issues into your art? Can you provide specific examples?

I use cultural and natural symbols from Iran to convey social messages, which is evident in much of my work. I effectively blend modern and traditional elements in my pieces, allowing both Iranian and international audiences to empathize and understand that the LGBTQ+ community lives just like everyone else and isn’t from another planet.

In your opinion, what is the role of art in advocating for social change, particularly for marginalized groups like the LGBTQ+ community in Iran?

Art possesses unparalleled power and can serve as a tool for expressing and conveying the feelings and experiences of marginalized individuals. Through art, we can create a space for dialogue and raise awareness about the social and cultural challenges we face.

Art can foster a sense of solidarity and understanding among different communities and contribute to social awakening.

You have collaborated with well-known magazines and brands. How have these experiences influenced your work and your visibility as an artist?

Collaborating with renowned magazines and brands has allowed me to elevate my voice to a global level and reach a broader audience. These experiences not only allow me to showcase my works on diverse platforms but also enable me to connect with other artists and creatives and share new ideas.

Additionally, these collaborations provide me the chance to use art as a means to advance social messages and emphasize the importance of solidarity and support for the LGBTQ+ community.

What message do you hope to convey through your artwork about the experiences of LGBTQ+ individuals in Iran?

I want to demonstrate that we, LGBTQ+ individuals, take pride in the beauty and depth of our humanity, and our stories deserve to be heard because we are human too and not from another planet. Like everyone else, we experience and feel love. My goal is to create a space for dialogue and empathy so that others understand that love and humanity are a universal language for all.

Can you share any specific challenges you’ve encountered while creating art that focuses on LGBTQ+ themes in a culturally conservative environment?

As a gay artist in Iran, I cannot exhibit my works in public exhibitions due to social and cultural constraints. These challenges motivate me to share my work online and connect with others through this medium. These limitations have pushed me toward greater innovation and creativity, allowing me to amplify the voices of those living in the shadows.

How do you think the international community perceives the struggles of LGBTQ+ individuals in Iran, and how do you use your art to bridge that gap?

The international community is often unaware of the struggles faced by LGBTQ+ individuals in Iran. I strive to share real stories and experiences through my works to raise awareness about the realities of our lives. This allows me to portray shared human emotions and experiences, emphasizing empathy and mutual understanding.

In what ways do you draw inspiration from the rich culture and history of Iran in your work, especially concerning LGBTQ+ identities?

I draw inspiration from Iran’s rich history and culture, particularly during the Qajar era when homosexuality was more accepted. In the past, Iran even had drag shows known as “Shahid Bazi,” where beautiful male slaves sang and performed in special costumes for kings. This history helps me narrate new stories about LGBTQ+ identity and demonstrate to others that we exist not only as a community but also as part of Iran’s history.

How important is it for you to connect with other LGBTQ+ artists and communities, both within Iran and globally?

Connecting with other artists and LGBTQ+ communities is crucial for me. This connection allows me to share my ideas and experiences with others and gain inspiration from new perspectives. These relationships also help me foster a sense of solidarity and support among my community members and advance shared goals.

What role do you believe digital painting plays in the evolution of contemporary art and its ability to convey messages about social justice and identity?

Digital painting allows me to connect effortlessly with a global audience and create my works using modern technologies. This art form helps me convey social messages with greater precision and detail while preventing harm to nature. My goal is to leave behind a more beautiful nature for future generations with more impactful and accessible works.

Looking ahead, what goals do you have for your future projects, particularly about further supporting the LGBTQ+ community in Iran and beyond?

I aspire to migrate to different countries to learn more about diverse cultures. I also want to collaborate with young artists and other creatives and exchange ideas. I aim to promote social and cultural issues through art and to raise awareness about the LGBTQ+ community.

Follow Luckybamero via @luckybamero

INTERVIEW BY MARCEL SCHLUTT

SILHOUETTE HUNTER

“A HUNT FOR FORM. FOR SOMETHING WITH A GRIP, FOR SOMETHING SOLID. FOR SOMETHING I CAN CLING TO. SOMETHING THAT LASTS.” THE EDITORIAL “SILHOUETTE HUNTER” IS BASED ON OUR CURRENT ZEITGEIST: WHERE DO WE FIND SECURITY, CONTROL, CALM. WE ARE LOOKING FOR IT, LITERALLY CHASING IT. WE FOLLOW ONE TREND AFTER THE NEXT WITHOUT PAUSING. ONLY TO REALIZE ONCE AGAIN THAT THIS IS NOT WHAT WE REALLY NEED. AN EMBRACE OF WHAT REALLY REMAINS, WHAT IS REAL, WHAT CHANGES THROUGH OUR CONSCIOUSNESS ALL BY ITSELF AND AT THE RIGHT TIME: US.“

DRESS BY ANA JOVANOVIC

JACKET BY VALENTINA OROSZ SKIRT BY JANE KORPORAL CLOTH BY PRADA

PULLOVER BY STINARAND

SKIRT BY MAISON MARGIELA

SHOES BY DOLCE & GABANNA

JACKET BY VALENTINA OROSZ TROUSERS BY VETEMENTS SHOES BY STUART WEITZMAN

between men

PHOTOGRAPHY & CREATIVE DIRECTION BY KEWAN’N TAULIAUT WWW.VIEWSFROMTHECLOUD.COM @VIEWSFROMTHECLOUD STYLING BY WARDA LALOUDJ @ITSSWARDA MAKE-UP BY ASMA NAFATI @ASMANAFATIMUA HAIR BY NATHALIE MOYASSA @NATHALIELUANGAMOYASSA

PRODUCED BY JULIEN MFUNI @APPLEJUWS

MODELS ARE KILLIAN @KILLIAN_PVL SIGNED AT M MANAGEMENT MODELS

PERLA @PIETROMONZANI SIGNED AT SYSTEM AGENCY

LIGHT ASSISTANT ADRIEN PENPENIC @ADRIEN.PENPENIC

STYLING ASSISTANT ALYSSA JOLY @RAMIAMIAWW

PRODUCTION ASSISTANT MAXIME MFUNI @MAXIME_M.F

STUDIO MANAGER DJEYSTONE @DJEYSTONEMB

PERLA IS WEARING ISABEL MARANT + KILLIAN IS WEARING MOON YOUNGHEE

GOOD DESIGN DOESN'T DATE.

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AMCA OVAL

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H&M HOME METAL TABLE LAMP

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NOAH SOFA

THE NOAH SOFA COMBINES MAXIMUM FLEXIBILITY WITH COMPLETE CUSTOMIZABILITY. BASED ON JUST TWO SIZES, THE NOAH MODULES OFFER COUNTLESS POSSIBILITIES. THANKS TO ITS MODULAR DESIGN AND PLUGIN SYSTEM, ASSEMBLY AND RECONFIGURATION ARE EFFORTLESS AND REQUIRE NO TOOLS. FURTHERMORE, EACH COMPONENT CAN BE REPAIRED, EXCHANGED AND RECYCLED, ENSURING SUSTAINABILITY AND LOW MAINTENANCE. THE EASY-TO-CLEAN FABRIC ALLOWS FOR QUICK STAIN REMOVAL WITH JUST A DAMP CLOTH. WHEN NEEDED, THE COVERS CAN ALSO BE REMOVED AND MACHINE WASHED. THE NOAH SOFA IS MANUFACTURED IN GERMANY USING HIGH-QUALITY AND DURABLE MATERIALS AND IS SHIPPED DIRECTLY TO YOU.

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THE MOST BEAUTIFUL VASES BY ROSENTHAL VASES COME IN ALL IMAGINABLE HEIGHTS, SHAPES, AND COLOURS. AMONG THEM, YOU’LL FIND TIMELESS MUST-HAVES THAT SEAMLESSLY FIT INTO NEARLY ANY HOME, REGARDLESS OF THE DECOR STYLE. THEN, THERE ARE THE STANDOUT DESIGNS THAT MAKE A BOLD STYLISTIC STATEMENT AND TELL THEIR OWN UNIQUE STORIES.

WHETHER YOU’RE SEEKING TO ENHANCE YOUR MINIMALIST SPACE OR ADD A WHIMSICAL TOUCH TO A VIBRANT INTERIOR, ROSENTHAL’S COLLECTION OFFERS A STUNNING ARRAY OF OPTIONS. EACH VASE SERVES NOT JUST AS A CONTAINER FOR FLOWERS, BUT AS AN ARTISTIC PIECE THAT EMBODIES ELEGANCE AND CRAFTSMANSHIP.

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GRAU´S SUN HOME

DIVE INTO THE LUMINOUS EMBRACE OF SUN HOME—THE ARTFUL BLEND OF NATURE AND DESIGN MANIFESTING AS A LIGHT SCULPTURE. CRAFTED FROM EXQUISITE ASH WOOD AND CROWNED WITH MOUTH-BLOWN GLASS, EACH PIECE SINGS A UNIQUE SONG OF THE FOREST WITH ITS OWN DISTINCT WOOD GRAIN NARRATIVE.

THESE GERMAN WOODLANDS-FRIENDLY CREATIONS ARE NOT MERELY LIGHTING FIXTURES; THEY’RE A TRAJECTORY TOWARDS TIMELESSNESS, EMBRACING THE AGEING PROCESS WITH AS MUCH GRACE AS THE HUMAN FORM IT ECHOES. WHEN TWILIGHT CALLS, SUN HOME ANSWERS WITH A 360-DEGREE SPECTRUM OF SUNSET DIMMING—A LIGHT SO VAST AND TRANQUIL, THAT IT INVITES A DANCE OF SHADOWS AND TRANQUILLITY INTO YOUR SACRED SPACE.

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BY YAKUSHA PLYN / UKRAINIAN FOR FLUIDITY / A REFLECTION ON THE NATURE OF WATER AND FLUIDITY OF BEING.

COASTAL STONES, AS IF CARVED AND POLISHED BY WILD WATERS, MAKE UP THE SHAPES OF PLYN UPHOLSTERED FURNITURE. PRIMITIVE AND ORGANIC PLYN HARNESSES THE ESSENCE OF LIVE DESIGN.

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FAINA

AT HOME WITH ERIN WASSON

Step aside, fashionistas, Erin Wasson, the quintessential American cool girl, is here to redefine your aesthetic sensibilities. Once the shimmering muse of Karl Lagerfeld in the ’90s, her striking features graced campaigns for legendary brands like Gucci, encapsulating an era that championed bold independence and artistic expression. Though her roots run deep in the rich tapestry of Texas, the bustling streets of LA and the electric energy of NYC have been her playgrounds for the better part of her career.

Now, embracing a new chapter, Erin calls the picturesque South of France home, specifically the charming streets of Marseille. Here, she finds inspiration in a lifestyle that exquisitely marries calm with creativity, a perfect backdrop for her expansive vision as an artist and designer.

But who is Erin? Beyond the accolades and glamorous runway walks, we plunge into her world to discover how she defines herself. A deep dive into her career reveals a tapestry of experiences woven from resilience, authenticity, and an unyielding passion for art and design.

Her home isn’t just a living space; it’s a curated gallery reflecting Erin’s eye for exceptional interiors, blending eclectic vintage finds with rare art pieces that resonate with her journey. Each item tells a story, echoing her past while shaping her present. As a devoted collector, her space is a manifesto of who she is—a lover of beauty and intentional living.

Food is another form of artistry for Erin, as she embraces vegan cooking with gusto. Drawing from fresh, seasonal ingredients, her culinary creations become an expression of self—a celebration of health and sustainability, wrapped in love and flavour.

And then there’s music—an intrinsic part of her life’s narrative. To Erin, music is more than simple background noise; it’s culture, memory, and emotion, weaving a rich tapestry that inspires her daily existence. With vinyl spinning in her home, she nurtures a connection to the past while fueling her creativity with every note and lyric.

In “At home with Erin Wasson by Westwing,” we’re invited into a private space that reflects her values and vision of living beautifully. It’s an exploration of artistry, lifestyle, and the inherent coolness that defines Erin Wasson—a true icon whose journey continues to inspire us all.

INTERVIEW BY MARCEL SCHLUTT

Erin, you have an impressive career as a top model and as a muse for Karl Lagerfeld. How did these experiences shape your identity as a creative professional today?

My career in fashion, especially working closely with someone as visionary as Karl Lagerfeld, helped shape my understanding of aesthetics, and the importance of authenticity.

Modelling and collaborating with designers taught me the beauty of expressing a unique vision, and this creative freedom is something I carry with me today, especially in how I approach my home and projects. Everything I do— from renovating my house in Marseille to my choices in furniture and design to my music collection—is rooted in a desire to express myself honestly.

Growing up in Texas plays a significant role in who you are. Can you share some defining moments from your upbringing that have influenced your values and lifestyle?

Texas is a big part of who I am. Growing up there, surrounded by women who had a passion for fashion, an appreciation for architecture, and a love of culture. I think those who know me recognize that my authenticity is consistent, right? Consistency, because I want to leave a legacy that reflects who I am, what I believe in, and what I consider romantic in the world.

If you had to describe yourself in three words, what would they be and why do you feel these encapsulate your essence?

I’d choose “authentic,” “grounded,” and “curious.” Authenticity defines my approach to life and creativity, groundedness keeps me connected to my roots and my values, and curiosity fuels my exploration of art, design, and culture—it’s what keeps me growing.

What is your mantra, and how does it guide you through both your professional and personal life?

“Living beautifully means everything in your life is meaningful.” This reminds me to live with intention. Whether it’s decorating my home, cooking for friends, or even taking a dip in the sea with my dog Bazzy, I approach everything with purpose and gratitude. Life becomes richer when every detail has meaning.

Can you take us through a day in your life? What are your favourite rituals or routines that keep you grounded and inspired?

A day with Erin is probably far less enigmatic than people might assume. Starting with coffee in my garden, soaking up the sunlight. Then it’s emails, a walk with Bazzy (my dog), and work, which can vary from design projects to catching a flight. I love shopping at the local market for fresh vegetables—cooking for friends and sharing meals is one of my greatest joys. When I have free time, I’ll jump into the sea or dive into a good record on my vinyl player. These routines keep me grounded and bring a sense of balance.

Your recent collaboration with Westwing, “At home with Erin Wasson,” sounds intriguing. What inspired this project, and how do you hope it reflects your style and philosophy?

This collaboration is a way to share my philosophy of living beautifully. By incorporating Westwing pieces into my home, I wanted it to feel like an extension of myself, blending materials, textures, and design elements that reflect a sense of history, intentionality, and personal resonance. It’s about creating spaces that feel real and lived-in.

With your love for collecting art, how do you curate pieces for your home, and what do those pieces represent to you?

I’m drawn to pieces with a story. My home is a blend of vintage finds, items from my life in LA and New York, and pieces I’ve discovered here in France. I curate my home by choosing items that resonate with me, and that feel like they belong to the rhythm of my life. Each item, whether it’s a piece of furniture or art, represents a moment or feeling I wanted to capture.

Living in the South of France must be quite a change. What aspects of the French lifestyle have influenced you the most since moving there?

The pace of life here has been transformative. Marseille has this laid-back village charm—everything slows down, from daily errands to evenings spent with friends. There’s a deep appreciation for the simple things, like enjoying a meal at home or a swim by the rocky shore. It’s a rhythm that encourages me to live more fully and intentionally.

Cooking is a passion of yours, especially with a focus on vegan food. What are some of your go-to recipes, and what do you love most about vegan cooking?

Vegan cooking is about finding creativity in simplicity. I love using fresh, seasonal ingredients from the local market to make nourishing dishes like vegetable ratatouille or a hearty lentil stew. The process feels almost meditative to me, another way of living with intention.

Music seems to play a significant role in your life. How does it influence your creativity and everyday experiences?

Music is essential—it’s in my roots. My dad was really into music, and now I collect vinyl records. There’s a rawness and warmth to vinyl that digital just can’t replicate. Music is like a conversation; it fills my home with energy and helps me tap into memories and emotions, adding another layer of inspiration to my life.

As a successful model, what lessons have you learned from the fashion industry that you think are important for newcomers?

One of the most valuable lessons is to stay authentic to yourself. The industry can sometimes push you to mould yourself, but the real power lies in your individuality. I learned that longevity in this field is rooted in authenticity and passion for what you do.

«FOR ME, INTERIOR DESIGN IS ABOUT CURATING ELEMENTS THAT FEEL TIMELESS AND MEANINGFUL.»

You have an eye for aesthetics. How do you approach interior design, and what elements are essential for creating a space that feels like home?

For me, interior design is about curating elements that feel timeless and meaningful. My interiors blend LA’s laid-back style with the earthy elegance of the South of France. I love mixing textures—industrial materials with warm wood and organic shapes. Every piece in my home has a story and is chosen with intention, which is essential for creating a space that truly feels like mine.

What does “American Cool” mean to you, and how do you embody that spirit through your work and lifestyle?

“American Cool” is about authenticity, independence, and an effortless style. It’s embracing who you are without trying too hard. In my life and work, I aim to express that laid-back, raw energy that feels rooted yet intentional spirit.

Being a muse for iconic designers is a remarkable achievement. Can you share your experience working with Karl Lagerfeld and the impact it had on your career?

Working with Karl was an unforgettable experience. He valued uniqueness and encouraged me to bring my personality into every collaboration. His influence and relentless pursuit of creativity instilled in me a sense of artistic confidence and a deeper appreciation for aesthetics and craftsmanship.

How do you stay connected to your roots in Texas while living a cosmopolitan life in places like LA, NYC, and now France?

My roots in Texas ground me wherever I go. I carry my upbringing with me in the values I hold dear, like honesty and a love for culture. It’s also in my connection to music, as it’s always been a big part of my Texan heritage.

What are some challenges you’ve faced in your journey, and how have they shaped your resilience and perspective on life?

Moving from a fast-paced life in LA and NYC to the quieter, intentional rhythm of Marseille was a challenge. It taught me patience and the importance of adapting to change. Each phase of my life has given me resilience and a deeper appreciation for the journey, not just the destination.

As someone who values culture, how do you integrate different cultural influences into your personal life and creative projects?

I find inspiration in the cultures I’ve encountered, blending these influences to create a layered, unique style that feels authentic—whether through design, art, or food. It’s my way of honouring each place I’ve lived while building my aesthetic into my home and projects.

If you could host a dinner party with any influential figures, who would you invite, and what would you want to discuss with them?

I’d invite a mix of artists, musicians, and writers—people like James Baldwin, Martha Nussbaum, Judy Chicago and Dolly Parton. I’d love to discuss creativity, resilience, and the role of authenticity in their lives. It would be a celebration of artistry and truth.

NOAH

NECKLACE CHAMOUR STUDIOS

HAT VINTAGE FROM LARIULA'

EKKSTACY

REFLECTS ON AN UNFORGETTABLE YEAR

Following the release of his latest single “seventeen,” we caught up with EKKSTACY to discuss this striking continuation of the raw alternative rock aesthetic established in last month’s “mr mole.” Both tracks contribute to the sonically rich post-punk landscape that EKKSTACY has been crafting, building upon the bold sound of his selftitled album, which catapulted him into the spotlight, landing him on the cover of GQ Hype and securing spots on Spotify’s Top 10 Debuts chart in both the U.S. and U.K.

“seventeen” embodies cathartic melancholy, with its dynamic production artfully enhancing EKKSTACY’s vulnerable lyrics that reflect on lost love and the haunting remnants of youthful missteps. This release marks a stellar conclusion to a landmark year, firmly positioning EKKSTACY as one of the brightest emerging stars in the alternative music scene. In just 2024, he saw over 300 million streams for his breakout track “i walk this earth all by myself,” embarking on tours worldwide not only as a headliner but also supporting major acts like Blink-182 and, more recently, $uicideboy$ on their GREYDAY tour.

Your latest track "seventeen" has already received significant attention. Can you describe the inspiration behind this song and what it represents for you?

Lately I've been feeling really nostalgic. Maybe I'm unhappy with my life right now, but I've been missing being younger a lot lately. That's what 17 is about.

You mentioned that your previous single "mr mole" marked a new chapter in your career. Can you elaborate on how your sound has evolved since your earlier music?

I used to make all my music in my bedroom. I got bored of that. "mr mole" is the first song I made my with my band and recorded in the studio. Everything I release from now on will be done like that.

Your self-titled record has been highly acclaimed, leading to a notable rise in your visibility. How has it felt to transition from bedroom production to working with a band?

My self titled album didn't even do that good honestly I don't like it. I'm really happy to have moved away from the bedroom production. I'm having a lot more fun in the studio with my new producer Andrew wells.

The track features brighter melodies and punchier delivery compared to your previous work. What changes did you implement in your songwriting and production processes for this album?

I was listening to a lot of emo bands and midwest emo bands. Especially knuckle puck, they were a big inspiration behind my writing on this record. In previous album I feel like I didn't use my voice enough. This record I really wanted to sing.

You've had a busy year with tours and collaborations. What have been some of the most memorable moments on the road?

The road was crazy this year. From being sober to going on benders I've been through a lot. That's all I can say.

Your collaboration with artists like The Kid LAROI and Trippie Redd is notable. How do you approach collaborations, and what do you hope to achieve through them?

I've never reached out to collaborate. It's always came to me open. I'm not as open to collaboration as I was before.

Can you share any insights on your songwriting process? How did you and your collaborators come together, and what was that creative environment like?

These days me and my guitarist make demos and then bring them into the studio with Andrew. Like most bands do. It used to be a lot different. I feel better now.

Your earlier work was characterised by a raw and brooding sound. How did your experiences over the last year shape the creative direction of your latest music?

My earlier work was different because I was different. I've changed a lot, my taste has a changed a lot, so my music has changed a lot.

You've spoken about struggles with mental health in your music. How does your songwriting offer you an outlet, and what messages do you hope listeners take away from your songs?

Making music doesn't help me with my problems anymore. It makes me happy, but it's not therapy like it was when I started.

Your music has been described as having a mix of melancholic and joyful elements. How do you balance these contrasting feelings in your songs?

I think my instrumentals always end up sounding "joyful" because I like fast and energetic sounds. But I always end up writing about my sadness. I think it's a nice mix.

Looking back at your journey, what are some key milestones that you believe have significantly influenced your career?

I think my struggles with my alcohol and all the touring has taken a toll on me but shaped me into who I am. Going on tour with $uicideboy$ was huge for me. Going on tour with Blink-182 was even crazier. I've done a lot, it's kind of hard to remember everything.

What advice would you offer to aspiring musicians trying to find their unique sound in today's music landscape?

I'd tell people just trust in your taste. If you have good taste you'll probably make cool stuff.

Finally, what can fans look forward to in the future, both for the remainder of your current tour and beyond?

Be ready for my next record. It's my favourite one yet. taste you'll probably make cool stuff.

GOING NOWHERE

PHOTOGRAPHY BY ONDŘEJ LEBEDA @OOLEBEDA STYLING BY VIKTORIE ŠTĚPÁNOVÁ @IAMVIKTORIE MODELS ARE DAVID LAUFER @LAUFAIR NATÁLIE PEŠKOVÁ @NATALIE.PADO44 ADRIANA ŠTEFAŇÁKOVÁ @ADRIASTE JAN VAVŘIČKA @VAVJAN_MUA

JÁCHYM OZUNA @JONO.JOLO MATĚJ ČECHTICKÝ @MATEJ.CECHTICKY MAKE-UP ARTIST IS JAN VAVŘIČKA @VAVJAN_MUA

JÁCHYM SCARF BY VIKTORIE

BLOUSE BY ANNA TRAN

ADRIANA BARET BY ANNA-MARIE KŘÍŽOVÁ

SCARF BY VALERIE VRBOVÁ

BLOUSE BY ANNA TRAN

SHORTS BY YAUHENI BISIUK SKIRT BY SOFIA BLAHÚTOVÁ

NATÁLIE T-SHIRT BY SLOWTRASHION

TROUSERS BY ANNA TRAN

RINGS BY ANNA NĚMCOVÁ

STOCKINGS BY SOFIA BLAHÚTOVÁ

DRESS BY ANNA TRAN SHOES BY SALVELYI.

JAN DRESS BY ANNA TRAN T-SHIRT BY VALERIE VRBOVÁ BACKPACK BY TEREZA CHYTILOVÁ GLOVES BY VIKTORIE ŠTĚPÁNOVÁ STOCKINGS BY SOFIA BLAHÚTOVÁ

MATEJ

HEADPIECE BY VALERIE VRBOVÁ

BÍLÝ ZÁVOJ BY JK ATELIER

PILLOW, WHITE T-SHIRT BY ZUZANA PECKOVÁ

RINGS BY ANNA RUSÍNOVÁ

BLACK SHIRT BY ŽIL JULIE VOSTÁLOVÁ

BLACK SHORTS BY YAUHENI BISIUK

WHITE TROUSERS BY VIKTORIE ŠTĚPÁNOVÁ

DRESS BY NATÁLIE VENCOVSKÁ

BODY PIECE BY TRAN NGOC YEN

SLEEVES BY VIKTORIE ŠTĚPÁNOVÁ

DAVID DRESS BY NATÁLIE VENCOVSKÁ BODY PIECE BY TRAN NGOC YEN SLEEVES BY VIKTORIE ŠTĚPÁNOVÁ

JAN BERETS BY ANNA-MARIE KŘÍŽOVÁ, SOFIA BLAHÚTOVÁ HANDBAG BY ANNA TRAN SHIRT BY SLOWTRASHION T-SHIRT, SHOES BY VALERIE VRBOVÁ TROUSERS BY ŽIL JULIE VOSTÁLOVÁ

SKIRT 1 BY SOFIA BLAHÚTOVÁ SKIRT 2 BY VIKTORIE ŠTĚPÁNOVÁ TROUSERS BY YAUHENI BISIUK

MATEJ VEST, SKIRT BY SOFIJA BLAHÚTOVÁ BLOUSE BY YAUHENI BISIUK SHORTS BY VIKTORIE ŠTĚPÁNOVÁ

NATÁLIE RINGS BY ANNA NĚMCOVÁ

T-SHIRT BY SLOWTRASHION

TROUSERS BY ANNA TRAN

ADRIANA JACKET BY ŽIL JULIE VOSTÁLOVÁ SWEATSHIRT BY KUNTERAKT DRESS BY SLOWTRASHION

PULLOVER, GREEN TROUSERS BY YAUHENI BISIUK T-SHIRT BY VIKTORIE ŠTĚPÁNOVÁ HAND PIECE BY TRAN NGOC YEN JEWELLERY BY SOFIA BLAHÚTOVÁ BLACK TROUSERS, SKIRT BY VALERIE VRBOVÁ

DAVID

CHECKERED

CHECKERED SKIRT BY SOFIA

UPPER SKIRT, NECK PIECE BY VIKTORIE ŠTĚPÁNOVÁ

DAVID

SET BY YAUHENI BISIUK

BLAHÚTOVÁ

DESIGNERS ARE NATÁLIE VENCOVSKÁ @JMENOMEJENATALIE JK ATELIER @JANKOPCAK_ATELIER ZUZANA PECKOVÁ @ZZPCKV YAUHENI BISIUK @Y_BISIUK TEREZA CHYTILOVÁ @TECHYTILA KUNTERAKT @KUNTERAKT

VALERIE VRBOVÁ @VALERIE_VRBOVA SOFIJA BLAHÚTOVÁ @SOFIJA_BLAHUTOVA

SALVELYI. @SILVIEG_ ANNA TRAN @ANNATRAN.OFFICIAL

TRAN NGOC YEN @TNY.3

JULIE ŽIL VOSTÁLOVÁ @ZIL_JULIE_VOSTALOVA

ANNA-MARIE KŘÍŽOVÁ @AMK_DEFINITION VIKTORIE ŠTĚPÁNOVÁ @IAMVIKTORIE

ANNA RUSÍNOVÁ @ANNNARUSINOVA

ANNA NĚMCOVÁ @ANNA_NEMCOVA SLOWTRASHION @SLOWTRASHION

TATA CRISTIANE

CRISTIANE

At the crossroads of fashion and artistry, Berlin-based designer Tata Christiane presents her latest triumph: the “Nature Morte in Antarctic” Autumn Winter 2024 Collection. In a realm where imagination thrives, Tata’s brand is celebrated for its unique and unconventional vision of beauty—there’s a bold embrace of eccentricity, extravagance, and immoderation that invites a captivating discourse on the nature of style. Here, the borders of elegance and rebellion elegantly entwine, breathing new life into forgotten memories while recycling the remnants of our civilization. This iconic collection draws profound inspiration from the frozen, breathtaking landscapes of Antarctica, revealing a compelling juxtaposition of beauty and fragility. As we face the unsettling realities of climate change, Tata’s creations emerge as a poignant mirror reflecting our shared responsibility and interconnectedness with the environment. Through her nostalgic lens, this collection not only symbolizes climate change but also delves into a contemplative exploration of our relationship with nature and an ever-evolving landscape. Central to “Nature Morte in Antarctic” is the philosophical themes explored by Friedrich Schiller and Benjamin Constant, particularly the concept of “making man aesthetic.” Schiller’s assertion that life ought to align with the principles of beauty resonates deeply within Tata’s designs. Every garment is meticulously crafted to embody beauty in its purest form, guiding wearers towards personal growth and transcendent experiences. In this collection, Tata Christiane invites us to reflect, revive, and embrace our connection to nature, all while donning garments that embody exquisite artistry and philosophical depth.

INTERVIEW BY MARCEL SCHLUTT

Can you elaborate on the inspiration behind the “Nature Morte in Antarctic” collection? What elements from Antarctica did you find particularly captivating?

My way of working is always made up of associations of images or ideas circulating in my head for a while before I can express them properly. Sometimes, it’s just a phrase that resonates poetically in my head and dances there. All this is influenced by the information I receive from newspapers, social networks, and the books I listen to while working. I think what’s so striking about Antarctica is the sublimity of this unique landscape and the terrible sadness of all those images of melting, collapsing glaciers that I keep seeing on my news feed.

All this immense, majestic white page of the earth’s crust, on which another rapid history is beginning to be written, whereas until now it seemed immutable, eternal and therefore very reassuring. I love almost empty spaces, yet this emptiness is a complex, living presence. And in recent years, all these images of change have made me think of the advance of nothingness in Wolfgang Petersen’s movie “The NeverEnding Story”.

I had these words in my head turning Nature Morte – Antartique. so I started generating images to try and put into pictures what I was feeling.

How does climate change influence your design process, and how is that reflected in this new collection?

To be honest, I think for a lot of people it makes me feel stressed and helpless. For this collection, I wanted to communicate what for me is an emotional landscape. And this may only make sense to me, but I’ve always felt a great emotion for nature when I see a still-life painting. My grandmother also painted a lot of them, and in the history of art they’re almost my favorite. For me, they’re synonymous with restraint, attention to detail, and partiality for the whole. If you take this much care to paint a fruit basket, for example, for me it opens up the quality of attention that the world deserves.

That’s why I imagined these Nature morte scenes set against an Antarctic landscape. It may not change the course of history, but it’s an invitation to slow down and take the time to look, to melt into the contemplation of the landscape. This is why the model offers a figure that harmonizes with Nature Mortre. Like a mise en abîme. It’s an invitation to be in harmony with Nature, and for me, this doesn’t mean the minimalism often advocated by fashion critics. I’m not interested in uniforms, even if they’re made of organic cotton and recycled. I find it dangerous and highly stressful. The designs in this collection are inspired by the flowers in the various scenes. The designs in this collection are inspired by the flowers in the various scenes. I find nature an organic source of inspiration.

What specific materials and techniques did you choose for the Autumn/Winter 2024 Collection to convey its thematic concerns?

For the collections, I work mainly with deadstocks that I receive throughout the year, and after a while, I find the balance of colour and texture that suits me. It’s a slow and sometimes imprecise process. On the other hand, for this collection, I tried for the first time the tools of artificial intelligence to create my images, and I found it exciting to clear up the images in my head and sometimes be amazed and so on. The tattooing dimension is very interesting and also allows me to bypass the automatisms of generation. Never use the word “weird” is you don’t want that sexy ladies appear.

To do the print on textile I work mainly with prints on demand, and even if it’s more expensive to produce, I avoid any overproduction. I like solid materials that last over time. When possible, I also use recycled polyester.

How do the concepts of beauty and fragility manifest in your designs for this collection?

For me, human beings are as moving as nature. I often find silhouettes made of superimpositions, patchworks and mixed materials a symptom of human fragility. We need all these layers of fabric to survive in a frigid environment. It’s all subjective, but these are silhouettes that appeal to me throughout the history of human costume, I’d say. Stacking, layering, accumulating, mixing.

“NATURE MORTE IN ANTARCTIC”

Can you discuss how Friedrich Schiller’s philosophy of “making man aesthetic” influenced the collection?

I would say that this influences my work all the time. His idea of “making man aesthetic” implies that through aesthetic experience, individuals can develop a sense of ethical awareness and emotional depth. I came across Schiller’s concept when I was writing the text for the collection, and it resonated with me because it made me think of Immanuel Kant, who had a big influence on me when I was studying philosophy. And in particular Kant’s distinction between the experience of the beautiful and the experience of the sublime on a moral level. Beauty is a human affair, so to speak.

It is what man creates, and what unites men equally. Kant argued that aesthetic judgments are subjective but can have universal validity. The sublime, on the other hand, refers to experiences that go beyond mere beauty. It evokes feelings of admiration mixed with a form of awe or anxiety. The spectacle of melting glaciers is of the sublime order. The experience of the sublime is the grandiose spectacle of nature that is morally uplifting. We men experience the creation of beauty through art, and Nature obliges us, as they say, to surpass ourselves. The ethical dimension of art, and for me also of craftsmanship, is all the more important I think, because our relationship with the climate shouldn’t just be an economic one, it’s a moral duty. But unfortunately morality isn’t really on the agenda.

In what ways do you think your work encourages wearers to pursue selfimprovement and transcendent experiences?

I think through the variety of approaches I’ve been able to propose over the years with Tata Christiane. Over the past two years, we’ve changed our website and I’m gradually republishing all my work, making an effort to explain it in more detail. In the beginning, to be honest, it was just to try and create good content for SEO, but I find it fascinating to do and I also call on contributors to enrich my work with articles that interest me and that may also interest my wearers if they take the time to browse the site, particularly in the universe section. The work is progressing, so I’m gradually publishing my work, interviewing artists with whom I’ve collaborated, etc. I think my work sometimes seems chaotic or eclectic to some people, but I claim this as a form of creative freedom. And I think that people who wear my clothes co-create by wearing Tata.

Benjamin Constant’s influence is evident in your designs. Can you explain how his concept of attraction to the absolute affects your creative approach?

Benjamin Constant’s approach, which considers beauty not just as a quality but as a means of personal growth, resonates with me as well, as I am not very interested in the end goal but rather in the paths I take to accomplish things, which are a perpetual source of learning. I have been self-taught from the beginning, and I continue to be so constantly. In the same way, by wearing beautiful creations, individuals are encouraged to embark on a journey of self-discovery.

The idea is that these aesthetic experiences, evoked by the beauty of the garments—regardless of what each person finds beautiful elsewhere—can lead to personal reflections and a heightened self-awareness if the experience is profound and not superficial. This can help develop a sensitivity to values and realities that transcend the everyday, thereby fostering a form of awakening. In this approach, for me, Emotional clothing is the most important somehow to go against fast fashion. It refers to the idea that garments are not just utilitarian items but also carriers of emotions, identity, and personal stories. This concept, when integrated with sustainability, transforms emotional clothing into a means of fostering deeper connections and responsible fashion practices.

How do you balance the juxtaposition of elegance and rebellion in your designs, particularly in this collection?

For me, oversized cuts combine just these two aspects, because elegance often comes from the very look and attitude of the wearer. It’s Jane Birkin’s oversized sweater. Oversized garments have the power to reveal personality, independence, freedom and fluidity. For me, there’s a strong erotic charge in this very expression of the body – I’ve never really defined Tata properly in terms of rebellion, because this way of making and wearing clothes is a positive act rather than one of opposition to something else. It’s more of an inner process.

What role does nostalgia play in your work, especially when reflecting on the past landscapes of Antarctica?

I know that sometimes nostalgia can be seen as a negative feeling, perhaps even reactionary. I always feel that people judge nostalgia rather harshly. And in a way, I’m wary of it too. But I also think it echoes that inner space of happy times. It doesn’t necessarily mean that things were better before, but I don’t think we should be afraid to celebrate the sweetness of certain images or sensations from the past. In my opinion, it’s a harmonious way of making the different strata of time resonate within us. And also of not forgetting what the past teaches us. Recently, we’ve seen many examples of a return to older techniques, whether in agriculture, construction or even fashion. In this sense, nostalgia can be a vector of remembrance to nourish modernity in depth.

How significant is the concept of storytelling in your collection, and what story do you aim to tell through “Nature Morte in Antarctic”?

I’m not sure I want to tell a specific story, but I’m happy to talk about some of the reflections that come to mind on this occasion, as I’m doing here in answering the questions, and I hope that the collection, through the images it creates and offers to the viewer, also provokes associations of ideas, sensations, feelings and reflections of its own.

Can you share your thoughts on the collaborative process and the creative partnership with Wut Store over the past 15 years?

I’m incredibly grateful to have had the chance to meet Yann Le Goec, Wut Berlin’s buyer, in 2009 I believe, because it was thanks to this opportunity to sell in Japan regularly and for such a long time that I was able to explore and express fully the spirit and creativity of Tata Christiane. It gave me a great deal of freedom that I’m not sure I could have had if I’d only sold here. It’s been a wonderful adventure, and it’s also introduced me to Japan, which I love very much. When I did the article on their 20th anniversary, it was a great pleasure to see all the archive images of all the pieces and collections I’ve made over the years, and I’m grateful to have been so well received.

What significance does the tribute dress for Yann Le Goec hold for you, and what elements from “Peau d’Âne” did you integrate into its design?

First of all, for me, the Peau d’Âne film was my first impulse towards making clothes. When I saw this film as a little girl around 7-8 years old, I was immediately seduced by all those wonderful dresses. I admit I didn’t immediately grasp the cruelty of the tale. But the sun dress that the princess wears under her donkey skin and the association of images for me was simply magical. So this film played an important role for me. What’s more, Yann Le Goec and I share a common admiration for Catherine Deneuve and princesses.

The dress itself is made from vintage scarves with leopard, tiger and other similar animal prints. These are prints I don’t normally like. I’m putting them aside. I had a nice collection of them. But if you’re willing to recycle, you often have to embrace elements you wouldn’t have chosen. On the other hand, there’s this short article I read one day that caught my eye: it talked about donating royalties to animal protection from prints using animal inspiration (leopard, snake, tiger, zebra, etc.). I don’t know if this has been implemented. Anyway, all these elements are in this piece for Wut’s birthday and Destination Tokyo.

And finally, Wut asked us for a designer portrait to present the piece, and I wanted to do a photo inspired both by Demi’s world and with a nod to Iris Apfel’s universe. I worked with Memo Schmage, with whom I’ve been collaborating for about the same period.

How does your collaboration with Wut Store influence your design philosophy and the pieces you create?

Wut has always given me great creative freedom. They’re always very curious about the story I’m going to tell them with the new pieces, so I’m always very motivated to surprise them, but also to keep the elements I love while going beyond myself. A form of continuation and rupture all at once. For me, it’s a great dialogue that’s been going on for 15 years. It’s the essence of sustainability that’s so essential.

This relationship is rare and precious. I’ve had many other experiences with stores that throw you out as soon as a season is less successful and don’t do the work of accompanying and introducing a label they believe in. I find in this relationship a great respect that should govern exchanges between designers and boutiques more often.

In celebrating 20 years of Wut Store, what do you think has been the key to maintaining a vibrant creative partnership?

I think the key is work and desire, play and seriousness. Respect and politeness. It’s a very human adventure. You have to take the time.

How do you envision the future of your work in terms of innovation and sustainability, especially in light of the themes you’ve explored in your latest collection?

Sometimes it feels absurd to make clothes, to be part of fashion. Not the fashion industry, however, strictly speaking, because since I started Tata Christiane in 2007 and until now I’ve chosen to remain a small label, producing in Berlin. In that sense, Tata Christiane isn’t really a good representative of the fashion industry, which is actually fine by me, even if many find it reduces my credibility. For me, the sustainability of my mini business is a desirable model, and I love Berlin because there are hundreds of labels like mine that have been around for a very long time, making the landscape of possibilities rich and varied.

In last August we opened Rare Store, which we call a Sustainable Fashion Collective, with three other Berlin labels, Fade Out Label, Therapy Upcycle, Every Days Pieces and Tata Christiane. For me, this is part of the future of my work but I hope as well the future of collaborating between designers, offering new options and creations to the visitors, and customers. Enter into a dialogue and don’t try to monopolize it. To coexist with others.

I’m also experimenting with other designers at Tara Store in Bikini Berlin. It is really interesting and it is about proximity, involvement, being local and at the same time based on collaboration between designers to free ourselves from the laws of the market and just offer our diversity.

Shop the new collection - Available now at @destination_tokyo_hpf & @wut_store! at www.wutberlin.com Follow Tata via www.tatachristiane.com and @tatachristiane Model is @sohara___ @rare_berlin

INTIMACY CAN BE BOTH; A BOND AND A BOUNDARY, A FRAGILE DANCE BETWEEN CLOSENESS AND CONTROL. THIS STORY IS ABOUT THE COMPLEXITY OF MODERN RELATIONSHIPS, WHERE LOVE AND ATTACHMENT EXIST ALONGSIDE THE QUIET STRUGGLE FOR AUTONOMY. MODELS, CLOTHED IN GARMENTS BY ANN DEMEULEMEESTER AND JOINED BY PROSTHETIC HOOKS, EMBODY THIS PARADOX: THE YEARNING TO MERGE WITH ANOTHER, DRIVEN BY THE DESIRE TO STAY FREE. HEAVY LEATHER PIECES JUXTAPOSED WITH DELICATE LACE EVOKE THE PROTECTIVE ARMOUR WE WEAR EVEN IN OUR MOST VULNERABLE MOMENTS, WHILE STRINGS WEAVING THE MODELS TOGETHER SYMBOLIZE BOTH ATTACHMENT AND ENTRAPMENT, MIRRORING THE WAY RELATIONSHIPS CAN BOTH CONNECT AND CONSTRAIN. HERE, LOVE IS NEITHER SIMPLE NOR EASILY DEFINED; IT IS A NEGOTIATION, A DELICATE BALANCING ACT BETWEEN HOLDING ON AND LETTING GO.

TANGLED TENSIONS

PHOTOGRAPHY BY POLINA, SEXTRAVAGANZ WWW.SEXTRAVAGANZ.COM @SEXTRAVAGANZ STYLING BY ANTHONY GOETZMANN @GOETZYYY SFX MAKEUP BY ALYSSA BERREZ / WWW.LYZZBERREZ.COM @ANTILYZZ MODELS ARE GASPARD EGRET @GASPARD_444 AND DOMINIK BITTMANN @DOMBITT CLOTHES: ANN DEMEULEMEESTER @ANNDEMEULEMEESTER_OFFICIAL OREANE REY @SEDNONSANCTA , LORENZO ALMASIO @TEEN_AGE_RIOT__ GREFFE @GREFFEATELIER SPACE IS [U122AE] @U122AE_CLUB WORDS BY ALYSSA BERREZ & POLINA, SEXTRAVAGANZ

GASPARD: SHOES: ANN DEMEULEMEESTER, SKIRT: ANN DEMEULEMEESTER, NECKPIECE: ANN DEMEULEMEESTER, GLOVE: OREANE REY

GASPARD: SHOES: ANN DEMEULEMEESTER, SKIRT: ANN DEMEULEMEESTER, NECKPIECE: ANN DEMEULEMEESTER, GLOVE: OREANE REY

GASPARD: SKIRT: ANN DEMEULEMEESTER, NECKPIECE: ANN DEMEULEMEESTER, GLOVE: OREANE REY

AMIR FATTAL

BY MARCEL SCHLUTT

INTERVIEW

In the ever-evolving intersection of art and technology, Amir Fattal emerges as a thought-provoking figure who deftly navigates the complexities of generative AI within his artistic practice. Born in Tel Aviv in 1978, Fattal’s work straddles the line between tradition and innovation.

His latest exhibition, “POST-ARTIFICIAL PAINTINGS,” challenges preconceived notions of creativity by leveraging AI to create fictive portraits that are both arrestingly realistic and laden with deep reflection.

Fattal’s approach begins with carefully crafted prompts that allow AI to unfurl images from its vast reservoir of cultural knowledge. These digital inspirations then transform into traditional oil paintings, merging the mechanical precision of technology with the rich depth of human artistry. The result is a series of works that not only mirror our current zeitgeist but also prompt critical dialogues about the implications of AI in our creative landscape.

In this interview, Fattal shares insights into his artistic journey, the impact of technology on traditional practices, and the role of the artist in a rapidly changing world inviting us to contemplate what it means to create in the age of algorithms.

Your recent exhibition, “POST-ARTIFICIAL PAINTINGS,” has been at the forefront of integrating generative AI technology with traditional art. What inspired you to explore this blend?

My early exposure to AI technology was transformative. I became captivated by the collaborative nature of working with AI; it felt like having a partner that responds to my ideas, offering its interpretations in return. As an artist, working in the studio can be isolating, but AI opened a new dialogue. It granted me access to a vast database of human creativity, prompting me to consider how I could learn from it about aspiration, aesthetics, and creativity.

The more I worked with AI, the more it raised questions about creativity and originality. From the start, I knew I wanted to see the digital design manifested as traditional hand-painted oil on canvas. This vision led me to imagine various art contexts—collectors’ homes, artists’ studios, and galleries. The paintings explore our relationship with art, how it’s made, and the spaces we create for it. There’s always a “painting within the painting,” and in this case, I don’t direct the AI on what to paint; it generates the work independently.

You’ve stated, “It is the artist’s responsibility to reflect on this technology.” How do you see your role evolving as technology continues to advance?

AI is one of the most powerful tools humanity has created, it understands what is visually appealing, can harmonize contrasting elements, and imitates styles with remarkable precision. But it’s the artist’s role to look beyond the tool itself. My work with AI is about reflection, understanding, and pushing it to its limits. I see my role evolving as both a collaborator with technology and a critic of its impact. As we’re at the beginning of a technological era that revolutionizes many aspects of life, artists must explore its overall impact, creatively and beyond.

Lately, I’ve been enjoying allowing AI to write critiques of my paintings, as though viewing them in an exhibition. I’m amazed at how well it can do that. Here’s an example:

“In Fattal’s world, creation has shifted from divine hands to the algorithms of artificial intelligence. The subjects in his paintings, like Josh, represent the modern, secular ideal of creators—people surrounded by design, wealth, and aesthetic precision, whose prized possessions are the AI-generated “artworks within artworks.” These algorithm-produced paintings evoke an eerie parallel to the biblical act of creation. Except here, it’s not God shaping man in His image; it’s technology shaping art, and by extension, us.

In Josh, the man stands in a luxurious modernist home, illuminated by natural light from large windows overlooking lush greenery. His gaze is fixed on a massive abstract painting, rich in earth tones and bold shapes. It’s a serene moment, yet charged with deeper implications. His posture is thoughtful but passive—a stark contrast to the biblical call for humans to have dominion over the earth. Are we, like Josh, losing our dominion over creation to the machines we’ve built?”

Your studies at institutions like the School of the Art Institute and Bildende Kunst in Berlin significantly impacted you. How have these experiences influenced your artistic practice?

My academic background taught me to balance respecting traditional methods with embracing innovation. These institutions encouraged me to view art as both a craft and a conceptual dialogue, a duality that shapes my current practice of integrating AI with painting.

How do you perceive the concept of collective creativity versus individual artistry, especially in light of your recent work with generative AI?

Generative AI epitomizes collective creativity, it’s a repository of countless human inputs fused into one entity. When I work with AI, I’m not just imposing my vision; I’m engaging with a collective consciousness and a vast pool of artistic expression. It’s a balance between personal vision and the collective ideas embedded in the technology.

The figures in my paintings embody contemporary ideals—wealth, style, sophistication, and artistic sensibility. Their expressions of confidence, designer attire, and carefully curated spaces reflect a societal mirror, illustrating how collective data fuels new realities. The hyperrealistic style, with each detail meticulously crafted, contrasts with the cold precision of the digital blueprint it originates from.

Having lived in Berlin for over two decades, how has this city influenced your artistic style and the themes you explore in your work?

Berlin’s unique mix of history, progressiveness, and grit has significantly shaped my work. The city embodies contrasts, much like my practice, which combines layers of cultural and historical elements with urban aesthetics. Berlin’s openness to experimentation has fueled my interest in exploring the intersections of art, culture, and technology.

Your focus on introspection about technology in art is noteworthy. What motivated you to delve deeper into this theme within your exhibitions?

The idea that AI could produce highly professional, aesthetically pleasing results fascinated me. It challenges conventional ideas of creativity and originality. I felt compelled to explore these themes, using my art to question and reflect on the broader implications of AI as a creative agent.

Additionally, my decision to have my AI designs painted by a workshop in China adds complexity, intertwining issues of global labour, authenticity, and commodification in the art market. In an era where art increasingly values authenticity and the artist’s touch, my approach redefines this: the images are born from algorithms and generative processes, raising questions about craftsmanship, originality, and the artist’s role.

Can you share an experience or moment in your career where the political climate directly influenced a particular piece or series of works?

The “POST-ARTIFICIAL PAINTINGS” series is shaped by the socio-political landscape, particularly the intersection of technology and capitalism. These works reflect on the commodification of creativity in a data-driven world and explore how AI-generated art serves as both a product and commentary on consumer culture.

As global circumstances continue to shift, how do you believe artists can effectively express personal experiences while also addressing broader societal issues?

Artists can tap into the universal through the personal. In my work, AI-generated characters embody archetypes that speak to individual identity and societal roles. This dual approach allows personal experiences to resonate within broader cultural conversations.

With your unique perspective on blending traditional and AI-driven art, how do you predict a future where these practices coexist?

I envision a future where traditional art and AI-enhanced creativity coexist symbiotically. AI can bring harmony and precision, seamlessly imitating styles, while traditional methods infuse art with human intent and emotion. Together, they expand what’s possible in art, each enriching the other.

All photos were taken by Roman März

Follow Amir

@amir.a.fattal www.amir-fattal.com

SHIV ON SELF-LOVE

AND RESILIENCE

INTERVIEW BY NICOLA PHILLIPS

We spoke with Irish soul singer Shiv about her new album, "the defiance of a sad girl". The rising star blends R&B, Lo-Fi Hip Hop, and soulful sounds, reflecting her unique background as a Zimbabwean raised in Ireland. Music has always been a part of her life, from singing with her mother to grooving to 90s R&B with her sister. Although she initially pursued a career in Educational Psychology, her passion for music took over after her heartfelt Maid of Honour speech went viral on YouTube, catching the eye of Dublin managers.

the defiance of a sad girl captures Shiv's journey through a challenging phase in her life, including breakups and relocating, while branching out from her previous management and label. Recorded during a two-month retreat in Uganda, the album delves into themes of self-love and authenticity. With contributions from the Irish band Bricknasty and executive co-producer Adam Shanahan, Shiv’s work is infused with emotion and insight. She describes the album as a flowing piece of art, crafted from spontaneous thoughts and melodies.

Can you tell us more about the transformative period that inspired your new album, the defiance of a sadgirl?

The inspiration came from a pretty raw period of upheaval. I experienced the end of a relationship with my boyfriend and also cut ties with my management and label. It was this perfect storm of heartbreak, identity shifts, and finding myself forced to stand on my own creatively.

Writing the defiance of a sadgirl became a way to process all that, a space to explore the cycle of losing and finding myself and, ultimately, to embrace a kind of defiance. Through these songs, I hope listeners can hear the journey from self-doubt to self-acceptance.. and inevitably back to self-doubt again. Such is life, the cycle repeats forever!

How did your upbringing in Zimbabwe and Ireland shape your musical influences and the sound of your album?

Growing up in Zimbabwe and then Ireland gave me this incredible blend of cultural textures, especially in music. Zimbabwe introduced me to rhythmic complexity and an appreciation for storytelling, while Ireland showed me how to weave in a deeply emotional, raw side.

This duality of influences allowed the defiance of a sadgirl to have moments that feel both grounding and introspective while also rhythmically vibrant and even cathartic.

«I WANT PEOPLE TO KNOW THEY'RE ALLOWED TO BE MESSY, TO DOUBT, AND ULTIMATELY TO ACCEPT THAT SELF-LOVE DOESN'T HAVE TO LOOK PERFECT.»

You mentioned the importance of creating a "stream of consciousness" feeling in your music. Can you describe your writing and production process during the making of this album?

It was about creating a real-time emotional journey. When I was recording in Uganda, I let the sessions flow naturally—capturing whatever came up without judging if it made perfect sense at that moment. When I returned to Ireland, Adam Shanahan, my co-producer, helped shape that rawness. We'd piece together the stream of thoughts, adding depth without compromising authenticity. It was like patching together diary entries and trusting the process to reveal a story in layers.

Your album explores themes like self-love and self-acceptance. What messages do you hope listeners take away from it?

I hope listeners feel that it's okay to lose themselves sometimes, to go through a rollercoaster of emotions, and still try and find their way back to whatever their version of self-love is. the defiance of a sadgirl is a reminder that even in our darkest moments, there's a possibility for growth, transformation, and peace. I want people to know they're allowed to be messy, to doubt, and ultimately to accept that self-love doesn't have to look perfect.

How did your experiences inform the narrative of your album?

Each song is like a snapshot of an emotion or moment. I struggled with finding the thread that would connect them all at first, but I realised that this struggle—the constant tension between feeling lost and rediscovering strength—was the core. So, rather than a single storyline, the narrative became cyclical, capturing the chaos and clarity we move through in life.

Every experience I had, from the relationship's end to leaving my label, shaped that story, and the layers keep revealing themselves the more life I live and the more emotions I process. A song is never just about one thing, your subconscious can't help but weave in parts of you that you don't even know exist. In this way, I often find myself surprised when a song I've written about one thing in the past can resonate so deeply about something completely different in the future.

What was it like collaborating with Bricknasty and co-producer Adam Shanahan? How did they influence the final sound of the album?

Collaborating with Bricknasty and Adam Shanahan was magical. I would say it was my favourite point of the album process. Bricknasty brought this incredible instrumentation that gave the album texture, while Adam helped mould that rawness into a cohesive sound. Adam is someone I've worked with from the start of my career, and he's always encouraged me when it comes to production.

His experience and reassurance allowed me to be able to fully commit to my ideas without second guessing myself too much, and gave me the confidence to believe in my vision for what I thought the album could be.

How was your performance at The Sugar Club during the launch event? What steps do you take to prepare for events like this?

The launch at The Sugar Club was surreal. It was a big production, and I almost approached my performance like a theatre show - I performed the whole album from front to back, without breaking character for the entire time. I poured so much of myself into planning every detail— staging, choreography, monologues—to create a fully immersive experience. Preparing for an event like this means intense rehearsals, visualizing every moment, and ensuring the set flows seamlessly with the narrative of the album. It's as much about mental preparation as it is about practice, connecting with the emotional intensity of each song so that it translates powerfully live.

How do you feel your artistry has evolved from your earlier works to this new album?

It feels like I've embraced vulnerability more openly. My earlier works were explorative, but they didn't dig as deeply into my own messiness. With the defiance of a sadgirl, I allowed myself to dive headfirst into that, to be both bold and vulnerable. This album feels like my most personal work yet, a turning point in being unapologetically me. It's also the first project where I've felt FULLY comfortable in the producer's seat.

Apart from cherry pie (prod by Gaptoof) and truth be truthin' (prod by kadiata), I produced the record, and it was a lesson in trusting my taste, trusting my gut, and judging my ideas as little as possible.

What challenges did you face during the creation of this album, and how did you overcome them?

Finishing it hehe. I've been managing myself for the last year or so, and while I've been heavily involved with my career in the past, I've never tried to release a project of this scale before. So doing it on my own was no mean feat. I was simultaneously trying to balance promoting music that was coming out, gigging, content, general admin, while trying to finish up the project and all of the work that entails. I think my main lesson is being ok with things not being perfect, and knowing that I'm doing my best. Also prioritising rest, regardless of how many things feel urgent. Rest is key!!

Looking back at the entire journey of creating this album, what are you most proud of?

I'm proud of trusting myself. There were moments when it would've been easy to let others dictate the vision, especially after leaving my label. But I stayed committed to making something true to my experience, and that courage to defy expectations and follow my own path is something I'm deeply proud of.

How has music served as an outlet for you during difficult times in your life?

Music is the place I can show up entirely as myself, processing experiences without fear of judgment. Writing the defiance of a sadgirl allowed me to release emotions I might have kept inside otherwise. Through music, I'm able to transform pain into something healing and empowering.

You mentioned reconnecting with your child-like joy. How essential is joy to your creative process?

Joy is essential; it's the core of everything. It's easy to get lost in the heaviness, but when I tap into that child-like joy, creativity flows naturally. Reconnecting with that part of myself reminded me of why I love making music in the first place. It's not about perfection or expectation—it's about finding that freedom to create purely for the love of it.

After this album, do you have any plans for future music or projects you are particularly excited about?

Absolutely! I'm excited to explore even more diverse sounds and possibly take elements from different genres and cultural influences. There's something thrilling about continuing to push boundaries and tell new stories. I want to bring listeners on even deeper journeys and can't wait to see where the music takes me next. But honestly, ya girl is TIRED. I'm excited to do some living, enjoy myself for a sec, and then come back to write something bigger and better than before!!

Follow @hi_im_shiv the defiance of a sadgirl is out now: ffm.to/thedefianceofasadgirl

All photos by Jessica Frayne

SCARF AND TOP BY MARC JACOBS DRESS BY STELLA MCCARTNEY SHOES CUSTOMIZED BY THE STYLIST

STYLED BY FEDERICA GIARDINA @GIARDIRIRI

MODELS ARE LIBBY SLAYMAKER @LIBBYSLAY

ELENA SERHIYEVICH @MSCAPS

BOTH SIGNED TO @NEXTMILAN

MAKE UP BY EMANUELE PETRINI @ASHLEYEMA

HAIR BY MARICA ABBASCIÀ @HAIR.MARICA

ASS.PHOTO IGNAZIO DISTASO @IGNZDSTS

LOCATION SAMOA STUDIO. MILANO, ITALY @SAMOASTUDIO__

IN A WINDOWLESS ROOM, IMMERSED IN AN OPPRESSIVE DIMNESS, TWO GIRLS LIVED A PARALLEL SOLITUDE, UNAWARE OF EACH OTHER. THEIR FEAR WAS THE CONTROL THAT WAS SLIPPING AWAY FROM THEM, THE CONSTANT THOUGHT OF BEING PRISONERS IN A SPACE THAT WAS SHRINKING AROUND THEM.

DRESSED AS IF THEY WANTED TO MERGE WITH THE DARKNESS, THEY WERE TRAPPED IN A SILENT PHOBIA: THE FEAR OF LOSING THEMSELVES IN AN INDIFFERENT SOCIETY. THEIR LIGHT CLOTHES SEEMED LIKE A CRY FOR FREEDOM, A STARK CONTRAST TO THE CLOSED AND SUFFOCATING ENVIRONMENT. EVERY COLOR THEY WORE WAS A WAY TO ESCAPE THE MONOTONY OF THE DARKNESS, BUT THE SILENCE OVERWHELMED THEM, MAKING ANY ESCAPE USELESS.

THE TWO GIRLS WOULD NEVER MEET, EVEN IF THEY BREATHED THE SAME OXYGEN, WALKED THE SAME GROUND, SHARED THE SAME PRISON.EACH WAS LOST IN HER OWN PHOBIA.THE ROOM, INDIFFERENT, CONTINUED TO TIGHTEN AROUND THEM, WITHOUT ANY POSSIBILITY OF CONTACT..

FOBIA

OFFICE

EYEWEAR BY GENTLE MONSTER

TIE BY PRADA

BRA AND SLIP BY KIKI DE MONTPARNASSE

BABY DOLL BY LA PERLA

ACCESSORIES BY PRADA

BAG BY FERRAGAMO

BOOTS BY GANNI

EAR CUFF BY MAM

EYEWEAR BY GENTLE MONSTER

SHIRT BY TOM FORD TIE BY DOLCE & GABBANA

EAR CUFF BY MAM

EYEWEAR BY GENTLE MONSTER

COLLAR BY BABYLON

SHIRT BY COMME DE GARÇONS

SLIP BY INTIMISSINI

SUSPENDERS BY LA PERLA

SHOES BY NIKE BAG BY DIENÈE

DRESS BY BABYLON SHIRT BY ANDREA POMPILIO

STYLIST’S OWN TIE SHOES BY BALENCIAGA

EARRINGS BY MAM TOP BY MISBHV SHIRT BY MAX MARA BAG BY DIENÈE SHOES BY FERRAGAMO

SCARF AND TOP BY MARC JACOBS

DRESS BY STELLA MCCARTNEY

EARRINGS BY FERRAGAMO

SCARF BY FORTE_FORTE

JACKET BY GANNI

BRA BY LA PERLA

PAILLETTES GREEN SKIRT BY AMI PARIS

BEIGE SKIRT BY AMI PARIS

BAG BY DIENÈE

SHOES BY BALENCIAGA

BOOTS BY AMI PARIS

SUNGLASSES BY PRADA

DRESS BY MARNI

BRA BY LA PERLA

SKIRT BY SUNNEI

SOCKS STYLIST’S OWN

SHOES BY PRADA

EAR CUFF BY MAM SUNGLASSES BY PRADA

BODY BY JW ANDERSON

FOULARD BY BLUMARINE

JACKET BY DOLCE & GABBANA

SOCKS BY UNIQLO

SHOES BY NIKE

MODEL, CREATIVE DIRECTION AND STYLING BY THE REAL PANTHER @THE_REAL_PANTHER_ PHOTOGRAPHY BY ALVARO DUEÑAS @ALVARODSERRA

BLACK BLOODY

HEART

COMPRESSED FILES: A TRANSFORMATIONA DANCE OF CHAOS AND CREATION, WHERE FRAGMENTS DISSOLVE AND REFORM, UNLOCKING COMPRESSED LAYERS OF POTENTIAL IN THE FLOW OF DECAY AND RENEWAL. THROUGH ABSTRACT VISUALS, IN COLLABORATION WITH VISUAL ARTIST WAIKIN TAM, WE COMPRESS AND DISTORT DIGITAL ARCHIVES INTO ABSTRACT FORMS, EMBODYING THE RAW ESSENCE OF CREATION AND DESTRUCTION.

JUST LIKE COMPRESSING FILES TO FIT A FORMAT, THE WORK REFLECTS HOW SELF-IDENTITY IS MOULDED TO CONFORM TO SOCIETAL NORMS, CONSTANTLY RESHAPING AND REDEFINING ITSELF ALONG THE WAY.

SHIRT AND PANTS BY FEDERICA ROSSON - JEWELLERY BY LAG WORLD

SHIRT AND PANTS BY FEDERICA ROSSON - JEWELLERY BY LAG WORLD

SHIRT AND PANTS BY FEDERICA ROSSON - JEWELLERY BY LAG WORLD

SHIRT BY FEDERICA ROSSON - JEWELLERY BY LAG WORLD

SHIRT BY BALLY - PANTS BY RICK OWENS -SHOES BY CAMPERLAB

SUIT AND PANTS BY CHIARA BALLA - SHOES BY CAMPERLAB - JEWELLERY BY LAG WORLD

PANTS BY RUGGIERO DI TOMA - BELTS BY DIESEL

SHIRT BY AENDÖR STUDIO - PANTS BY RUGGIERO DI TOMA SHOES

BOOK CLUB

A MODERN LOOK AT BEAUTY, CULTURE, AND FASHION

‘THE NEW BEAUTY – A MODERN LOOK AT BEAUTY, CULTURE, AND FASHION’ BY GESTALTEN & KARI MOLVAR OFFERS A VISUAL JOURNEY INTO THE PAST, PRESENT, AND FUTURE OF HUMAN BEAUTIFICATION IN A GLOBALIZED WORLD.

SO WHAT?! MARC MARTIN & JONA JAMES

PATTI SMITH, AVANT EASTER APRÈS

THIS NEW EDITION OF PATTI SMITH, AVANT EASTER APRÈS OFFERS AN INTIMATE PORTRAIT OF THE ROCK ICON THROUGH RARE PHOTOGRAPHS BY LYNN GOLDSMITH, CAPTURING PATTI ON STAGE AND BEHIND THE SCENES AT A PIVOTAL MOMENT IN HER CAREER. ACCOMPANIED BY POETRY AND ORIGINAL LYRICS, THE BOOK CELEBRATES A LEGENDARY ERA IN MUSIC AND THE ENDURING FRIENDSHIP BETWEEN SMITH AND GOLDSMITH.

ELSKA

THE MEN OF SALT LAKE CITY

ELSKA, A PROJECT DEDICATED TO SHARING THE BODIES AND VOICES OF LGBTQ COMMUNITIES AROUND THE WORLD, HAS PUT THE SPOTLIGHT ON SALT LAKE CITY FOR ITS LATEST EDITION. INSIDE, READERS CAN GET TO KNOW A SELECTION OF EVERYDAY QUEER MEN FROM THE WORLD HEADQUARTERS OF THE MORMON CHURCH, REVEALING HOW ONE OF AMERICA’S MOST RELIGIOUS AND CONSERVATIVE CITIES IS ALSO ONE OF ITS QUEEREST.

MARC MARTIN'S "SO WHAT?!" PRESENTS AN INTIMATE AND BOLD PORTRAIT OF JONA JAMES, A CONFIDENT TRANS MAN WHO DEFIES SOCIETAL STIGMAS. THE WORK CHALLENGES TRADITIONAL NOTIONS OF MASCULINITY, MARTIAL ARTS, AND HOMOSEXUALITY, PROVIDING A REFRESHING VIEWPOINT ON IDENTITY WITHIN THE LGBTQI+ COMMUNITY.

HIJAB BUTCH BLUES

'A MASTERFUL, MUST-READ CONTRIBUTION TO CONVERSATIONS ON POWER, JUSTICE, HEALING, AND DEVOTION FROM A SINGULAR VOICE I NOW TRUST WITH MY WHOLE HEART' GLENNON DOYLE, AUTHOR OF UNTAMED __ROXANE GAY'S BOOK CLUB MARCH 2022 PICK__ WHEN LAMYA IS FOURTEEN, SHE DECIDES TO DISAPPEAR. IT SEEMS EASIER TO EASE HERSELF OUT OF SIGHT THAN TO GRAPPLE WITH THE DIFFICULTY OF TAKING SHAPE IN A WORLD THAT DOESN'T FIT. SHE IS A QUEER TEENAGER GROWING UP IN A MUSLIM HOUSEHOLD, A SOUTH ASIAN IN A MIDDLE EASTERN CO ...

FIGHT RIGHT

PHOTOGRAPHY BY LAUR LONČAR LAURLONCAR.COM @LAURLONCAR STYLING BY AUDRA SAVANNAH GOOCH AUDRAGOOCH.COM @AUDRASAVANNAH TALENT IS RAY FORREST @RAY_FORREST_1 HAIR & MAKEUP BY FRANCESCA MARIA ALFONSO FRANCESCADIDIT.COM @FRANCESCADIDIT

LIGHTING DIRECTOR BRADLEY ENNIS @BRADLEYENNIS LIGHTING ASSISTANT LEANDREA WORTH LEANDRAWORTH.COM @LEANDRAWORTHPHOTO

LEFT: COIF IS PHOTOGRAPHER’S OWN OVERALLS BY CARHARTT

RIGHT: SWEATER BY A PAPER KID PANTS BY MONFRÈRE SHOES BY CONVERSE JEWELRY IS STYLIST’S OWN

LEFT: TRACKSUIT BY MOOSE KNUCKLES

BOXING GLOVES BY FIVING SHOES BY NIKE

RIGHT: BOXING GLOVES ARE VINTAGE EVERLAST PANTS BY AGOLDE SHOES BY NIKE

LEFT: SHORTS BY MRX

RIGHT: SWEATER BY A PAPER KID

MOUTHGUARD BY BATTLE

JEWELRY IS STYLIST’S OWN

LEFT: MOUTHGUARD BY WILSON

JEWELRY IS STYLIST’S OWN

RIGHT: WINDBREAKER AND SHORTS BY MOOSE KNUCKLES

BOXING GLOVES ARE VINTAGE EVERLAST

PHOTOGRAPHY, EDITING, LAYOUT BY NORA DE FABIANI

WWW.BEHANCE.NET/NORADEFABI1 / @NORADEFABIANI

ÁCIDO

MEMORIES AND INTIMACY FADE AWAY LEAVING PERMANENT VOIDS IN EVERYTHING AROUND US; GRIEF IS TANGIBLE, IT CAN BE SEEN AND FELT.

THE BEWILDERMENT OF ABANDONMENT CREATES A RETHINKING OF ONES OWN IDENTITY, FILLED WITH DESPAIR, ANGUISH AND SURREALISM.

ÁCIDO SHOWS US THE REAL AND INTIMATE PROCESS OF MOURNING IN A HEARTBREAKING WAY, GUIDING US THROUGH ONE OF THE MOST PAINFUL AND UNIVERSAL HUMAN EXPERIENCES: LOSS.

EXPLORING IDENTITY THROUGH BOLD ABSTRACTION:

KOHLBEN VODDEN IS AN AMAZING AUSTRALIAN BORN SELF-TAUGHT ARTIST AND DEDICATED DOG LOVER WHOSE ARTISTIC JOURNEY REFLECTS A DEEP FASCINATION WITH PSYCHOLOGICAL CONCEPTS SUCH AS IDENTITY AND AESTHETICS. HIS ARTISTIC PRACTICE, WHICH HE DESCRIBES AS VISUAL STORYTELLING, SEAMLESSLY BLENDS CONCEPTUAL AND EXPRESSIONIST ART.

Focusing on contemporary abstract figurative works rendered in traditional oil paint, Vodden employs insights from experimental psychology to create a bold geometric style. With intense palettes, he commands viewers’ attention and communicates evocative stories, fostering emotional and physiological responses that forge a profound connection between the artist, viewer, and subject. He revels in the contrast of utilizing traditional mediums like oil paint with deliberately controlled techniques to achieve intensely contemporary images.

Your work deeply investigates the layers of identity. Can you elaborate on what initially drew you to the psychology of identity in your artistic practice?

Identity isn’t something the average person thinks about. They just accept what society tells them they are. Being a queer artist and someone who lives in a country different to where I was raised – the concept of identity is more salient for me. From a young age, I had to cast a critical eye on the identity others wanted for me. I was forced to decide if I cared more about making other people comfortable or being true to myself.

I’m particularly fascinated by the dissonance that exists between who we are versus who we present to the world in different contexts. We’re all multi-layered beings with contradictions and complexities, and art is my way of exploring and shining a light on these ideas.

You mention a dissonance between how individuals internally define themselves and how they present themselves to the world. How do you navigate this complex landscape in your art?

I find beauty in tension. When we feel the need to hide part of our authentic selves or adopt traits that are not our own to make others feel comfortable it creates friction between our selfconcept and our adopted social identity.

I represent this dissonance using colour theory. My palettes include complimentary or opposing colours on the colour wheel and I build a palette around these two hues reflecting the dance between internal truth and external projection.

Your process involves a deep connection with your subjects. Can you describe how you establish this connection and the role it plays in your creative process?

Originally my creative process was very subjectled. Through in-depth interviews, I would find inspiration in the subject and translate their inner world into my visual language on canvas.

Through the course of the last couple of years, my process organically evolved to using images of subjects to represent stories that I want to tell.

Effectively moving my work from narrative-based abstract portraits to abstract figurative. This is reflected in how I now name my artworks. My original naming convention was the dominant hue that I used to communicate the emotion of the story and the subject’s first name. For example, Blue Cesare. More recently, I’ve evolved this to reflect the more representative role of the figure in the artwork and focus more on the central idea. For example, my most recent painting is titled “The Face of Exhibitionism”.

In what ways does your heritage influence your understanding of identity and how it manifests in your artwork?

My Australian heritage acts as both a lens and a foundation. It’s shaped how I see the relationship between individual and social identity. The cultural differences between Australia, where I was raised, and Britain where I now call home, are vast. Culturally, Australians are considered bold and outspoken, we’re also known for being blunt and unambiguous in thinking and language. This comes through in my work through my bold and high chromatic colour palettes that are presented using hard-edge painting techniques.

Can you talk us through why you chose to use the hard-edge painting technique and how it helps convey messages about identity?

The hard-edge technique appeals to me because of its clarity and precision. In exploring identity, I’m drawn to the idea that we often present ourselves in defined, controlled ways—almost as though we’re setting clear boundaries between different parts of who we are. Hard edges allow me to express this compartmentalisation, the way we fragment aspects of ourselves for different audiences, roles, and situations.

At the same time, these sharp divisions can create tension within the piece, reflecting the inner struggle to maintain these boundaries. There’s an inherent conflict between our desire for authenticity and the pressures to conform to societal expectations.

By using hard edges, I highlight that sense of division— where one aspect of identity meets another, there’s both separation and connection. It’s a way to explore the idea that, while identity can feel segmented, each part still exists within a larger, cohesive whole. Through this technique, I hope to prompt viewers to think about their own “edges” and how they navigate the balance between individual pieces of themselves.

How does your use of oil and a bold palette enhance the emotional depth of the stories you’re telling through your art?

Unlike other mediums, oil paint allows me to layer emotions, building depth and richness that feels tangible. The bold palettes command the viewers’ attention, provoke curiosity and convey emotions. Each colour carries its weight and energy, evoking different moods and emotions. Together, they create a visual language that speaks to the underlying narrative of identity.

You incorporate colour psychology into your work. How do you believe it impacts the viewer’s experience and interpretation of your art?

Colour psychology is central to how I communicate emotion and create resonance in my work. I think colour has an almost subconscious effect on viewers, allowing them to feel things they might not have words for. Different colours tap into universal emotions—red can evoke passion or even aggression, while blues and greens bring a sense of calm or introspection. By intentionally choosing and layering colours, I’m able to subtly guide the viewer’s emotional journey through the piece.

I use colour to evoke complex, sometimes conflicting emotions that mirror the layered nature of identity itself. For example, pairing warm, intense hues with cooler, more muted tones can create a push-pull effect, suggesting the tension between external presentation and inner truth. I believe these insights enable viewers to connect with the art on a deeper level, experiencing it as something that reflects their emotional landscapes. Ultimately, I hope my work leaves them feeling seen, as though it speaks to both their conscious and unconscious selves.

Can you share an example of a subject whose story profoundly impacted you during your creative process?

This is an easy one for me. One of my paintings was inspired by the tension experienced by an Olympian, who was transitioning from elite athlete to TV personality. During the many hours of painting, a single thought kept taking over my mind.

It was a lesson that revealed itself during the conceptualisation of the piece — that in the race of life, you can chase one of two trophies. You can either covet and dedicate your life to either achievement or actualisation. We are all socially programmed to covet achievement, to win the competition or to acquire the things. But the reality is that we can never obtain ‘the trophy’ because the finish line is not fixed –there is always more, bigger, further, and better. In contrast, when we pursue self-actualisation we drop out of the race. We no longer need to compete, we are complete. That lesson has stuck with me ever since.

What kind of emotional or psychological reactions do you hope to evoke in viewers when they engage with your pieces?

I want viewers to feel a sense of introspection, as if they’re looking into a mirror that reveals parts of themselves, they might usually ignore. Whether it’s discomfort, curiosity, or a sense of kinship, I hope my work prompts them to confront and question their own identities. I want my pieces to feel like an emotional journey, where each viewer takes something unique from the experience.

The concept of geometric shapes, symbols, and patterns is intriguing. How do you approach identifying these hidden elements in your subjects?

Geometric shapes and symbols emerge naturally as I break down a model’s form. I see these shapes as metaphors—circles for continuity, triangles for strength, fragmented lines for vulnerability. They’re almost like a visual code that, when pieced together, tells a deeper story. I let these elements evolve through the process, allowing them to reveal hidden layers of meaning.

Looking forward, what themes or ideas are you eager to explore in your future work?

Colour and colour psychology are already central to my work, but I really want to challenge myself and explore how I can express meaning by only using colour. I’ve always been drawn to the colour field art movement, so I’m exploring a completely new creative expression that would see me create artworks void of form, lines and value. The idea is to use colour and light in its purest form to convey meaning.

This may or may not result in a new medium. I’ve experimented with a lot of different mediums and resin is something that I’m finding intriguing at the moment.

In a rapidly changing world, how do you believe identity is evolving, and how might that influence your future projects?

Identity as a concept is something people are starting to think more about. This is large, thanks to debates around topics of gender and sexual identity. These often heated debates have created a social dialogue about identity becoming more fluid and being shaped by diverse influences that previous generations ignored. We’re constantly adapting, often curating ourselves for different audiences online and offline. The dynamism of this subject will likely push my work to explore what it means to break away from societal norms and be non-conforming.

In a rapidly changing world, how do you believe identity is evolving, and how might that influence your future projects?

Identity as a concept is something people are starting to think more about. This is large, thanks to debates around topics of gender and sexual identity.

What role do you see art playing in the ongoing dialogue about identity in society today?

Art has a unique role in today’s conversation on identity, it’s both a mirror and a platform. In a world where identity is increasingly multifaceted and fluid, art allows us to explore those complexities without the constraints of language or labels. Through visual expression, artists can challenge societal norms, question stereotypes, and reveal the unseen or unspoken aspects of who we are.

Art invites viewers to confront their perceptions of identity, encouraging empathy and a deeper understanding of others’ experiences. I see it as a safe space for people to explore their own evolving identities and to connect with the layered stories of others, all within the transformative space of creativity.

Are there any artists or movements that have particularly inspired your approach to exploring identity and psychological themes in your work?

Absolutely. I’ve always been drawn to artists who delve deep into the psyche, and figures like Mark Rothko and Francis Bacon have had a profound influence on my approach. Rothko’s work, with its immersive fields of colour, taught me how minimalism in form can amplify emotional impact. Bacon, on the other hand, confronts the darker corners of human experience with a rawness that I find both unsettling and inspiring; he doesn’t shy away from the complexities of the human condition. In terms of movements, Abstract Expressionism and Surrealism give me the freedom to explore identity as an evolving, sometimes contradictory concept.

The French contemporary artist, Françoise Neilly’s work has also left a significant mark on me. Her bold, vibrant use of colour and her intense, close-up portraits manage to capture a person’s essence beyond their physical appearance. Her layering of colours, often in unexpected and almost jarring combinations, conveys a depth of emotion and a certain rawness that resonates with my exploration of identity. I’m fascinated by how she uses colour to evoke psychological intensity without needing to rely on traditional realism. This has influenced my approach to colour and abstraction, reminding me that identity isn’t always neat or easily defined — it’s dynamic, multifaceted, and sometimes even contradictory.

Lastly, what message or takeaway do you hope leaves a lasting impression on those who experience your art?

I want my art to be an invitation for introspection — a chance for viewers to connect with parts of themselves they may rarely confront. If there’s one message I hope resonates, it’s that identity is layered, fluid, and often contradictory, yet every facet deserves understanding and acceptance.

I hope people walk away from my work with a greater sense of empathy, not just for others, but for themselves. In a world that often pressures us to fit into neat, defined boxes, I want my art to remind people that it’s okay to be complex, to be unresolved, and to embrace the beauty in that ambiguity.

LO PRADITO

PHOTOGRAPHY BY LORENZO FERRANTI @LORENZOFERRANTI_

VIDEOGRAPHY BY ALEX GONZALEZ @ALEXGONZALEZPH

STYLING BY AMY GOMEZ @LILIF.OLIO

MODELS ARE GERMAN COREY @GILESMONEY616

ANIESKA CUEVAS AND CHANTAL CHARLES BOTH SIGNED AT NUANTILLAS MGMT @ANIESKACUEVAS / @CHANTAL_CHARLES02 / @NUANTILLASRD

MAKE-UP BY MASHA PONUKALOVA @MASHBEAUTY

LIGHT BROWN VEST - LEBLANCSTUDIOS

DENIM PANTS - ERICK LEMOS

JACKET - ERICK LEMOS

BLACK DENIM BERMUDA - ERICK LEMOS

PURPLE LONG COAT - LEBLANCSTUDIOS

MINISKIRT - LEBLANCSTUDIOS

BROWN SUIT - LEBLANCSTUDIOS

TEXTURED VEST - LEBLANCSTUDIOS

GREEN DENIM PANTS - LEBLANCSTUDIO

BLUE DENIM PANTS - LEBLANCSTUDIOS

DENIM BASEBALL UNIFORM - ERICK LEMOS

DENIM BRA - AMY GÓMEZ

BLACK DENIM BERMUDA - ERICK LEMOS

THE MAKING OF CLOUDY JUNE'S

INTERVIEW BY NICOLA PHILLIPS

CLOUDY JUNE, THE DYNAMIC 24-YEAR-OLD SINGER AND SONGWRITER HAILING BERLIN, IS NOT JUST MAKING WAVES IN THE MUSIC SCENE; SHE IS AN ELECTRIFYING FORCE OF NATURE, EMERGING AS A POWERFUL FEMINIST AND QUEER ICON. HER MUSIC CONFRONTS THEMES LIKE BISEXUALITY, MASTURBATION, AND THE FIGHT FOR EQUALITY, RESONATING DEEPLY WITH LISTENERS AND IGNITING MILLIONS OF STREAMS AND LIKES ACROSS MULTIPLE PLATFORMS, WHERE HER FOLLOWERSHIP HAS SURGED INTO THE HUNDREDS OF THOUSANDS.

UNLIKE THE TYPICAL CAREFREE DEBUT ALBUMS, CLOUDY JUNE'S DEBUT ALBUM, "CRAZY WOMAN," IS A STUNNING NARRATIVE STEEPED IN AUTHENTICITY AND REFLECTION. RELEASED JUST THIS NOVEMBER, IT OFFERS A RAW GLIMPSE INTO HER LIFE CRISIS WHILE SERVING AS AN EMPOWERING FEMINIST GUIDE—AN ALBUM THAT TRANSCENDS THE EXPECTED CLICHÉS OF ORIGIN STORIES AND INSTEAD DELIVERS A PROFOUND JOURNEY OF PERSONAL TRANSFORMATION WOVEN INTO INFECTIOUS POP MELODIES.

CLOUDY JUNE REACHED A TURNING POINT IN 2022 WITH HER CHART-BUSTING HIT “FU IN MY HEAD,” CATAPULTING HER INTO THE LIMELIGHT, EARNING HER A MAJOR RECORD DEAL, TWO EPS, A DAZZLING BILLBOARD FEATURE IN TIMES SQUARE, AND A SERIES OF SOLD-OUT PERFORMANCES ACROSS EUROPE. NOW, WITH "CRAZY WOMAN", CLOUDY JUNE IS READY TO AFFIRM HER PLACE IN THE PANTHEON OF MUSICAL GREATNESS, A TRUE EMBODIMENT OF RESILIENCE AND CREATIVITY.

Your debut album "Crazy Woman" is described as a reflection of a personal transformation. Can you elaborate on how your life experiences shaped the themes of this album?

During the process of making this album, I went through big changes in my personal life and in my career and I really had to learn to stand up for myself. When people close to you suddenly become the enemy you really start questioning everything you believe.

And for a while I believed that I was “overreacting“ or “too sensitive“ instead of actually understanding what happened to me: I was being treated unfairly.

You explore topics like bisexuality and equal rights in your music. How important is it for you to incorporate feminist and queer messages in your work?

I’m just trying to make the music that I would’ve loved and needed as a teenager. I think representation is so important and hearing from other people that me talking about these topics helped them means everything.

The album took shape in multiple cities like Berlin, Los Angeles, and Stockholm. How did working in these different environments influence your creative process?

Working with different people all over the world almost makes it impossible to get stuck. Cause there is always a new input, a new style, a different instrument or approach. It has taught me so much and I’m really grateful for that.

Many of your songs, such as “Crazy Woman” and “Bad Girls Don’t Cry,” have a self-therapeutic quality. How do you channel your personal struggles into your music?

I feel like I’m one of these people who would just lose their minds if they didn’t have some kind of creative outlet. During times when my mental health gets really bad, sitting down at the piano or grabbing my guitar is the only thing that helps. Besides talking to somebody else. But in a way writing feels like talking to someone, too.

And it feels good to have a platform where letting out an emotion like anger actually can lead to something good instead of destruction, like anger usually does.

Your sound combines various genres, from EDM to indie and Latin influences. What drives your musical experimentation, and how do you see your sound evolving?

Every project I put out is like it’s own little chapter of my life and it often reflects the music I’ve been listening to during that time or the music that I felt was missing somehow.

However with this album I feel like I’ve moved closer to that core sound that I’ve been chasing ever since, the sound that really defines me. And from now on I feel like that sort of “muse“ and I are just getting closer.

PHOTO

«I HOPE I CAN INSPIRE WOMEN TO TRUST IN THEMSELVES MORE. YOU ARE NOT CRAZY FOR SPEAKING YOUR MIND. YOU ARE ALLOWED TO STAND UP FOR YOURSELF AND TO GET ANGRY, TO EXPRESS YOUR FEELINGS AND TO CUT PEOPLE OUT OF YOUR LIFE.»

Can you tell us about your journey as a musician and what inspired you to start writing songs at such a young age?

Growing up in Berlin I felt like I was constantly surrounded by creativity. And I remember there was always music playing around me, a lot of it being the classic rock bands that my dad grew up with. I wrote my first songs when I was around 9 years old and played my first little gigs with 16. For me making music just always felt like something I wanted to do, it came naturally.

How has growing up in Berlin shaped your musical style and the themes present in your lyrics? In what ways did your family and friends provide their support?

I feel like Berlin in a way encourages creativity. Maybe it’s rooted deep in the concrete since the city itself has such an outstanding history. And I was lucky on top that I had my family’s support. Like my dad was never like “study something relevant first“, instead he made me feel like I could shape my future and creativity was always something valuable when I grew up.

Can you share your thoughts on how the music industry is evolving regarding representation and support for feminist and queer artists?

There is still so much to do and a long way to go. But awareness is the first step. Of course it leads to performative representation, where people use relevant topics to make themselves look better without holding themselves accountable to their own public standards. However, I feel like everyone starts to have an understanding of what’s important. Supporting women, people of colour and queer artists, who for so so lang had to fight much harder to get the same opportunities.

What's the significance of the track "Sad Girl Era" in the context of your album, and how does it represent the culmination of your experiences?

I wrote that song when I was struggling mentally and I felt like my life was, literally, falling apart. During that time I went to Stockholm to clear my head and just write music with great people. It felt like I was heading straight into a new beginning and I wanted to capture that feeling to give myself a sense of hope.

You’ve described your first album as a maximally international project. How do you think collaboration with various producers and writers has enriched your music?

Through working with new writers and producers around the world I actually learned to trust myself more, even if it sounds contradictory. Before that I believed that my art couldn’t stand on it’s own and that I needed certain people around me or the songs wouldn’t be great. But making these songs that I really really love, even the ones that didn’t make it on the album, reminded me that all you need is a room with great people, your vision, openness and honestly most important: fun. This is how music that comes from the heart is made. And I believe that the listeners can feel that.

What do you hope listeners take away from "Crazy Woman," especially in terms of challenging societal norms?

I hope I can inspire women to trust in themselves more. You are not crazy for speaking your mind. You are allowed to stand up for yourself and to get angry, to express your feelings and to cut people out of your life who don’t treat you with the respect that you deserve. And you are badass and capable of everything you put your mind to, especially the things that people say, you can’t do. Fuck them.

Lastly, what can fans expect from your upcoming performances and the overall experience of the "Crazy Woman" album?

“Crazy Woman“ was written by a woman who felt like she was losing her mind. I went through so many emotions and – in a way –stages of grief, in the process of making it, and I’m so proud of how this body of work turned out. I’ll definitely be taking “Crazy Woman“ on the road again. Until then, I hope the songs bring you joy. And I’ll see you at the shows.

CREATIVE DIRECTION, PHOTOGRAPHY AND EDITINGS BY SARA BRAVO @BRAVISSSIMA

PHOTO ASSISTANCE BY LAIA PONSA @LAIAPONSA_

VIDEO BY LAIA PONSA @LAIAPONSA_

TALENTS ARE IMPERIO @IMPERIOSAFOSCA

KATRINA @KATRINA.MONSALVE FROM @ISLA_MANAGEMENT

MAKEUP BY ANTONELLA CERDÀ @ANOTHERCREEPO

STYLING BY AINHOA ARMAÑANZAS @AINHOARMM

FASHION DESIGNERS: JUAN TRUNCES @JUANTRUNCES, ARGENTINA BELCHEZ @ARGENTINABELCHEZ

SPECIAL THANKS TO SALSAS PERRUQUERIA

ATHLEISURE

ATHLEISURE

AND DRAG:

FUSION OF CULTURE AND GOSSIP

VEST BY JUAN TRUNCES JACKET BY ADIDAS

BY ADIDAS

FROM STYLIST JACKET BY JUAN TRUNCES SHORTS BY JUAN TRUNCES

SOCKS BY TEZENIS SHOES BY ZARA VINTAGE GLASSES

JACKET BY JUAN TRUNCES

DRESS BY JUAN TRUNCES

TOP BY ADIDAS

NECK SCARF FROM STYLIST CORSET BY URBAN OUTFITTERS

JACKET BY JUAN TRUNCES

SHORTS BY JUAN TRUNCES

TOP BY ADIDAS VINTAGE GLASSES

BOXER: @DAYSLLLL

DESCENT

JEANS: VINTAGE

JEWELLERY: @EVER.DULL SHOES: VINTAGE

DESCENT

PHOTOGRAPHY & CONCEPT: KASPER JERNHAG @KASPERJERNHAG

TALENT: MARIAH @MARIAHOUWERLING, JUDAS @7UDAS___

FROM PEOPLE AGENCY @PEOPLEAGENCY

MAKEUP & HAIR: ROXANNE CANEDO @ROXANNE.CANEDO

STYLING: DAISY HOGAN @BABYFACEKINGPIN

ASSIST: TILDE WOLFGANG @TILDEWOLFGANG

BELT: VINTAGE BLAZER: VINTAGE SHORTS: @DAYSLLLL

JEWELLERY: @EVER.DULL SHOES: VINTAGE

SHORT: VINTAGE

JACKET: VINTAGE

BELT: VINTAGE

JEWELLERY: @EVER.DULL

BLUSH DAVIS

INTERVIEW BY MARCEL SCHLUTT

BY MAX VOM HOFE

«ART HAS ALWAYS BEEN MY WAY OF EXPRESSING MYSELF, WHETHER THROUGH MUSIC, PAINTING, OR ACTING.»

In our conversation with blush davis, we delved into her inspiring transformation from a hidden gem in the music industry to a rising solo artist poised to capture hearts everywhere. blush’s artistic roots sprouted on the serene island of Föhr, but it was the dynamic energy of Berlin that propelled her into the soundscape of modern music.

Her 2018 single “All About” was a breakout moment, rapidly climbing the Hype Machine charts and gaining accolades from reputable outlets like Vogue Germany and ZEIT Magazin. This pivotal track would set the stage for her impressive writing career, crafting chart-topping hits for global powerhouses like BTS and Jimin.

Now, as she unveils her solo project, blush davis is ready to claim her space in the limelight, moving from collaboration to self-expression. With over 2 billion streams under her belt, her unique voice and artistic vision promise to bring something fresh and exciting to the music scene. We can’t wait to see how this new chapter unfolds for her!

blush, your journey from a songwriter for other artists to a solo performer is quite remarkable. What prompted you to take this leap into your artist project?

I always knew I wanted to release my music—it was always a dream of mine because there was something so freeing about building up my world. Music truly held the power to set me free in many ways. Stepping into the spotlight as an artist can always feel daunting and vulnerable, but it’s also incredibly fulfilling. For me, that was what it was, it was a gradual process, not a sudden decision.

I spent a lot of time behind the scenes, shaping my story and refining my craft, taking the time I needed to truly feel ready. That experience offered me valuable insight into what it would take to create a project like this. Interestingly enough, in the beginning, I didn’t quite have the tools or the confidence to express my own stories through music. Working with other musicians helped me understand how to translate emotions into songs. It gave me the space to experiment, grow, and learn gradually.

And now, I feel I’m there, so I’m excited to take that knowledge and use it to shape my path as an artist. It’s thrilling to embrace the unknown and see where this journey leads.

Can you tell us more about the inspiration behind your debut single “i love you don’t worry xx”? What themes or messages do you hope to convey through this song?

Connecting deeply with others, whether in friendships or relationships, takes a lot of courage. It requires letting your guard down, which can be both vulnerable and beautiful. Throughout my life, I’ve had amazing connections, but I’ve also faced moments where I felt taken advantage of. Those experiences have made me more guarded, and sometimes my doubts and fears of being hurt crept in before I would even allow myself to give someone a real chance.

It can be a very isolating feeling—like you’re on the outside of something you desperately want to be part of.

‘i love you don’t worry xx’ is about that feeling of isolation that comes from being trapped within your thoughts—feeling distant from others, even when it’s not their fault. As I shared this story, I realized there were–and are– so many people out there who feel the same way. I hope that this song can help them feel a little less alone. Knowing that others can relate brings me a sense of peace and acceptance, and I hope it does the same for them.

Your music is described as having hypnotic melodies and soft yet powerful vocals. How would you describe your unique sound and the creative process behind it?

It’s difficult to pinpoint my sound because it’s so deeply connected to the emotions and stories behind every individual song. I like to let the music develop naturally, letting the feeling of each track guide the way it sounds. For example, on ‘i love you don’t worry xx,’ the melodies have a hypnotic quality because they represent the way thoughts can draw you into a world of darkness and fiction. I try not to limit myself to a specific style or sonic characteristic.

I love experimenting with my voice, using different tones and textures to best convey the story I’m telling. Sometimes that means letting loose and screaming out every feeling, while other times, a whisper might carry more meaning than a thousand words. My goal is to always find the right way to express what the song needs, allowing the music to shape itself around that vision.

What impact has growing up on a peaceful island setting off the coast of Germany had on your music and artistic vision?

Growing up surrounded by nature on a quiet island gave me a lot of space to dream and let my imagination run wild. The serene and beautiful scenery allowed me to listen closely to my thoughts and create stories in my mind. That solitude was inspiring, but it also meant I spent a lot of time in my head, which ended up being both a blessing and a challenge.

While that experience helped shape my artistic vision, I’ve come to realize how important it was to balance that with human connection. Now, being in the studio every day, surrounded by collaborators and friends, brings a new kind of energy and inspiration to my music because I’m not alone.

You have a rich background in both music and the arts. How does your experience in painting and acting influence your approach to music?

Art has always been my way of expressing myself, whether through music, painting, or acting. It feels like a parallel universe where I truly belong—a place where I can find a sense of home, purpose, and peace. Whenever I’ve struggled to express myself verbally, I’ve turned to a canvas or a song to lay out my thoughts. It’s a huge relief to channel those feelings creatively, allowing them to flow through me. Sometimes, the process even surprises me—like when a painting turns out in a way I hadn’t planned.

That sense of discovery and freedom is something I carry into my music as well, letting the art guide me and take its shape.

Collaborating with artists like BTS and Bella Poarch must have been incredible. What did you learn from these experiences, and how have they shaped your own artistic identity?

Collaborating with all the artists I’ve had has been an inspiring experience. When I work with artists whose vision resonates with mine, it’s exciting to dive into their creative world and shape the journey together. The behind-the-scenes process is immersive and meticulous; we keep refining until every element feels just right. These collaborations have broadened my artistic perspective, pushing me to explore new approaches and ideas, so I’m grateful to have worked alongside them.

Looking ahead to 2025, what are your personal and professional goals? How do you envision your music evolving in the coming years?

In 2025, my main goal is to stay present and fully embrace this new artistic journey, with all its ups and downs. I want to keep challenging myself creatively, step outside my comfort zone and grow both as an artist and as a person. Each project is an opportunity to push my boundaries and bring my best in every moment, and I’m excited to see how that continual growth will shape my music and artistry over the next year. I’ll be releasing one more single this year: ‘Point of View’ is out on December 13th, but there will be much more music coming in 2025.”

Who has been your music icon or major influence throughout your career, and how has this figure shaped your artistry?

I draw inspiration from so many genres, and my influences often shift as I evolve. Right now, I’m especially inspired by the soft rock era, with artists like Fleetwood Mac—their music has this raw, authentic quality as if it was written out of necessity, almost like therapy. I’m also really drawn to Amaarae; her unique vocal grooves and the spacious, flowing production in her work create such an interesting contrast.

These influences are currently shaping my approach to music, guiding me toward a blend of depth, rhythm, and emotional honesty.

The Berlin arts scene is known for its vibrancy and innovation. How has this environment shaped your music and the collaborations you’ve pursued?

Berlin’s creative energy is so inspiring—it’s everywhere, from the street art to the architecture. What gets me, though, is the nightlife. I’m not out every night, but just knowing the city comes alive in such a mysterious way late at night is exciting. There’s this edge to Berlin that has influenced my music and the kinds of collaborations I want to pursue. It makes me want to dig deeper and experiment with new sounds.

Your interests span various fields, from fashion to wellness. How do these passions intersect with your music, and do they influence your branding as an artist?

I think anything that sparks passion naturally finds its way into art. Music isn’t just about sound; it’s a whole experience, and I love blending that experience with visuals, fashion, and stage design to make it vibrantly come to life.

I’m always on the lookout for fresh talent in fashion, film, and other creative fields to collaborate with— and it becomes inspiring to see how such elements can come together to shape my identity as an artist and work themselves into my music and artistry.

As you transition into the spotlight, what challenges have you faced in maintaining your artistic voice while collaborating with high-profile artists?

Balancing my artistry with the other collaborations I pursue, I’ve found, to be challenging, especially when it comes to time and focus. When I’m working on a project for another artist, I give it my all, fully immersing myself in their vision. But for my music, I need uninterrupted time to get into that creative zone, ideally, days or even weeks. Jumping between the two can be tough, especially when unexpected songwriting opportunities come up. On top of that, life itself is a source of challenge and inspiration, so I find I need those real-world adventures to keep my creativity fueled.

How do you envision your debut project impacting the pop genre, particularly considering the avant-garde style you embody?

I honestly don’t think about my music’s impact on any genre, I just focus on creating what feels right to me in the moment, and I create it. My style is constantly evolving, so I don’t like to box my art into one genre or label. If anything, I hope my debut brings something fresh and shows people that pop music can be fluid and experimental, with room for unexpected influences, too.

What role do you believe social media plays in your music career, and how do you use it to connect with your audience?

Social media is such a powerful way to connect with people, but I try to keep it genuine and not let it replace real, human connection. I use it to share my music and ideas, but I want my audience to feel something real, not just scroll past it. That’s part of why I did a physical poster campaign in Berlin, it felt more personal and tangible. When I create music, I’m always thinking about how it’ll feel life, imagining that energy and connection with the crowd, where it can live and resonate with people in real-time, not just online.

With your experience as a successful songwriter, how do you approach writing for yourself compared to writing for others?

When I write for myself, I’m very intentional about choosing co-writers and producers who I connect with on a deeper level. I work with a small group of people I trust, and we take our time, letting the music evolve naturally without forcing it. Because my own songs are so personal, it’s easy to overthink every detail, so I sometimes need to step away to reset. Coming back to the studio with fresh energy and perspective helps me stay true to the heart of what I want to express.

Lastly, if you could share one piece of advice for aspiring artists looking to find their voice in a competitive industry, what would it be?

My biggest advice would be to avoid comparing yourself to others. Focus on what you bring to the table, and trust that you have a unique voice and perspective that deserves to be heard. Everyone’s journey is different, so just show up and try to be authentic to yourself and that journey. No one has all the answers—you do learn by doing, so just by continuing to show up and let yourself grow, you’ll find that path to finding your voice.

FOLLOW BLUSH DAVIS VIA @CALLHERBLVSH PHOTOS BY @MAXVOMHOFE

PHOTOGRAPHY BY SARAH TROX @SARAH.TROX

MODEL IS THOMAS ADOLF @TOMMYADVV

HAIR AND MAKE-UP BY HENRIETTE AUE @FR.AUE

ASSISTANT IS ISABEL HESKE @ISABELHESKE STYLING BY ISABEL HESKE & SARAH TROX

HOTEL ROOM

THE EDITORIAL EXPLORES THE CONTRAST BETWEEN DIFFERENT SIDES OF ONESELF IN A SPACE THAT PROVIDES BOTH - ANONYMITY AND A SENSE OF SANCTUARY

RICK OWENS

SKIRT BY HELL BUNNY

STEP INTO THE FUTURE: DR. MARTENS X MM6 MAISON MARGIELA

IN AN EXHILARATING INTERSECTION OF REBELLION AND HAUTE COUTURE, DR. MARTENS HAS TEAMED UP WITH AVANT-GARDE TRAILBLAZER MM6 MAISON MARGIELA FOR THEIR DEBUT AUTUMN/WINTER 2024 CAPSULE COLLECTION. THIS GROUNDBREAKING COLLABORATION TRANSCENDS MERE FOOTWEAR, INSTEAD DELVING DEEP INTO A SHARED ETHOS OF CHALLENGING THE STATUS QUO WITHIN FASHION.

AT THE HEART OF THIS COLLECTION LIES A BOLD DESIRE TO DECONSTRUCT AND REIMAGINE CLASSIC SILHOUETTES. EXPECT TO BE DAZZLED AS THE ICONIC BRITISH FOOTWEAR BRAND REINTERPRETS ITS HERITAGE WITH AN MM6 TWIST. THIS AVANT-GARDE CAPSULE PRESENTS A SEAMLESS BLEND OF TWO CREATIVE PHILOSOPHIES, YIELDING HYBRIDS THAT ARE AS UNORTHODOX AS THEY ARE TIMELESS.

DEBUTING AT THE EAGERLY ANTICIPATED MM6 MAISON MARGIELA A/W24 SHOW, THE COLLECTION FEATURES A STUNNING FUSION OF FOUR SIGNATURE DR. MARTENS DESIGNS—NAMELY, THE ORIGINAL 1460 BOOT, THE TOWERING 1490 BOOT, THE SLEEK 1461 SHOE, AND THE ELEGANT PENTON LOAFER— TRANSFORMED INTO THREE AUDACIOUS NEW SILHOUETTES. EACH PAIR NARRATES A STORY OF ARTISTIC CONVERGENCE, MARRYING CLASSIC CRAFTSMANSHIP WITH CUTTING-EDGE INNOVATION.

FASHION

FOR THE SNEAKERS LOVER

ADIDAS HARDEN VOLUME 8 SHOE seen at KICKZ

AXEL ARIGATO & GMBH S/S25 seen at AXEL ARIGATO

L003 EVO seen at FOOTLOCKER

L003 EVO seen at FOOTLOCKER NEW BALANCE 1906 seen at KICKZ

CONVERSE ALL STAR BB SHIFT CX seen at FOOTLOCKER

LACOSTE

LACOSTE

AN INTERSECTION OF HERITAGE AND MODERNITY

MY PERSONAL REFERENCES!

DISCOVERING THE ESSENCE OF ABSENT FINDINGS

In the world of fashion, where lines often blur between tradition and innovation, Absent Findings emerges as a beacon of creativity and individuality. With their debut collection, "My Personal References," the brand invites us into a reflective journey that intertwines art, architecture, and heartfelt heritage. Inspired by influential voices like Vasudeo S. Gaitonde and Satyajit Ray, this collection showcases a rich colour palette paired with futuristic elements drawn from Dubai's iconic Museum of the Future.

Each piece tells a story, crafted with the cherished saris of mothers and grandmothers, the designs balance structure and fluidity, echoing the duality of past and present. At the heart of Absent Findings is a philosophy that embraces both minimalism and maximalism, celebrating the beauty of unexpected silhouettes and intricate details. This dynamic approach encourages wearers to find their uniqueness in every stitch, making a statement through subtlety.

As we delve into this exclusive interview with the visionary behind Absent Findings, we uncover not just the inspiration behind "My Personal References," but also the values that define a brand committed to authenticity and expression. Join us as we explore the creative process, the challenges faced, and the profound connections that manifest in each garment, a collection that is not just fashion, but a canvas for self-discovery.

What inspired the theme behind your latest collection, "My Personal References," and how does it tie into the essence of Absent Findings?

"My Personal References" is truly a reflection of my journey, both in life and as a designer. It’s about reconciling different facets of my identity, from my cultural heritage to my fascination with modernity and dreams. The collection ties into the essence of Absent Findings because it embodies that dualityhonouring tradition while exploring the future.

It’s about creating pieces that feel like an extension of my personal experiences, like drawing from the saris of my mother and grandmother, but at the same time reimagining them in a way that speaks to innovation and change. This balance between old and new, the tension between presence and absence, is where Absent Findings truly come to life.

How do you think this collection reflects the brand's philosophy of merging minimalist elegance with bold innovation?

This collection strikes a balance between refinement and forward-thinking design. The clean lines, tailored silhouettes, and use of a monochromatic palette reflect minimalist elegance. Yet, there’s innovation in how those elements come together. For example, the draping mimics the flow of a sari but is reimagined in a way that feels fresh and modern.

It’s not about overwhelming the design with extra elements; instead, it’s about making bold choices within the simplicity. The innovation is subtle, more in the construction and the story, letting the pieces speak through the details rather than embellishments.

The collection features unexpected silhouettes and deconstructed elements. What motivated these design choices, and how do they enhance the narrative you want to convey?

The deconstructed elements and unexpected silhouettes reflect a deeper narrative of transformation and evolution. Growing up between cultures and carrying the weight of different identities, I often feel like I’m in a constant state of becoming. These design choices reflect that deconstructing the familiar and rebuilding it into something entirely new. The pleating in some of the garments, for example, mirrors the draping of a traditional sari but is reimagined to flow with a modern silhouette. It’s a nod to heritage, but it’s also about breaking boundaries and reinventing what’s expected. I want these choices to invite wearers to embrace their evolution.

Can you elaborate on the role of art and culture in shaping your designs for this collection?

Art and culture are at the heart of this collection. I drew inspiration from several key figures whose work resonated with my journey and the essence of Absent Findings. Vasudeo S. Gaitonde’s approach to abstraction greatly influenced my use of colour.

His muted, contemplative palette, combined with the dusty shades of primary colours that I grew up with in Dubai, shaped the emotional tone of the collection. Each shade speaks of calm, introspection, and a quiet confidence that mirrors the deeper layers of the garments.

Satyajit Ray’s Pather Panchali touched me on a deeply personal level. The humanism and raw emotion in the film reminded me of my Bengali heritage and how profoundly culture shapes our perspective. It’s not just about making clothes but creating garments that carry stories, memories, and the emotional weight of lived experience.

Max Ernst’s surrealism also influenced my design process. Ernst once said that an artist, when in turmoil and inner struggle, is filling up their vessel. This time of absence, of internal conflict, is essential because once the vessel is full, it explodes onto canvas.

That’s the moment of finding or discovery, the breakthrough that leads to creating something truly consequential. This process of finding after an absence, of creating the following struggle, feels closely tied to how I approached this collection. I wanted to embrace this sentiment.

Lastly, the Museum of the Future in Dubai shaped my vision of modernity for this collection. The museum’s fluid, futuristic architecture inspired me to think about how clothing can bridge the gap between tradition and innovation.

The collection reflects this merging of art and culture—honouring the past while simultaneously looking forward, creating something timeless yet progressive.

Among the pieces in "My Personal References," is there one that holds particular significance for you? What story does it tell?

One look that holds particular significance for me is the combination of the black cummerbund trousers, inspired by the drape of a sari, and the green blouse made from my grandmother’s sari. This look encapsulates what Absent Findings is truly about authentic, meaningful pieces that effortlessly carry deep personal stories. It’s a fusion of my heritage with contemporary design, striking a balance between tradition and modernity.

Aesthetically, this outfit represents quiet confidence. I imagine someone walking into a room wearing it with a calm, assured demeanour, turning heads without needing to peacock. That’s exactly what I want Absent Findings' wearers to experiencea sense of understated power and elegance.

How do you see the concept of duality—between absence and presence, minimalism and maximalism play out across the garments in this collection?

Duality is a constant theme in my work, and this collection dives into that. I think a lot about absence and presence, not just in design but in life. In the collection, you’ll see minimalism in the clean lines, muted colour palettes, and tailored silhouettes, but maximalism creeps in through the detailing the bold draping, unexpected cuts, and layered meanings behind each piece. It’s about finding a balance between restraint and expression. I see this as a metaphor for how we all navigate life, constantly shifting between wanting to be seen and choosing to stay absent.

Individuality is a core value at Absent Findings. How does "My Personal References" encourage wearers to express their uniqueness?

This collection was designed to invite individuality. Each garment is intentional, but there’s enough space for the wearer to bring their personality into it. The pieces are versatile, allowing for different ways to wear and interpret them. The deconstructed elements invite creativity, whether it’s how you style the garment or how you move in it, there’s room for personal expression. It’s about giving people the framework but letting them build their own story within it.

I want people to feel like they can make each piece their own, connecting with the narrative but bringing their own experiences to it.

In designing this collection, how important is the use of monochromatic palettes, and what feelings do you aim to evoke through colour?

The monochromatic palette is essential because it evokes a sense of calm and contemplation, much like Gaitonde’s work, where subtle shifts in tone create emotional resonance. I wanted the colours in the collection to feel meditative, allowing the textures, shapes, and details to take centre stage without being overpowered by bold hues. However, my interpretation of monochromatic differs from the more traditional palette of greys and blacks.

Given my personal history and upbringing, I believe in wearing the colours you feel. The palette in this collection draws from the dusty, muted tones of primary colours I grew up surrounded by in Dubai.

It reflects a more personal narrative, one that balances subtlety with emotional depth.

Every detail in your garments is intentional. Can you describe how you achieve this while allowing for personal expression?

I focus on crafting garments that are precise yet flexible. Every detail is considered, but it’s not rigid. I want my pieces to feel effortless yet thoughtful. For example, the way fabric is layered or the pleating that mimics the drape of a sari, it’s all intentional but allows for the garment to move and adapt to the person wearing it.

It’s a balance between structure and fluidity, where the details guide the overall form, but the wearer brings the final layer of expression to it.

How does meticulous tailoring contribute to the timeless and chic aesthetic Absent Findings is known for?

For me, tailoring is where craftsmanship meets storytelling. It’s about making sure each piece doesn’t just fit well but feels timeless. I’m a big believer that a garment’s longevity comes from how it’s built, how it feels on your body and how it moves with you.

In Absent Findings, tailoring is key because it reflects our focus on quality and refinement. The clean lines and sharp cuts give the collection that effortless, chic look, but it’s the tailoring that makes these pieces more than just stylish, they're made to last.

Every fit and silhouette has been carefully thought through. Almost every piece went through three rounds of prototyping, with little tweaks every time to get the shape just right. That’s all down to tailoring, it’s what makes these pieces feel so polished and effortless when you wear them. It’s about making sure the clothes don’t just look good but also feel good, and that they move with you.

Can you share your thoughts on how maximalism finds its way into your largely minimalist framework in this collection?

Maximalism in this collection is about layering ideas rather than adding embellishment. While the overall aesthetic is minimalist, there’s maximalism in the details, like the exaggerated neck and shoulders of a hoodie or how a simple silhouette holds hidden layers of meaning.

It’s also about emotional maximalism. Each piece may seem simple at first, but the thought, personal history, and emotional weight behind it are anything but minimal. It’s about finding richness in the subtle and allowing the complexity to reveal itself slowly.

What message do you hope wearers take away from "My Personal References," particularly regarding their personal style and self-discovery?

I hope the collection inspires wearers to explore their narratives. It’s deeply personal for me, but I want others to find their meaning in it. Fashion, for me, is a tool for self-discovery, it’s how you express who you are and who you’re becoming. Through "My Personal References," I want people to feel empowered to embrace both their past and their future. It’s not about conforming to trends or what society expects; it’s about finding what resonates with you on a deeper level and expressing that through the way you dress.

More importantly, it’s about normalizing the idea of being absent from what society has planned for you, as long as you’re using that absence to find what your soul truly needs. I want this collection to give people, especially kids like me, the strength to believe in themselves, to take time to explore their path, and to trust that absence is part of the journey to finding your true self.

Looking back, what challenges did you face during the creation of this collection, and how did those challenges shape the final pieces?

One of the biggest challenges was balancing the personal nature of the collection with its broader appeal. Using fabrics from my mother’s and grandmother’s saris brought a lot of emotion, and translating that into something others could connect with wasn’t easy. But it made the collection stronger, pushing me to tell a story that feels both personal and universal. It’s been a real learning process, especially compared to my time at Polimoda, where the focus was more on pushing silhouettes and art. This time, I had to consider the occasion of use and commerciality alongside the story I wanted to tell.

Heritage plays an important role in fashion. How do you integrate your heritage into your designs and storytelling?

My heritage is woven into the fabric, literally and metaphorically of this collection. From using saris passed down in my family to drawing on influences like Satyajit Ray’s Pather Panchali, my cultural background shapes everything I do. It’s not just about aesthetics; it’s about carrying forward the values, emotions, and stories of those who came before me.

Lately, I’ve been making a conscious choice to find beauty in my own culture, instead of looking only to Western artists and media like I used to. I’ve realized that my strength comes from my worldview, and so much of that is because of my heritage.

I integrate this not just as a nod to the past but as a living, evolving part of who I am and what I create. It’s a way of honouring where I come from while pushing those traditions into new, modern spaces.

As we look to the future of fashion in 2025, what changes do you foresee? How do you think Absent Findings will adapt to these emerging trends and consumer desires?

In 2025, I foresee fashion moving toward a deeper connection with authenticity and representation.

There's a growing awareness of the need for more diverse voices, especially in an industry that’s been predominantly shaped by Western ideals. As a South Asian designer, I feel there's a rich cultural heritage that hasn’t been fully explored or represented in a truly researched and intentional way, despite it resonating with such a large global audience. I want to bring my culture into the conversation, not as a trend, but as an authentic narrative that merges with my own unique experiences.

Absent Findings will adapt by continuing to be that voice, blending my South Asian roots with my journey, offering a perspective that is both fresh and genuine. I believe this is essential in a space that often sidelines voices like mine.

It’s not just about showcasing culture, but doing so in a way that honours it, through careful research, storytelling, and deep personal connection. There’s so much value in pushing for systemic change, both within the industry and beyond.

FOLLOW @ABSENTFINDINGS

PHOTOGRAPHY & ART DIRECTION: LAURA PUSCASU @VISUALDELIRIUM

STYLING: NISHA KAPITZKI @NISHAKAPITZKI

HAIR & MAKEUP: SUBRATA RAVINDER SINGH @SUBI911

AKANKSHA RAJESH @AKANSHARAJESH6

DISHA JOSEPH @DISHAJOSEPH SET DESIGN: NISHA KAPITZKI @NISHAKAPITZKI

SHIVIN SINGH @SHI.VIN SET ASSISTANT: SHREYA KAPITZKI

@SHREYAKAPITZKI

MODELS: LAITH ORIJ @LAITH.ORIJ & KEVIN FERNANDO @BYKEVINFERN

PRODUCTION: RAVINDER SINGH @RAVI.S.PHOTOGRAPHY

SUBRATA RAVINDER SINGH @SUBI911

PATTERN & PRODUCT DEVELOPMENT: DARIO BONUCCI @STUD_48R

CREATIVE DIRECTION: SHIVIN SINGH @SHI.VIN

queer SuperPowers

@zimaggucci

Photography by Auguste Friedrich

"Queer Superpowers was born out of a deep connection to the portrayed queers and allies.  They not only had the courage to undress in front of the camera, but also to expose their thoughts and tell their stories. Overcoming obstacles in a society where they feel supposedly 'different' has made them the beautiful human beings that they are. „Otherness“ becomes a superpower.

I am deeply grateful for their trust and would like to share not only the portraits, but also their words. Because the world needs queer voices - now more than ever."

„Growing up as a queer kid in a small town came with a heavy price.

My gentleness, sensitivity and softness were something that people not only wouldn’t understand and accept but rather made fun of ...

"Soon

shame inevitably overshadowed those beautiful qualities and it took me years to let them resurface and proudly embrace them...“

@soda_zitron

„Now

in my full authenticity, I love being my hypersensitive self and I find it inspiringly sexy to see others claiming their s u p e r p o w e r s back!“

„I discovered my superpowers through dance as that allowed meto express myself creatively, to emanate happiness around myself and give positive energy to others. As soon as I found the endless joy that dancing gives me, I started to do it all the time.

When I dance I myself fully,

@ttttiiiiaaaaggggoooo

Thong by Effenberger Couture

"While I wait to cross the road. When I’m doing my groceries. In the shower. With friends, strangers, lovers. On my own. In the club. On a platform, by the dj. In the crowd, rubbing shoulders..."

feel free, I feel I feel queer.“

Santo King Rey

”In a world wrestling with labels, I‘ve embraced my LGBTQ+ identity since a very young age. Even at this very moment in my life, I continue to unfold the rich tapestry of my community.

Finding power in self-exploration, I discovered liberation. Despite societal norms, I navigated by donning a mask, a persona that lets me express my sensuality on social media. Embracing mystery, I‘ve sparked intrigue and empowered myself to live authentically, challenging preconceptions and celebrating the beauty of my lifelong fantasies.“

„I appreciate fashion for its ability to reflect the current phase I’m in, showcasing my personality to the world. It navigates norms like uniformity, gender roles, dress codes and societal expectations.“

„I appreciate fashion for its ability to reflect the current phase I’m in, showcasing my personality to the world. It navigates norms like uniformity, gender roles, dress codes and societal expectations.“

@the_raffy Jockstrap by Colt Slip by Hanro Earring by Vitaly

„I

wear black, very often. It is my armour. I wear pink glasses too. I am somewhere in between. A kind of modelling dough in search for shapes, for filling expansion gaps. With no labeling because it means categorize, put into a box.“

„10 tears ago I received a gift. Inclusion. Acceptance. Diversity. Beauty. Power. Freedom. Breathing.

An amazing group of people opened their world to me and offered me a safety space. They became my safety space. I felt accepted and loved. That‘s the meaning of queer and LGBTQ+ community to me.

They are this gift.“

„As I soar through the skies of acceptance, my story unfolds as a testament to the extraordinary powers that lie within each of us. The ability to love unconditionally, the strength to stand tall in the face of ad- versity in a world that once tried to suppress my light, I stand proud, a superhero ready to inspire and uplift.“

„Growing up as a gay kid, I had to rely on myself and do a lot of things alone. I understood that whatever I made of myself was in my own hands, and that gave me the grit and the strength to navigate life when it gets difficult, and grow from adversity...

Growing up as a gay person is a fast track course for toughening up in life.“

Bastian

„We give a voice to those who feel silenced. We give power to what others consider weak. We give a sense of belonging to those who feel alone. We give beauty to what others consider ugly. We give new meaning to things that have been labeled.“

„Growing up in a very conservative society, I struggled with strict norms and body issues that limited my self-expression.

Through art, music and travel, I gradually embraced vulnerability and authenticity...

Shedding layers of fear and shame, I began to celebrate my body and sexuality.

I dare to show myself naked and break boundaries, in an aesthetic way, transforming body issues into self-confidence. I am proud of the journey that has led meto self-acceptance and personal expression.“

Auguste Friedrich sheds a warm light on the beauty of acceptance, love and intimacy. His pictures show a queer self-conception that provides space for strength and vulnerability, for sexual freedom and expression but also intimate romance.

With his art, he wants to question his own perception of feminity and masculinity, aswell as the perception within the queer community.

Influenced by the stories behind the people portrayed, his motifs aim to create a connection with the viewer, to touch, inspire and excite.

Auguste Friedrich lives and works in Berlin.

UNVEILING ANAÏNJA ELODIE GERVAISE

DISCUSSES HER DEBUT ALBUM

ELODIE GERVAISE, THE FRENCH-AUSTRALIAN ARTIST WITH OVER 4 MILLION STREAMS, IS SET TO RELEASE HER DEBUT ALBUM EXOSOUL [OF ANAÏNJA] ON DECEMBER 13TH VIA B3SCI RECORDS. THIS INTIMATE COLLECTION EXPLORES THEMES OF LOVE, CONNECTION, AND SELF-DISCOVERY THROUGH HER ALTER EGO, ANAÏNJA—A SYMBOL OF HOPE. BEGINNING HER MUSICAL CAREER IN 2016 WITH BANDS LIKE THE GALAXY GIRLS, ELODIE TRANSITIONED FROM ARCHITECTURE TO MUSIC, STUDYING IN PARIS AND LATER RELOCATING TO BERLIN. HER NEW ALBUM, A DEEPLY PERSONAL EXPLORATION OF AUTHENTICITY, EMERGED FROM A CHAOTIC YET PASSIONATE PERIOD IN HER LIFE.

TRACKS LIKE "SWALLOW ME WHOLE," INSPIRED BY ADVENTURE, AND "KING OF CUPS," REFLECTING ON SELF-WORTH, HIGHLIGHT THE ALBUM’S PROFOUND THEMES. ELODIE'S CAPTIVATING VOICE AND ENGAGING LYRICISM SHINE THROUGH, ULTIMATELY EMPOWERING LISTENERS BY WEAVING TOGETHER MEMORIES AND PERSONAL GROWTH. WE SPOKE TO ELODIE ABOUT HER UPCOMING ALBUM AND THE CREATION OF HER ALTER EGO ANAÏNJA ON HER JOURNEY OF SELF-DISCOVERY.

INTERVIEW

BY

NICOLA PHILLIPS

Your debut album, Exosoul [of Anaïnja], has already generated a lot of buzz. What does the title mean to you, and how does it reflect the themes explored in the album?

To me it’s an idea of expressing straight from the soul, rather than your human experience. By creating the character Anaïnja I realise now that maybe I was trying to call out the soul in an attempt to draw from its truths.

You mention that Exosoul feels warmer than your last EP, Syzygy. Can you elaborate on this shift in sound and emotion

Initially inspired by the electronic scene when moving to Paris and creating Syzygy, I was fortunate enough to be introduced to the neo-soul and jazz realm in Berlin. It seemed more heartfelt and I think informed the direction a lot with this new project.

You describe Anaïnja as a divine, erotic warrior. How did stepping into this alter ego influence the themes and connection to your music?

Haha sounds dramatic doesn’t it! Can you tell I grew up with a life sized poster of Wonder Woman on my wall? Basically she granted me unexplored and honest terrain to play in and experiment with. It was a very freeing process as I never planned on releasing the album under my name so I really let it all out in an uninhibited way.

You used to be an architect before pursuing music full-time. How has your background in architecture influenced your approach to music and artistry?

I love how architecture impacts us emotionally through spaces and music is the auditory equivalent. Amongst many things it taught me the importance of details and lighting and how vital each element is in the spaces that we perform.

How has moving from Australia/France to Berlin influenced your creative output?

There’s a beautiful darkness and chaos in Berlin that feeds creativity. It’s been deeply inspiring and liberating living and expressing here, once I managed to find my balance amongst it all.

Could you share some stories and influences for your favourite tracks on the new album?

I’m not sure if I have favourites as each track shares such different stories and sentiments. I’m excited to share the concept for “King of Cups” as I imagine most people would perceive it as a love song but really it’s about a beautiful lesson I was once taught, that all you are searching for in a partner exists within you. You are King if you choose it.

Can you explain the significance of the visual elements in your album, particularly the direction by Adam Munnings? How do these visuals complement your music?

Songs can truly come to life when coupled with the right imagery. I think we’re so accustomed to feeling through the divine pairing of cinema and sound so I love coming to Adam with a finished track and watching how he so perfectly transforms it into film.

A true magician. It’s a glorious process that I’m now addicted to and why I’m going back to architecture for a while to make the money I need to fund all the albums and short films I want to make!

You've mentioned collaborating with Mucky Beats. What was it like working with him and how did his contributions shape the sound of the album?

It was brilliant working with Mucky as he’s been an artist whose work I’ve admired for years. Sevdaliza has always been a key reference for me and I especially love her vocal treatments. He really elevated the album by adding his own flavour and a certain freshness.

Your album conveys powerful themes of self-discovery and empowerment. Why are these themes important to you in your journey within the music industry?

Maybe I’m wrong but I feel these are important themes to any 30 year old trying to make their way in the world and uncover their voice and identity. To me it’s all about experimentation and developing a deeper understanding of yourself and others through trial, error and adventure.

What do you hope listeners will feel or experience when they listen to Exosoul?

Fearlessness.

Looking ahead, what do you envision for your musical journey after the release of this album?

Hopefully jumping on a European tour next summer - artists who think I’d be a good fit for their show give me a call!

Follow @elodiegervaise

Exosoul [of Anaïnja] will be released December 13th via B3SCI Records. Pre-order it HERE!

THE COWBOY

UGLY TRANSCRIPTION

Introducing Ismail Luceat-Anima. An independent artist, designer and representative of the queer community that is censored in Ismail´s country. Interview and project curation by Annette Demina.

"Currently, many of us are faced with many problems and taboo topics regarding our own self-identity. We do not want to remain silent and in the shadows, depriving modern culture of talents that are increasingly subject to censorship, as well as individuals who are ready to fight for the rights of individual freedom and self-expression. The 'Transcription of Ugliness' project aims to focus on individuality, without forced prejudices, and to help see and reveal beauty beyond typical standards."

DETACHMENT

Because your work is directly tied with beauty, it is impossible not to ask you to define this concept.

I can only be subjective when discoursing about it, as for someone it stands for flowers and eternal youth, and for someone else it is dirt and wrinkles that appear to be the most gorgeous of sights.

For it me it that magnetising feeling, that is caused by something seen or witnessed, it is a very refined sense, which develops in my mind based on the amount of pleasant sensations in my memory. I think that even very unlikely objects or events can attract me in this way. If it moves something in my soul then i can confidently say: it is beautiful.

I can also add that my “OH WOW” as a rule is an “eeeww” for most people, and it is the most stark example of the discourse on beauty and what is “ugly”.

Beauty is in mixing and matching, contrasts, and irony of course. I love when what should not be together is mixed.

Do you think it is possible to become beautiful? What must one do to achieve that? Do you consider yourself beautiful?

I would love to answer this straight and to the point and here I go “buuuut…..” ahahaha.

We all live in a wonderful age where we can change based on our desires. The world is coming to a point where one cannot judge a person based on who you or I would like to be. I am not speaking merely about physical modifications, a “human tuning” if you will, but also of the internal beauty, which can be acquired.

For me beauty lies in uniqueness, if we are talking of a person’s beauty. Subjectively, somewhat snobbishly, I find the strength of character, sincerity, and charisma to be very special qualities. For some it is cheekbones and large eyes, but I prefer to observe people when you can tell they are enjoying themselves in any form that they take, whether they modified themselves in some way or if it is something natural.

I can´t really answer about myself here — I love myself and I am thankful for that. My inner world opens through the outside world. My clothing, or it is lack, my vision, freedom, and thoughts. It is the combination of these factors that make me beautiful to me. Separately these qualities are nothing.

The criteria for beauty and art are always changing. Do timeless parameters exist?

Of course! A key parameter of beauty for mankind will always be a human. If one takes a look back to decades ago, and then thousands of years ago, one will always see an image of a person and their surroundings at the very foundations of art. Humans are what attracts us, what sexually excites us, they inspire awe and annoyance at the same time. Bingo! I think for our whole existence as humanity we will remain as the basis for beauty, just in different interpretations.

Your image opens you much deeper than any of its interpretations. How did you arrive at such personal freedom and ways of representing yourself?

I think I got the main push from my background — a very unfree childhood and teenagehood, when practically everything that I liked was controlled or prohibited, there was no right to freedom of choice. Later came the military academy, where I spent a year of my life, and from which I was expelled due to my personal and moral views. I had a clear understanding that it wasn’t my path, I was merely observing myself and others.

Now I see that time as a fight for myself and my future. I am thankful for my persistence and unbreakable principles. Almost as soon as I got out of the grasp of this kind of control, I met people from this industry, and it inspired me so much, and that’s when it all started happening. I had understood that I no longer need to hide. People came into my life and helped me. And I realised I no longer want to just be inspired by others, but to inspire others in turn.

What was your first introduction to the world of art and fashion?

I think my very first introduction to the world of fashion happened when I was still a child, when I used to find magazines and cut out outfits out of them for my cardboard dolls. With my female friends who lived nearby and from kindergarten, we used to compete who could make the most interesting looks for their doll. It’s a bit funny to remember that this happened in the Caucasus, I always had to hide everything…

Later, in school, I would watch runway shows and video-analyses of looks worn by scandalous celebrities, I would do research whilst visiting relatives, as we had no internet at home at the time. I fell in love with all these crazy parties, with how people dressed and how they existed looking the way they do; I observed how clothing and makeup can radically change the mood. Of course I wanted the same for myself. I would dress in eye-catching clothes, tried on anything in sight, and imagined that one day it won’t be me just playing pretend anymore.

I remember how I sat at my school desk in the very back row drawing variations of some strange shoes, because of which I’d often miss discussions of parabolas and hyperboles, I was too deep in my own inner world…

With art I got acquainted with much later, after the army, around the age of 19-20, after multiple failed attempts to find myself doing something stable. I met the right person at the right time, and I literally got initiated into the world of art. I was in so much awe from the process that I could not not try and make something of my own.

DIVINE RADIANCE

What did you do before all this?

Once I moved to St. Petersburg, I worked as a sales consultant in various clothing stores, and then in boutiques. I led a pretty carefree, maybe even careless lifestyle. However I did know that I wanted more out of life. I did my best to go out to meet people, to form new connections, set new goals. I tried so many different things; I remember for a while I actively pursued singing and dance, but life carried me off into a slightly different direction, when I also started doing photography. And it was photography that won me over more than the other things I’ve tried at that point.

It was difficult like hell, because I’m actually shy, and meeting new people was not that easy for me. I remember the first time I ended up at a party in St. Petersburg: the way my eyebrows shot up when I saw such beautiful, fancy people. There’s no way they could have not caused a sense of admiration in me. Seeing such open people, I wanted to talk to them, and step by step it became possible to come closer to the self that I had been hiding for a long time. My childhood dreams slowly started becoming reality and I, too, began dressing up, but not as child’s play, but for real.

You have a unique taste. Who and what are you inspired by?

Thank you! My main source of inspiration is my own life and the world around me for sure! Nature, events, people that I meet, and music, music, music! You don’t have to go anywhere far, as everyday we are surrounded by a great number of details that we don’t even pay attention to!

And movies about fantasy creatures don’t seem as fantastical if one takes a look at our world from a different angle… I’m an internet scout — I love scouring the corners of the internet for unique materials: from conceptual out-of-thisworld works to things unheard of and cringe. The things some people may find nondescript or even disgusting, to me can be unique and full of meaning.

Electronic music… It’s one of my guilty pleasures. I think music in general has had a huge influence on me; I cannot imagine a single hour without it. Take anything and everything away, but music must always stay with me. I’m a visual person, so it’s easier for me to draw energy from other senses. I make sure to take the time to lie down with my eyes closed and listen to pre-made playlists based on my mood. It’s how most of my new ideas come to be.

Obviously I am also inspired by great artists and people that have shaken the world with something new, but I make an effort to find inspiration in mediums and things that aren’t directly what I myself do.

Is there any literature or research, or other sources, that have stuck with you?

Oh yeah, my favourite is this mysterious research on why cats adore plastic bags. This mystery doesn’t let me find peace…

But if I am to be serious: I often think of art as some sort of mechanism or a reservoir of the relationships between us people. How is art not a work of research spanning the entire history of humankind? We leave a mark in each generation, and art helps to reveal the issues of a particular time. I am especially drawn to this social aspect; it's what unites us...

Literature isn’t my strongest suit, but these quotes are forever in my heart:

1. Imperfection is beauty, madness is genius.

2. Our society is mad people chasing mad goals.

3. There are two safe havens from life's hardships: music and cats

4. And the icing on the cake:

5. It's easier to call someone crazy than to admit that you're afraid to stand out from the crowd.

Do you have your own formulations of what fashion and art represent?

I like that you wrote both of these words in one sentence because for me, they are so closely connected that I want to give separate definitions for each.

FH-ART, that's how I would combine these two concepts. Art&fashion is an endless internal performance that eventually manifests in the external world.

Fabric is the canvas, and the artist makes the fabric into a work of art; it can embody not only our everyday looks but also be an art object through which the artist expresses what they are feeling.

How would you formulate the definitions of these concepts?

Fashion is something fluid, something impermanent, a combination of changing tastes. It can be crazy and detached from reality, as well as very simple and accessible.

Art is a reflection of the reality of the world, something that makes us think.

On top of that, nowadays art encompasses a very wide range of society's interests. Artists have long gone beyond the canvas, first taking over walls, then moving on to something more grounded, something you can touch. So art is also a fluid substance, and that means only one thing: when the dance of these two strong poles begins, the collaboration undoubtedly results in a boom!

Clothing, footwear, jewellery, and items that were once part of the everyday and practical aspects of our lives are becoming works of art. Concepts merge into a whole when an artist or a designer reflects their thoughts in an entire collection or in a specific product.

What now touches humanity and the artist now turns into a cohesive picture and carries a specific character and meaning. Yes! Nowadays "fashion" does not have to be wearable, and art can be part of everyday attire.

The perfect example of the collaboration between art and fashion are the campaigns of Gareth Pugh. Here performance and clothing merge into a single concept! I am such a huge fan of his. I adore the shows of Alexander McQueen, where bits of dresses became canvases, where a person behind the glass was part of the painting during the show, where a regular fashion show turned into a real performance. And also Martin Margiela and his crazy ideas... Costumes made of tape or paper are timeless masterpieces that continue to inspire to this day.

P.S. If you still don't know these people, I highly recommend getting acquainted with them today over a cup of tea.

Looking into the future, how do you see these industries develop?

Hm, I think now everything is going towards focusing on developing the uniqueness of the individual; humanity is breaking free of the box of constraint.

I think in the future people will stop shying away from their feelings, they will speak more, and show and share their thoughts through art. I believe that we will have more time to do that. I look forward to the day when we can pick outfits from our minds and instantly change into them. Just imagine how everyone could turn their inner world inside out...

Virtual reality, digital fashion, 3D, and NFTs gradually show us that reality is just one world. The future is already stepping on our heels. I think soon you and I will be able to become a painting of our own consciousness, and that's wonderful!

As far as I know, you are launching a personal brand. Can you tell me more about what it?

I have always wanted to create something independent and timeless. I can't call it just a “brand” because it's just one drop in the ocean. I see how all aspects of my personality and work are coming together, from style and design, to detached and incomprehensible performance and directing.

I love to imagine and create, by the way, I just hate sewing the same thing twice. So, in my team, there are professionals, perfectionists who love working with clothes, and in the meantime, I take responsibility for everything related to the creative part.

I want to make something that can inspire a large number of people, something that will make them think, open up, something that will help them see the world through my eyes.

What goals are you setting for yourself in terms of your brand development and personal career?

I’m thinking globally, like most artists. The main wish is for my painting to get the attention it deserves. I enjoy that I keep to a standard of a high quality product, both in my career and clothing. I hope to stay with that, as often I see that the quality and the price tag don’t match.

Last year I learned how to upcycle. I got inspired by old, forgotten, and abandoned things that can be found on resale sites and niche second-hand stores. I think a part of my future collections will for sure be made of recycled materials.

I adore photoshoots, fashion shows, outfits, evenings, of course I want to see people wearing my clothing. I want, when putting on a shirt or a blazer, for the person to imagine which thoughts fill these fabrics, to create a unique association.

What do you think the current art and fashion industries are missing from peak functionality?

I think the main condition to let these areas bloom is freedom. Where there is freedom there will be beauty.

END!

INTERVIEWEE\ARTIST @IISMAILISONE

INTERVIEWER\CURATOR @ANNETTEUNTITLED

PHOTO @SLOMAKIN

ASSISTANT PHOTO @S.GROMOFF

VIDEO @MIKEPRIKHODKO

ASSIST VIDEO @ANIKINEV

RETOUCHING/EDITING @M_SHATALOVA

COSTUME ARTIST @IISMAILISONE

ASISST COSTUME ARTIST @GERUNGERUN

ASISST COSTUME ARTIST @DARKFLAWLESS

PROSTHETIC MAKEUP @GHO_OST.SFX

HAIR ARTIST @KATE_IT_IS_ME

ASISST HAIR ARTIST @_ABDRAIMOVA_D

SET DESIGNER @ARAILYMABBASOVNA

ASIST SET DESIGNER KARAKOISHIEV ALMATBEK MAKEUP @LIL_WMAN

PROPS @SHAFIGOV @NIKA.CANDY

NAILS @DUWKAS.ART

TRANSLATION @HESITANTPUNK

VOICE @DARKFLAWLESS

SOUND DESIGNER @BYE.ELLA

REPORTAGE @FLASHKAZ_

THEATRE DRAMA

THE SHOOT EXPLORES THE FLUIDITY OF EMOTION—RANGING FROM PLAYFUL EXPRESSIVENESS TO POISED INTROSPECTION. MINIMALIST STYLING CONTRASTS WITH BOLD METALLIC ACCENTS, ELEVATING THE VISUAL NARRATIVE AND HIGHLIGHTING THE COMPLEXITY OF HUMAN EXPRESSION. THE SUBTLE PLAY OF SHADOWS AND LIGHT FURTHER AMPLIFIES THE THEATRICAL AMBIANCE, MAKING EACH SHOT FEEL LIKE A SCENE FROM A STAGE PLAY, WHERE THE MODEL’S FACE BECOMES A CANVAS FOR BOTH VULNERABILITY AND STRENGTH.

THEATRE DRAMA REMINDS US THAT FASHION IS MORE THAN FABRIC AND FORM; IT IS ABOUT EVOKING EMOTIONS, CREATING STORIES, AND EMBRACING THE FULL SPECTRUM OF LIFE’S EXPERIENCES. THROUGH THIS EDITORIAL, WE INVITE VIEWERS TO WITNESS A PERFORMANCE WHERE AGE IS CELEBRATED AND EMOTION IS THE TRUE STAR.

PHOTOGRAPHY BY MARIA SALIVONOVA @SALIVON_PH MODEL IS MALGOSIA SIGNED IN B.OLD MODELS @B.OLDMODELS STYLING BY WERO WYSOCZYŃSKA @WERO_WYSOCZYNSKA MAKE UP, HAIR BY KAROLINA SZAFRANIEC @FHLOREEDBEAUTY ASSISTANT IS OLA SUH @OLA.SUH

LEFT: DRESS - LEELA CONCEPT NECKLACE - MONIKA ŁUKCZAK

DENIM SET - ANGELICA KOTOWSKA TIGHTS - CALZEDONIA

RINGS - POLA ZAG

TINDER X GMBH LAUNCHES "FROM SPARK TO FLAME" COLLECTION

IN A GROUNDBREAKING FUSION OF FASHION AND GENUINE CONNECTION, TINDER AND GMBH HAVE UNVEILED THEIR FIRST EXCLUSIVE COLLABORATION, THE "FROM SPARK TO FLAME" COLLECTION, FEATURING ARTISTS DOMIZIANA, LSDXOXO, AND SALOME. THIS HOTLY ANTICIPATED CAPSULE IS NOT JUST A FASHION STATEMENT, BUT A BOLD CELEBRATION OF INDIVIDUALITY AND INCLUSIVITY, AVAILABLE NOW AT GMBH’S ONLINE STORE.

This four-piece collection—comprised of a Top, Football Jersey, Cropped Hoodie, and a Cap—channels the electric energy that pulses in every thrilling meeting. With GmbH’s signature brutalist silhouettes and Tinder’s commitment to fostering authentic connections, each piece serves as a canvas for self-expression, breaking away from conventional constructs in both style and relationships.

“With our roots embedded in youth culture, our partnership with GmbH is a revolutionary approach to intertwining fashion with dating culture,” shares Danique Bruggeman, Marketing Director Tinder DACH.

“The ‘From Spark to Flame’ collection encapsulates those exhilarating moments of connection that are free from judgment and labels.”

On the frontlines of challenging fashion norms, the visionary duo behind GmbH, Benjamin A. Huseby and Serhat Isik, shine a spotlight on diversity and authentic experiences. The collection’s design elements—striking lightning motifs, burned logos, and asymmetrical cuts—reflect a departure from perfectionism and a celebration of authentic self-expression.

Tinder, with over 630 million downloads and 97 billion matches, continues to redefine connections, while GmbH uses the power of clothing to tell stories rooted in multicultural heritage and pressing global issues. The "From Spark to Flame" collection is not just fashion; it's a movement towards embracing genuine connections and personal identities in an ever-evolving modern landscape.

FIND OUT MORE VIA

@GMBH_OFFICIAL

GMBHGMBH.EU

@TINDERDE

AGENCY: OZMOZE GMBH

CREATIVE PRODUCTION: DANIEL PANNEMANN & MARVIN JOCKSCHAT

TALENT CARE & COMMUNICATION: VIKTORIA RENNER & NATALIE SCHWARZE

PRODUCTION: LAYLA OSMAN

PHOTOS: MANUEL NIEBERLE

1ST CAMERA: NOAH TORRES

2ND CAMERA: SUAT BILGIN

LIGHT ASSISTANT: MICHAEL KLAUS

DIGITAL ASSISTANT: CHRISTOPHER PUTTINS

STYLING: JON MORALES

MAKE-UP: ANNA SADAMORI

HAIR: KOSUKE IKEUCHI

MODELS: SALOME, DOMIZIANA, LSDXOXO

DRIVER: MAX REIHS

PHOTOGRAPHY: LUIS ARAUJO @LUISARAUJOPHOTOGRAPHY_

PRODUCER: @ARTE_DEARTE_PRODUCCIONES

STYLING: TONY HORTAL @HOUSEOFSTBARNABAS

TALENT: YUDHVIR S. @BRUBI_17 AT BENTO MODELS @BENTOMODELS

MAKEUP: EMELIE ERIKSSON @EMELIE.ERIKSSON.MLI

HAIR: STU JAUNCEY @STUJAUNCE

WHEN EVERYTHING TURNS BLUE

MARTINEZ

WHITE LONG PAINTED SWEATER BY 10022001

BLACK ASYMMETRIC SKIRT BY ALEKSANDER REVAS RED TIGHTS, BOOTS AND HEAD PIECE STYLIST’S STUDIO

WHITE SHIRT BY

BLACK TURTLE NECK SWEATER BY FRED PERRY

BLACK JACKET BY ENAUT @ENAUT_

BROWN KNITTED TROUSERS BY BLACK BOOK THE LABEL

BLACK FEATHERED HAT BY NAJJAT HARB

GREEN SANDALS BY NAJJAT HARB

WHITE SOCKS BY PANTHERELLA BLUE GLOVES & JEWELLERY STYLIST’S STUDIO

BLACK

BLACK

BLACK

BLACK

STYLIST’S

BLACK SHORT DRESS BY VICTOR VON SCHWARZ

TURTLE NECK SWEATER BY FRED PERRY

SKIRT AND TIGHTS

STUDIO

VINYL LONG GLOVES BY ALFREDO MARTINEZ

BOOTS BY DR MARTENS

BLACK HALF CAPE BY NAJJAT HARB

WHITE SHIRT BY POLO CLUB

BLACK FUR HEAD PIECE BY CACHE TOI

BLACK TIGHTS AND GLOVES STYLIST’S STUDIO

BLACK BOOTS BY DR MARTENS

PRINTED T-SHIRT BY FRED PERRY

WHITE LONG BOMBER JACKET BY ESTADO DE RUIDO

BLACK BOOTS BY DR MARTENS

BLACK TIGHTS, GLASSES AND HEAD PIECE STYLIST’S STUDIO

MARTENS

WHITE SHIRT BY POLO CLUB

MUST-SEE ART EXHIBITIONS

BERLIN! JOHANNA REICH, LINGUPHORIA AT KORNFELD

GALLERY

DURATION: till18.01.2025

In Linguphoria by Johanna Reic at KORNFELD Galerie, the multimedia artist explores the interfaces between man, machine and language. Based on her own synaesthesia, a condition whereby the senses are connected, the artist asked AI to analyse the colours in her paintings, each of which is associated with a letter of the alphabet, to create a new language with which a poem was composed. The exhibition presents a series of hybrid ink-on-canvas paintings combined with LED light texts and video projections, and an installation of sand and LED lights. Reich questions the ways in which language is translated and its interaction with AI, and thematises the effects on our understanding of art, creativity and the subjectivity of linguistic experience.

Kornfeld Gallery, Fasanenstraße 26, 10719 Berlin - Tue—Sat, 11am-6pm galeriekornfeld.com @kornfeldgalerie @johanna.m.reich

BERLIN! DIE WILDE BLÜTE: THE UNTAMED GROWTH AT GALERIE SARA LILY PEREZ

DURATION: 30.11.2024 - 25.01.2025

ARTISTS

Kyte Tatt @kytetatt I Gabriela Azar Rubagotti @gabrielarubagotti - This captivating exhibition delves into the resurgence of art as a reflection of nature's raw beauty and untamed spirit. "Die Wilde Blüte" celebrates the organic, uncontrolled growth of nature, which serves as a powerful metaphor for both personal and societal evolution. The exhibition emphasizes that beauty and meaning emerge naturally from chaos, much like wildflowers that flourish without cultivation.

Art, like nature, often blossoms in unexpected places - unrestrained and uncultivated. It resists domestication, revealing an unrefined yet striking beauty that defies control. In this sense, "Die Wilde Blüte" speaks to the contemporary art world's urgent call for reconnection with the natural world. It advocates for a rewilding of both art and society, embracing the unpredictable beauty of life. The exhibition invites viewers to celebrate spontaneity, the organic, and the untamed, reminding us that true growth and meaning often arise when we relinquish control and allow nature and our own creative impulses - to guide us.

Budapester Str. 48 10787 Berlin | Bikini Berlin 1.OG www.saralilyperez.com @galerieslp

The newly opened Antwerp gallery IN-DEPENDANCE presents “Evidence of Absence”, a solo exhibition of Danish artist Adam Jeppesen @adamjeppesen___, opening on 30 November 2024. The exhibition will coincide with the launch of his newest book Evidence of Absence, co-published by the(M) éditions & IBASHO.

With “Evidence of Absence”, Jeppesen offers a series of poetic and enigmatic images that echo the rising presence of artificial intelligence, inviting us to reflect on its profound existential and ethical impact. The portraits are intentionally abstract, not meant to be clear or recognisable but to evoke sensations, imagination, and memories. As recognising faces is one of our most instinctual human behaviours, Jeppesen’s work seeks to bridge the gap between our biological selves and the intangible, synthetic realm of software, giving the digital world a biological form.

IN-DEPENDANCE Waalsekaai 59, 2000 Antwerp in-dependancegallery.com / @in_dependancegallery

EMDEN! "FLOATING SPHERES” BY LEIKO IKEMURA AT KUNSTHALLE EMDEN DURATION: TILL 11.05.2025

The show brings together 76 works that offer a cross-section of her multifaceted oeuvre - from painting and graphic art to photography, video and sculpture. The works span an arc from the 1980s to the present day. This exhibition is less of a classic retrospective and more of a “symphony” of Ikemura’s themes and motifs, staged in an exhibition architecture designed by the renowned architect Philipp von Matt, Ikemura’s husband.

The internationally renowned artist Leiko Ikemura has created an unmistakable oeuvre since the 1980s. While her early works were characterized by radical expression, she later devoted herself to a more delicate, poetic visual language. She opens up a fascinating cosmos to the viewer, consisting of plants, animals, landscapes and depictions of the human face. Ikemura combines Asian and European art traditions and creates a unique pictorial world. Classic European themes such as landscapes, portraits and still lifes meet Japanese pictorial principles in the form of allusion, incompleteness and asymmetry. Hermaphroditic beings and creatures refer to the world of Japanese fairy tales and legends and make the invisible visible.

With Floating Spheres, Ikemura’s extraordinary work can be experienced in an exhibition that transcends the boundaries between the arts and opens up new perspectives on space, form and light.

@kunsthalleemden

@philippvonmatt

@studioleikoikemura

Kunsthalle Emden, Hinter dem Rahmen 1326721 Emden kunsthalle-emden.de

Leiko Ikemura Kunsthalle Emden © Kalle Sanner