Morenike Caxton-Martins - Interview

.aesthetic talk
MORENIKE CAXTON-MARTINS
*Layers Of History

written + interview Tagen Donovan

In the rapidly shifting world of contemporary art, where tradition meets radical innovation, Morenike Caxton-Martins ignites the flame of a new cultural metamorphosis.

Deeply rooted in Nigerian heritage and diasporic experiences, Caxton-Martins encapsulates a rich dialogue between the past and the future, blending traditional craftsmanship with modern technology to explore complex themes of identity, memory, and cultural transformation. Embedded within Caxton-Martin's artistic process is an intricate dance that layers tactile, organic materials—such as Agbalumo and Cocoa Beans—with cutting-edge digital practices such as UV printing and 3D scanning. This fusion of the old and the new is not merely a technical exercise but a profound exploration of how history and heritage can be reinterpreted through a contemporary lens. "I view my process through a retro-futuristic lens; by manipulating these objects, I visit the past while creating a new future." The emphasis on specific fruits used within Martin's process carries the weight of history, symbolically their story is still being written, awaiting new chapters to be added to the ongoing narrative.

Guided by explorations of dual identity, acknowledging that her work is a constant negotiation between two worlds, allowing both to coexist and inform each other. Firmly anchored by her Nigerian heritage and formative memories in Lagos. The artist's most recent projects stem from a combination of prayer, artistic experimentation, and a desire to preserve the fleeting beauty of organic materials. Establishing a meticulous process that involves scanning and manipulating fruits, pressing them onto metal sheets using soap etching, and then capturing the resulting images through photography. These fruits, particularly those native to Nigeria, serve as powerful symbols of memory, identity, and the passage of time. For Caxton-Martins, the process of working with these fruits is a way to evoke the emotions and memories that define her connection to home.

Embodying the very essence of change— the artist sees her work as constantly evolving, much like the fruits she works with, which decay and transform over time. This progression mirrors the human experience, whereby growth and change are inevitable. By turning some of her works into still snapshots of time, she attempts to decelerate this process of decay, creating a visual representation of how moments, though fleeting, can be preserved and reinterpreted. Delving into the significance of soap ground etching, a technique that not only leaves physical marks on metal but also evokes the tribal marks of her Y oruba heritage. These marks, which are traditionally seen as a sign of beauty and belonging, are a powerful metaphor within the artist's work, linking cultural roots and encouraging a deeper reflection on the distinctions between Western and African beauty standards. This technique, like much of her work, is a way of engaging with the past while challenging contemporary perceptions of identity.

Morenike’s work is testament to the power of art to transcend time and space, offering new ways of understanding our shared human experience in a world that is constantly in flux. Challenging us to reconsider our relationship with history, to embrace change, and to find beauty in the ever-evolving nature of our identities. As we stand at the crossroads of tradition and innovation, Morenike’s art serves as a powerful reminder that the story of our cultural heritage is still being written—and that we all have a role to play in shaping its future.

Tagen Donovan
Your practice involves both traditional and modern techniques. How do you balance the preservation of traditional methods with the introduction of new, radical ideas?

Morenike Caxton-Martins
I blend traditional and non-traditional techniques by layering tactile processes, experiences and play, drawing inspiration from my childhood and using organic materials such as agbalumo and cocoa beans.

Incorporating digital practices such as UV printing, 3D scanning, 3D printing, photography and Photoshop to explore contemporary and future possibilities. Viewing my process through a retro-futuristic lens; by manipulating these objects, I’m able to visit the past while creating a new future. The layers of history seemingly present in these fruits (cocoa, agbalumo, sugar cane) open them up to new interpretations - symbolically their story is still being written.

The balance of techniques is crucial for my work and personal identity. It’s a way of grounding myself—acknowledging that the past influences the present and shapes the future. Staying balanced means existing in limbo, not deviating too far to the left or the right, but rather, allowing both traditional and modern methods to complement each other and coexist within my practice.

How did you develop your most recent project from its initial concept, inspired by your Nigerian heritage and diasporic experiences, to its final execution, and how did each stage contribute to the overall outcome?

Firstly, I pray to God. From there, an amalgamation of things I have learnt over the last few years in my artistic practice. This process stemmed from experimenting with flattened 3D scanned images transformed into 2D pixelated onto orange fruit slices the year prior. I thought, why not reverse the process by working with a definitive material due to the temporality of the organic substance (fruit)?

The composition of the natural material (fruit) would decay. Thus, having a limited time to work with because of factors such as temperature and attraction of fruit-flies. This led to a layering of processes using conventional and unconventional methods which I then printed onto metal sheets. As well as pressing the fruit directly onto the metal sheets using a process called soap etching. Thereafter, I would photograph the new metal sheet with visible fresh/ripened fruits that once were flattened directly onto the metal sheet. Otherwise, I would use fruit native to my homeland, fruits nostalgic to growing up in Nigeria. For example, starfruit. The shape reminds me of how my mother referred to me as a “star” during my childhood. These affirmations have remained with me ever since.

I would use a brand-new etched plate of crushed fruits related to my developmental years in Nigeria, and afterwards UV print the photographed image of the combined processes listed earlier on the latest metal sheet. Consequently, forming new visual languages that obscure time. These methods are interchangeable as results vary from the slightest change including how long the plates are left in the acid. The images are interchangeable depending on the method that is chosen; sometimes the metal sheets are UV-printed before the fruit is pressed vice versa.

Playful nostalgia is evoked within your work. How do you see this interplay of past and present contributing to the broader narrative of cultural change and modern expression? How do the past and present come into your work, especially in the lens of cultural change and modern expression?

I believe I can utilise life history by reflecting on my parent's experiences to understand the generations before me by providing a cultural critique of the present and past. As well as, engaging with the everyday Nigerian whether it be a nanny, cook or gardener and looking introspectively at self.

Your use of photo etching and UV printing is unique. How did you develop these techniques, and what do they represent in your work?

My process emphasises the importance of play, change and experimentation. The photo-etching process involves the burning of an exposed image using acid. I experimented with soap ground etching to blur boundaries and propagate something akin to translation rather than a simple copy/transfer. This process required me to paint soap detergent directly onto raw fruit (cocoa bean/agbalumo) and press it onto a metal plate. It left marks similar to tribal marks - a beauty mark and evidence of belonging - from Nigeria. The work has evolved and I can now UV print onto the (photoetched) metal sheets to create layers of invisibility and represent the obscure quality of memory.

Could you explain the significance of soap ground etching in your process? How does this technique help convey the themes of memory and heritage?

Soap ground etching is a subsection of etching that requires a mixture of white pigment, soap detergent, oil and water applied directly onto the skin (external/ internal) of fruit like cocoa beans using my hands to press the fruit directly onto the metal plate. The remnants left on the plate are similar to tribal marks. Tribal marks are created by cutting or scarring the cheeks of an individual with sharp objects, a traditional cultural practice done among the Yoruba people. While I do not bear these marks myself, as a Y oruba individual, I value my cultural heritage and reflect on the distinctions between Western and African beauty standards. These marks link to my homeland and encourage introspection and a sense of belonging by inherently evoking remembrance of my Nigerian community.

How does your work speak to the notion of change? Particularly from the POV of using traditional techniques to create something contemporary?

My work is in constant change. Fruit decays, I take the matter through a journey of decay, ensuring it changes throughout my work by manipulating it from when it is ripe to when it deteriorates. My choice of when to use the fruit illustrates my impact on the concept of change. This progression mirrors the transitional nature of the human life experience. The works accompanied by this collection of metal sheets, 3D printed imagery and casts of sugar cane in sugar are- resin cubes with 3D scanned self-portraits of chewing fruits such as sugar cane and bananas- UV-printed on an orange slice and agbalumo. By turning some of the works into a still (resin cubes) snapshot of time I decelerate the speed of rot. As a result, the work is only to be perceived at a specific moment in time.

“I view my process through a retro-futuristic lens; by manipulating these objects, I visit the past while creating a new future.”

Morenike Caxton-Martins speaks with Tagen Donovan
for LE MILE Nr. 37 - Fall/Winter 2024 Edition

In what ways do you see your practice as a dialogue between the past and the future, particularly in the context of Nigerian cultural history?

It’s from a retro-futuristic lens. It’s a personal story using fruits in different ways and how the bittersweet nature of these elements reflects Nigeria's political instability. My memories of Nigeria are marked by corruption and greed that tarnishes the country's image, in contrast to the nostalgic period my parents experienced in the 1970s. That period - when £1 was equivalent to 2 Naira - holds a nostalgic charm for my parents, who often reminisce about it as sweeter times - a period, I have yet to experience. I haven’t experienced the systems my parents had. So it’s that dialogue of their memories and mine. The Nigeria they lived in.

Fruits like cocoa beans and Agbalumo play a central role in your art. What do these fruits symbolise for you, both personally and culturally? How do you use these organic elements to explore and convey complex emotions and memories?

Agbalumo is my favourite fruit, it’s sweet and bitter. It has marks and dust all over it but when you open it, it's beautiful, almost like a flower when punctured. It symbolises something bittersweet. Growing up I had a sweet-tooth, and agbalumo was my favourite fruit so my parents would stock the house with it and it made me happy. So, it’s all of that: family, joy, bittersweet. It takes me back to being a little girl. I use these fruits because their lifespan mirrors the humans. Watching them grow and change over time - in shape and colour - is like watching yourself grow. It’s a reflection of life. Y ou grow up, get bruised, things happen to you and you try again, you evolve and learn and grow. It’s about life stages. I’ve grown and changed so much in the past years, learning is important to me, and becoming confident in my voice. I use fruits to capture all of that. It’s life.

Your work blurs the lines between different art forms such as casting, printing, and photography. How do these interdisciplinary approaches enhance your exploration of identity and heritage? How do these varied techniques contribute to the broader discourse of cultural metamorphosis in science and art?

I’m multifaceted. My experiences are diverse. Growing up in Lagos, and moving to London at 13, I’m combining all my experiences by using all these different mediums. I don’t feel as though life is just one thing. It’s many experiences happening at the same time. So the work in itself is that: various things happening at once. Science isn't definitive because things are always changing. Using all these materials allows me to fluctuate between different time zones and speak to life’s uncertainty.

There’s so much we don’t know. Science is always changing. That’s why I believe materials have their agency. They can change and evolve so we shouldn’t be stuck on one notion of what something is but rather think more about what it could be. That’s how I see science and art - as change, agency and evolution. It’s constantly evolving and never staying the same. The materials. The work. Myself.

As we move further into an age of change, what are your aspirations for the future of your practice, and how do you hope it will influence the broader cultural landscape?

With my practice, I’ve been thinking more as a designer lately. I don't think I’m just meant to be an artist. There are different facets of myself and they all interplay at different points. I would love to make my work into intangible materials and mix them with tangible experiences and materials. I’d love to play with scale and incorporate a more digital side.

On a broader landscape, I want to speak to science’s role in art: the potential and possibilities. I want my work to push the boundaries of what can be experienced. That’s what drives my work. It can all change and I want to be at the centre of changing what’s possible.

What conversations do you aim to spark about identity and belonging, and how do you envision your art contributing to a deeper understanding of our shared human experience in the age of radical change?

I’m very grounded in my identity as a Nigerian. Moving to London made me more aware and confident in my identity. Observing the different dynamics, people, relationships and all of that; has made me much more reflective. I miss Lagos. I miss living there, but I know I have a privileged lens of life. The day-to-day reality over there isn’t easy, people have lives and aspirations but it’s not easy for them to make it a reality. In London, it’s completely different. The systems are different.

Many things are happening in the world and a lot feels in flux. I want my work to speak to that flux and how nothing is ever simple. My work and process is quite complex. Life is complex. Change is always happening and I want people to see my work and have that feeling of time and change: not fearing it but living fully in it.

credits
all art work by the Artist Morenike Caxton-Martins

Franco Masini - Interview

.aesthetic talk
FRANCO MASINI
*Between Cities, Scripts, and Style

written + interview ALBAN E. SMAJLI

Franco Masini moves with intent to generate monumentum. Actor, producer, reader of places, collector of moments—he expands his practice through curiosity and risk.

His latest project, a theatre production he’s independently bringing to life, marks a shift toward authorship. Ownership of process. Control of tone. A story he performs and constructs. Fashion is part of his language. He responds to designers like Adrian Appiolazza and Jonathan Anderson for their ability to distort form with precision. He keeps a close eye on Matias Carbone, an Argentinian voice now emerging across Europe. Masini assembles identities. and his wardrobe edits itself in real time.

watch FILM

full look MOSCHINO
tie FURSAC

blazer TRANSE PARIS
vest IGOR DIERYCK
jewelry ALT PARIS

Alban E. Smajli
Your career moves like a shifting lens—what’s in focus for you right now?

Franco Masini
I love the movement of my career. I think it’s really important to stay focused on new things and to have opportunities to learn and grow as an actor. My next step is to produce a new theatre show—I’ve already acquired the rights.

Which designers are speaking your language this season, and what are they saying?

There are many new designers doing amazing work. I really like Adrián Appiolaza and Jonathan Anderson—they’re very creative and always producing unique and thoughtful pieces. I also really like Matías Carbone from Argentina, who is expanding his brand into Europe.

If your wardrobe were a film, who’s directing?

My wardrobe has many different elements. I think it would need a very unique director. I enjoy changing styles, designers, and colours, and creating my own “Franco” style. I get bored easily—haha!

Art and fashion exist in dialogue. Where do you see the conversation heading?

Art and fashion are two things I really enjoy. I love how creators express their own perspectives through clothing.

Museums capture time, fashion rewrites it—what recent art exhibition has stayed with you?

I really liked ARCO in Madrid—a week of contemporary art, with so many creatives and amazing artists.

What does personal luxury look like for you beyond the obvious?

Personal luxury, for me, is in meaningful moments with the people I love—like visiting new places, discovering new countries, or sharing great food with friends. That’s the best.

What city makes you feel most like yourself?

I think Buenos Aires is the place—full of movement, art, cinema, friends, and always something to do. Madrid feels like my second home. It’s also incredible.

Morning ritual or midnight impulse—when do you feel most alive?

I feel most alive in the morning. I love waking up, going for a run near the river, and then having breakfast with a book. I really enjoy reading in the morning.

If you could archive a single look from your life, what would it be?

That’s hard to say because my life is in constant motion—and I love that. I’m always meeting new people, living in new places, exploring new cultures. I appreciate my job because it allows me to reach so many parts of the world.

What’s the last thing that truly surprised you?

The last thing that surprised me was meeting Adrien Brody at Paris Fashion Week. I really admire his work, and it was great to talk with him. We were seated in the same row. I’ve seen all of his movies.

full look JACQUEMUS
jewelry ALT PARIS

full look MOSCHINO
jewelry ALT PARIS

He begins his days by the river, running along the water as the city slowly wakes. What follows is quiet and deliberate: coffee, a book, the kind of solitude that aligns the mind before the rest of the world demands attention. Mornings carry a clarity that sets the pace for everything that comes after—travel, conversations, creative shifts, the layering of roles and identities. Buenos Aires flows through him with instinctive rhythm, while Madrid offers a different current, equally present in his internal map. Each place contributes to the structure he’s building—fluid, expansive, unfinished by design. His idea of luxury moves away from display and towards sensation. A shared plate with friends, the atmosphere of a new neighborhood, the texture of unfamiliar languages and streets—these are the moments that stay.

The value is in gathering feeling, in building a personal archive made of people, places, and presence. At Paris Fashion Week, he found himself seated next to Adrien Brody. A quiet dialogue unfolded—film, performance, process. Nothing staged. Just two people exchanging thoughts in a shared space, surrounded by movement but anchored in something still.
Franco Masini lives in progression. Style evolves, environments shift, energy recalibrates. What stays is the drive to create—not as an end point but as a state of being, a continuous act that shapes and reshapes itself in response to what enters, what unfolds, and what he chooses to carry forward.

full look ARTURO OBEGERO
shoes CAMPER
jewelry ALT PARIS
watch CARTIER

full look EVAN BENJAMIN
socks + shoes MOSCHINO

credits
photographer LOUIS TERAN
stylist SIMON NNDJOCK
talent FRANCO MASINI
set designer CLARA DE GOBERT via APICORP AGENCY
movement director ROBIN LABARRERE
hair PAUL GOMEZ
make up MANON CANA via BUREAU ALAGNA
nails MAHARA DIARTE-ZEROUALI
casting director MARVIN LATOURNALD with MODELS LANE
production TABATHA RUSSO at BUREAU ALAGNA
photographer assistant STEVEN BAILLIN

special thanks to Tatiana Dumabin

Dylan Llewellyn - Interview

.aesthetic talk
DYLAN LLEWELLYN
*Brewing Moments

written + interview Sarah Arendts

Dylan Llewellyn moves through stories like an architect of feeling. Captured mid-conversation, coffee in hand, the setting mirrors the essence of his work—unfiltered, natural, alive in the moment.

Every role expands the space it occupies, stretching humor into unexpected depths and carving out moments that stay long after the scene ends. His presence on screen is charged—words, expressions, silences all calibrated for maximum impact.

jacket + shirt NANUSHKA

Comedy fuels his process. A living language of timing, movement, and instinct. The humor lands, not as an escape, but as an excavation of something real. Derry Girls, Big Boys, Beyond Paradise—each project a new rhythm, built with precision, delivered with an effortless pulse. Llewellyn works with momentum. The industry shifts, names rise and fall, but the resonance of his performances embeds itself deeper. Not tied to nostalgia, not chasing permanence. Just sharp storytelling, lived-in characters, and the kind of presence that doesn’t ask for space—it takes it.

knitwear SANDRO
blazer THE FRANKIE SHOP
jeans O.FILES
loafers DR MARTENS
socks FALKE
rings MAYA MAGAL

Sarah Arendts
What does comedy allow you to express that drama doesn’t?

Dylan Llewellyn
I think comedy lets you have more freedom with your performance. You can go from being extremely serious and deadpan, but still leaning into the humour, to being super silly and over the top. There’s a whole variety of comedic styles to explore and I think that’s the main difference.

You’ve inhabited roles that capture the awkwardness, rawness, and humor of coming of age. Can you think of a moment in your life that felt like it could be part of one of your shows?

I think we’ve all experienced that classic moment of getting ID'd when you're in your teens. I remember going to see a 15-rated movie in the cinema when I was around 17 years old. They wouldn’t let me in because I didn’t have my passport or ID on me, so I had to call my parents to come down with it. My older brother came in and asked the staff where I was… They said “Oh, he’s just waiting in the bar.” My brother goes, “Oh what, so you let him hang in the bar but not let him watch the 15-rated movie?” That was quite a funny classic story of growing up and being ID’d.

Fame doesn’t last forever. What’s the one thing you hope to leave behind in the industry?

What I hope to leave behind in the industry and my acting career is just a sense of joy in the roles I’ve played – from Derry Girls to Big Boys. Those comedic roles have been such a joy and so much fun to perform. I’ve also loved working with so many talented actors along the way. I hope it inspiresyounger generations to get into comedic acting and to carry on that torch. For me, The Inbetweeners inspired me growing up, especially during school days. I grew up watching them and thought I’d love to do something like that. Then Derry Girls came along, followed by Big Boys, so yeah, I hope I can do the same for another young actor or actress.


Jack’s journey in Big Boys is deeply personal yet universal. What’s the most surprising reaction you’ve received from fans?

I think what surprised me most about the response to Big Boys is just how many people relate to it. But at the same time, it’s not that surprising because all those subjects – grief, mental health struggles, friendship, family, and sexuality – are so relatable. A lot of people can connect with those topics. What really stands out to me is how much it’s hit home for so many, with people speaking out about how much those themes mean to them, especially the dynamic of friendships – specifically the dynamic of the gay and straight friendship between Jack and Danny.


You played Wally Nightingale in Pistol, a musician lost in punk history. Do you think he would be remembered differently if he were around today?

When it comes to Wally Nightingale, the character I played in Pistol, it’s a really sad story. He lived the rock and roll lifestyle but without the fame or the money that came with it. I think, and I hope, he’ll be remembered fondly as one of the roots for the Sex Pistols – someone who helped lay the foundation for what they became. I really want him to be credited and recognized as such.

Your characters are often outsiders finding their place. Do you see yourself in them?

Yeah, I think I bring a little of myself into all my characters. I lean into their characteristics more and just make them themselves – their own personalities, their own people. I’ve played a lot of vulnerable, awkward, coming-of-age characters who are finding themselves. But I’ve also played characters who are more confident, like Kelby Hartford [from Beyond Paradise]. I think Kelby is very confident in himself, and even Wally Nightingale from Pistol was pretty confident in his abilities.

Some roles stay with actors forever. Have any of your characters changed the way you see the world?

I think the character of James in Derry Girls has made me learn about Irish history and developed my appreciation for Irish people and how amazing they are. The character of Jack in Big Boys shows the incredible bravery of people discovering themselves, both with their sexuality and with grief, as well as their mental health. I think Wally Nightingale in Pistol made me see the world with more appreciation for music, for being kind of weird, and not caring about being normal. I think that was the whole message of Pistol, the show, and the Sex Pistols in general – it was all about letting your freak flag fly and being okay with not being normal. The whole punk revolution shows that, so yeah, I think I’ve learned a lot from these characters, their stories, and the show’s stories.

Both storytelling and life are temporary. Do you try to make things last, or do you embrace their short-lived nature?

I think I do try to make things last whenever I can but I also embrace the short-lived nature of things as well. I think you can enjoy both sides of it. That’s kind of me to a T – I’m definitely someone who’s glass half full but also half empty at the same time. I think you can see both sides of it and I feel likeit’s a healthy way to look at things – considering every perspective and mentality. Yeah, it’s a tough one, I think.

What’s a role you’d never take—and why?

Actually, there are lot of roles I am open to and really want to take a crack at. I mean, I'd love to play villain or a darker role, or just a role that’s completely different from what I’m usually cast in. I'm always up for the challenge and I’d love to explore those kinds of roles more and really get my acting teeth into them

“Comedy lands, not as an escape, but as an excavation of something real.”

Dylan Llewellyn speaks with Sarah Arendts
for LE MILE Nr. 38 - Spring/Summer 2025 Edition

coat NANUSHKA
shirt DOLCE & GABBANA
jeans O.FILES
ring MAYA MAGAL

credits
talent DYLAN LLEWELLYN
photographer ANTONIO EUGENIO
stylist MILLIE CULLUM
grooming CHARLIE CULLEN using @babylissprouk & @shakeupcosmetics
photographer assistant DANIEL EYNON
fashion assistant AMY HARFOOT
location Special thanks to Mae + Harvey, East London

Kris Marshall - Interview

.aesthetic talk
KRIS MARSHALL on BEYOND PARADISE
*Inside the Mind of DI Humphrey Goodman

written + interview Alban E. Smajli

Kris Marshall moves through roles like pages in a living archive. Each return to DI Humphrey Goodman is a recalibration, a quiet shift in tone, pace, inflection.

The detective doesn’t arrive fully formed; he extends through time, carried by instinct, built through decisions that remain invisible until they aren’t. Kris Marshall works with precision. He feeds the character small changes—gestures, rhythms, interior logic. In Beyond Paradise, nothing is static. Everything folds back into the work: his references, the sea, the energy of a long shoot, the movement of strangers who never knew they were being studied.

jumper + trousers RALPH LAUREN
socks FALKE
shoes SANDRO
sunglasses THE AVANTGUARD
jacket THE FRANKIE SHOP

He rarely speaks in absolutes. Scripts are approached like open systems. Scenes are lived, not performed. He notes structure, then lets it bend. The repetition of a character over seasons becomes an act of endurance, not rehearsal. Ideas are planted early and left to unfold over time.

Memory plays a role. So does observation. He remembers the weight of theatre nights, the long haul of production days, the silence that follows a line well delivered. Meals with Pacino in Italy exist in the same archive as his first stage rehearsals—held not for anecdote, but for texture.

In conversation, Marshall cuts through sentiment. He speaks clearly about work. The physical toll. The mental timing. The need to rest before the next scene. Acting, for him, is not escape—it is a study in repetition, and the possibility of nuance inside repetition.
This interview traces Marshall’s ongoing practice—returning to characters not to resolve them, but to remain in conversation with them. He shares what drives him on set, what surprises still occur, and what advice he carries forward. No grand epiphanies. Just a steady commitment to showing up, seeing clearly, and staying inside the craft.

suit + shirt RALPH LAUREN
tie SANDRO

“Every character I play is a part of me… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Alban E. Smajli
What keeps drawing you back to DI Humphrey Goodman? Is there still more of him to uncover, or do you just enjoy the ride?

Kris Marshall
Well, I’m not gonna lie and say that enjoying the ride isn’t a part of it, because both incarnations of him have lived by the sea, and I spend as much of my free time in it and on it as possible. Which is joyous. But there’d be no point if I didn’t feel there was more of his character to discover. As I get, shall we say, less young, it’s important to convey his changes as well, so there’s that, and I’m constantly throwing in new ideas and homages to my favourite detectives and other characters in TV and film that have influenced me.

From Love Actually to Beyond Paradise, your career spans rom-coms, crime dramas, and theatre. Where do you feel most at home?

Not working!.. No I’m kind of kidding. I came up through theatre, it’s all I did for the first 6 years, and even though after that I’d probably only do a play every 4 or 5 years, you can never replicate that kind of peril and immediacy on TV and film. But there’s something about building a character over a long shoot, and the fact no two days are the same, that I’ve always found beguiling.

Humphrey is a detective who sees the world differently. What’s a case you’d love to see him tackle in Beyond Paradise?

A corrupt politician. He’s renowned for being pretty open-minded, fair and kind, but he has a healthy disdain for and a delight in unpicking capricious and arrogant people who view him as strange and hopeless. It’s the Columbo/Marple gene, to lure antagonists to their doom!… Failing that, anything to do with surfing, for reasons mentioned above.


You’ve played both hopeless romantics and sharp-witted detectives. Which role is closer to the real Kris Marshall?

I would say both and neither. If that’s not too obtuse. I think Jack Nicholson said ‘Every character I play is a part of me’… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to. But also, they’re not me, because I study other people’s mannerisms and walks and use them as well. 


What do you think makes Beyond Paradise resonate so strongly with viewers?

Well, of course the location is beautiful, bucolic and colourful. But also, people love puzzle solving, so it’s somewhat interactive on that front. But the main reason is it’s not too dark and violent and doesn’t take itself too seriously, so it’s watchable across demographics. I’ve met people who say it means a lot to them as it’s something they can bond watching with their parents and children, which I think is delightful. 

You stepped back into Sanditon's Tom Parker and Beyond Paradise's Humphrey Goodman. How does revisiting a character change your perspective on them?

Filming is often arriving at a location you’ve never seen, and then getting the best takes within the allotted time, before you move on to another location you’ve never seen!… Whereas in theatre, you get to go back and slightly alter and hone your performance every night. So getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry. 


Theatre, film, TV—each demands a different energy. Do you approach acting differently on stage versus on screen?

I guess they all involve conserving energy. Filming is getting up at 5.30am, working until 7pm and then eating and getting enough rest to do that for anything up to 6 months. Theatre is all about building enough energy through the day for an evening performance, and then not getting too carried away with enjoying the nighttime after the show…Because the older I get the earlier I’m up!

Keeping in mind that you’ve worked with some of the most celebrated actors in the industry, what’s a moment that still sticks with you?

Working with Al Pacino on The Merchant of Venice. We were away on location in Italy and nearly every night after work he’d insist on us all having a sit-down meal in different restaurants. One night he even came clubbing with us younger actors, and seeing this absolute legend grooving to a heavy bass in a European nightclub was something I’ll never forget.

Have you ever been truly surprised by a plot twist in one of your own scripts?

Nothing that particularly springs to mind I have to say. Although I’ve had a fair few scripts through where you get to page 5 and it says ‘And then he dies’!… And you’re thinking, I’m actually quite insulted you thought I might want to play this role man…!!


If you could time-travel back in time, what advice would you give to your younger self?

That whatever it is you think is the right way to do it, is the right way to do it…
And stop smoking dude…

credits

talent KRIS MARSHALL
photographer DAVID REISS
stylist PRUE FISHER
grooming JOLANDA COETZER

full look RALPH LAUREN
socks FALKE
shoes SANDRO

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

suit + shirt FURSAC
boots SANDRO

“Getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Deto Black - Interview

.aesthetic talk
DETO BLACK
*Saves The Day

written + interview Hannah Rose Prendergast

In Deto Black’s educated opinion, sexy is a superpower. Outfitted in silver latex with an undergrad in social anthropology and a master's in global governance, she is a shining example of what it means to be multifarious.

headpiece ALIZEE QUITMAN
top ISSY BRIGHTMORE
thong POSTER GIRL
stockings ATSUKO KUDO
shoes CAROLIN HOLZHUBER

Sonically, her fate was sealed in 2020 with a hypnotic verse on Odunsi (The Engine)’s ‘Body Count. ’ In case you missed it, that number doesn’t matter to the chartered accountant. Aptly titled ‘Yung Everything, ’ Deto dropped her first EP the following year. Fashion-forward in all spheres, the “ass on his mind, foot on your neck” attitude will not quit. As a proud Naija Babe, setting us free from the evils of slut-shaming is incredibly close to her heart. Under the name Sex, Deto Black operates with her besties to make the world a wetter place.

“Sexy is a superpower.”

Deto Black speaks with Hannah Rose Prendergast
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition

ear cuff GREGORY KARA

Hannah Rose Prendergast
As a woman with two degrees, you have the peace of mind that there are no answers in life. Do you still have doubts about this? How do you maintain that wisdom?

Deto Black
I often overanalyze things, but knowing that fact gives me a bit of comfort. One of my favorite quotes is, “The man that knows something knows that he knows nothing at all,” by Erykah Badu.

Born in Delaware, your family home in Lagos, Nigeria, and living in London, you’ve formed your own culture. How has each place imprinted upon that?

Lagos will always be home in my heart. I grew up there, and it helped me develop self-confidence and thick skin. It was nice growing up around people who looked like me; that gave me a strong sense of self. Living in London opened my mind beyond Nigerian culture. I was able to experience other things, which also impacted my creativity. Summers and Christmas’s spent in the US inspired me to do things on a larger scale and taught me that the sky is the limit.

In Yoruba, your name Adetoun means “crown of my own” or “Princess. ” How do you think having that name helped you grow into it?

I never really knew the meaning of my name until I got older, but I definitely think names are manifestations. I can be a bit of a princess, but not the type that lives in a tower and gets saved. I’m more like the one who can defend herself and inspire people.

Not one to get stuck on labels, what made you embrace the term Nollypop?

It was one of my supporters on X. I posted a snippet of my song ‘Naija Babes’ and asked, what genre is this? There were a few responses, but Nollypop was the most fitting. I’ve always been really inspired by the Nigerian film industry, Nollywood. Back in the day, before I started music, I creatively directed a couple of my shoots with that aesthetic.

The video for Chi’s ‘Lizard People, ’ featuring you and Mowalola, dropped in spring. What makes this project so iconic, other than the obvious?

I love my girls. We create such iconic things together. The ‘Lizard People’ video definitely gives Death Proof vibes, which I love, and it really made an impact on the culture. Seeing three black girls depicted in that way is rare and just powerful. Chi, Mowa, and I have a band called Sex.
We wanted to create a girl group that supports women in the creative industry because we feel there aren’t enough of them. We make music, films, clothes, host parties, pretty much everything. It’s just a way to show that women can come together and create iconic things.

As an authority on female sexual empowerment, who do you think is missing from the conversation?

I think Nigerian women are missing from the conversation; very few of us speak on the subject or even want to associate with it. I find it ridiculous because Nigeria has the highest population in Africa, so let’s not kid ourselves.

Everyone’s fucking. Growing up in Lagos, sex was always such a secretive and demonized topic. I wish we had a safer space to discuss it. I think opening up that conversation will only make things better and, most importantly, safer for everyone.

Your mum has always been one of your biggest inspirations, a lawyer with a penchant for Louis Vuitton and Chanel who taught you that you could be anything and everything. How do you feel you’ve inspired her?

Aww, yes, I love my mom! She always tells me how proud of me she is. I feel like I inspire her to be even bolder and not care about the opinions of strangers. She has a completely different career, so it’s a bit different, but we are definitely very similar – my Aries Queen.

Fashion is your first love. What qualities (aesthetic and non) do you look for in clothing?

I think my taste changes over time, but I look for quality and uniqueness in everything. I want to look good but different and sexy, always sexy.

If you were a cartoon character, who would you be?

People always compare me and my friends to The Powerpuff Girls. Growing up, I felt like I was Bubbles, but now I’m a bit of Buttercup and Blossom because I’m the responsible but feisty one, allegedly.

I know you like to live in the present; what does the future hold?

I’m about to drop my second EP , which I am so excited about because I haven’t dropped one since 2021, so I’m really looking forward to it.

What was the last thing your gut told you?

Everything is working out in your favor.

sandals YING OU

“I can be a bit of a princess, but not the type that lives in a xtower and gets saved. I’m more like the one who can defend herself and inspire people.”

Deto Black speaks with Hannah Rose Prendergast
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition

production credits

talent DETO BLACK
creative + seen BRYAN TORRES
styled JADZIA SCOTT
producer ISABEL MARTÍNEZ-ZURITA
art direction PO TSUN LIN

make up CHELSEA UCHENNA
hair TAKUMI HORIWAKI
digital JEMMA HANSEN
light artists RENNATTO OLIVEIRA + ALEX JOSE
retoucher GUILLE SOTELO
nail artist CHAY
stylist assistants MARILENA ANGELIDES + YASMYN NTEGE
production assistant SOPHIE CHERRY

Thanks to TOO YOUNG TOO SIMPLE + GAS HIRE

Katinka Bock meets Nick Mauss at Espace Louis Vuitton Munich

Katinka Bock + Nick Mauss at Espace Louis Vuitton
*The Architecture of Resonance

written Alban E. Smajli

Espace Louis Vuitton München unveils RESONANCE, an incisive convergence of Katinka Bock's material meditations and Nick Mauss’s enigmatic visual narratives.

The exhibition crystallizes Fondation Louis Vuitton's ongoing mission of recontextualizing its collection, extending beyond its Paris epicenter into global territory. Katinka Bock shapes vulnerability into strength. Her sculptures, raw and exacting, manipulate elemental materials—clay, paper, stone, metal—each piece a quiet interrogation of balance and impermanence. The deliberate exposure of her work to natural processes results in forms saturated with the unpredictability of experience, echoing the human condition's nuanced complexities.

KATINKA BOCK
A AND I, 2013
Eiche, Bronze, Keramik, Stahl/Oak, bronze, ceramics, steel
180 x 55 x 80 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Louis Bourjac

NICK MAUSS
DOUBLE MOTIF, 2016
9 Tafeln mit Hinterglasmalerei, Farbe/9 mirror panels, paint
221 x 160 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Marc Domage

Nick Mauss articulates ambiguity. His practice dissolves distinctions between drawing, sculpture, performance, and text, producing works that are fragmented, ephemeral, and hauntingly precise. Layered transparencies, mirrored reflections, and delicate lines converge into compositions that resist static interpretation, continuously evolving as viewers interact with their spatial reality.

RESONANCE is a deliberate act of curation—two artists, distinct yet inherently aligned, exploring histories embedded in material and memory. Bock’s sculptures embody temporalities; each crack or fold a record of interaction between artist, environment, and time. Mauss reconfigures histories through intricate gestures, archival echoes transformed into immersive realities. The exhibition reframes historical narratives, stripping them from fixed contexts, releasing their latent energies into the gallery's architecture.

Experimental methodology defines RESONANCE. Bock’s materials—humble, potent, unpredictable—are elevated through her meticulous manipulation, becoming potent symbols of transformation and endurance. Mauss, meanwhile, perpetually reinvents his creative language, effortlessly transitioning between forms, mediums, and references, crafting immersive encounters that envelope viewers in reflective possibility.

The spatial dynamics of Espace Louis Vuitton München are integral to RESONANCE. Both Bock and Mauss actively harness and reshape architectural space, inviting their visitors into a choreography of movement and contemplation. The gallery becomes a resonant chamber, an activated stage for engagement, intimacy, and reflection.

KATINKA BOCK
ZARBA LONSA, POMPEI, 2015
Keramik, Stahl, Eisen/Ceramics, steel, iron
85 x 70 x 100 cm
Courtesy of the artist and Fondation Louis Vuitton

Fundamental to RESONANCE is Fondation Louis Vuitton’s commitment to disrupting the boundaries of contemporary art's accessibility. The exhibition is emblematic of the Foundation’s ethos—architecturally expressed through Frank Gehry’s iconic Paris structure and conceptually through global "Hors-les-murs" interventions. It underscores art's radical potential as a participatory and democratic force.

RESONANCE offers viewers an encounter with complexity distilled into form, materials eloquent in their silence, histories refracted through contemporary sensibilities. It is a provocation, an insistence on the vitality of dialogue within and beyond artistic boundaries.

RESONANCE runs from March 21 to September 6, 2025, at Espace Louis Vuitton München. Entry is open and complimentary.

(c) Katinka Bock & Nick Mauss
Espace Louis Vuitton Munich, 2025

KATINKA BOCK
ALASKA, 2014
Keramik, Holz, Stahl/Ceramics, wood, steel
426 x 198 x 142 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Louis Bourjac

KATINKA BOCK
HORIZONT MIT LOT UND ZITRONE, 2011
Stahlstange, Filz, Holz, Plastikball, Zitrone, Stahldraht, Sand/Steel bar, felt, wood, plastic ball, lemon, steel wire, sand
250 x 600 x 10 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Claude Germain

header image
NICK MAUSS, PROCESSION, 2017

15 Tafeln mit Hinterglasmalerei, verspiegelt / 15 panels with reverse glass painting, mirrored
159 x 365 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo credits: (c) Primae / Marc Domage

Neil Zhao - Interview

.aesthetic talk
NEIL ZHAO
*The Material Alchemy

written + interview TAGEN DONOVAN

Neil is a designer redefining contemporary fashion with his sharp, conceptual approach to materiality and form. His work transcends traditional boundaries, transforming overlooked objects into thought-provoking statements that blur the lines between fashion, sculpture, and cultural commentary.

By challenging convention, Neil invites audiences to reconsider the value and potential of everyday materials, sparking a deeper reflection on the intersection of utility and aesthetics. At the core of Zhao’s work is an exploration of permanence and ephemerality—how garments, trends, and even the industry itself exist in a state of constant flux. His designs embrace the tension between the fleeting and the enduring, questioning what it means to create in a world where change is the only constant. This philosophy is embodied in Zhao’s acclaimed Tyre Bag, a piece constructed from industrial material and repurposed into a high-fashion object, subverting expectations and revealing the beauty in the mundane. Across his collections, Neil employs techniques such as layering, deconstruction, and exaggerated repetition, crafting garments that mirror the transient nature of contemporary culture.

Bastien Dausse
seen by Cécile Prunet / (c) Cécile Prunet

As the fashion industry navigates an era of profound socio-political, and environmental shifts, Neil stands among a new generation of designers reshaping its trajectory. His work responds to the moment yet resists easy categorisation—offering a perspective that is as inquisitive as it is uncompromising. By pushing the boundaries of materiality, Neil not only captures the spirit of the times but also challenges the industry to rethink its assumptions about creativity, consumption, and sustainability. In this interview, we explore Neil’s creative process, his evolving relationship with fashion, and what it means to design in an era defined by constant change. Through his innovative vision and commitment to reimagining the ordinary, Neil offers a fresh perspective on the future of design.

“For me, lasting means never settling for what is safe or what already works. Reinvention is key.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

(c) Neil Zhao

(c) Neil Zhao

Tagen Donovan
Your use of the unexpected pushes the boundaries of what fashion can be. How do these choices speak to the theme of impermanence, and what do they reveal about the lifecycle and reinvention of everyday objects?

Neil Zhao
I'm captivated by the mundane and the present moment. My latest collection, showcased last November, reflects this fascination. Currently, as a second-year fashion design student, I'm fully immersing myself in this unique phase—observing my environment and drawing inspiration from it. This might be my only time as a fashion design student, and I aim to capture this transient experience.

Viewing fashion through an anthropological lens offers unique insights. How does this approach help you decode the cyclical nature of the industry?

At its core, fashion reflects human nature—people crave novelty, whether driven by seasonal trends or the pressures of capitalism. Yet, while fashion constantly reinvents itself, certain staples remain.

Blazers, jeans, and button-down shirts don’t disappear; instead, they evolve. Each cycle brings a fresh perspective—through cuts, fabrics, or styling—breathing new life into familiar silhouettes while maintaining their essential form.

With roots across Australia, China, and Norway, how has this multicultural backdrop shaped your perspective on cultural aesthetics?

I think my background has given me a sharper sensitivity to cultural nuances. Having lived in each of these countries for at least six years, I’ve become attuned to the subtle, often unspoken differences between them. It’s not just the obvious distinctions—like food, language, or greetings—but also the ways people from different places naturally respond to certain situations.

At the same time, I find it fascinating to observe the common threads that connect people across cultures. Despite their differences, there are shared instincts and behaviors that transcend borders, revealing an underlying universality in how we interact and relate to one another.

Your work is guided by conceptual underpinnings. In your 2023 RESET showcase at Central Saint Martins, you layered multiple jackets atop one another, creating a striking visual. How does this technique of superimposing reflect the transient meanings of contemporary fashion?

I’m fascinated by the fact that every time I walk into a mall, I see the same garments on the racks—again and again. There’s something compelling about that repetition, the way fashion continuously recreates the same pieces with only slight variations.

It’s intriguing how trends evolve, yet certain silhouettes, fabrics, and styles resurface in endless cycles, reinforcing the idea that fashion is in a constant state of reinvention rather than true transformation.

Your first presentation at Sarabande’s East London Space, If You Don’t Get It, It’s for You, reimagined pin cushions, buttons, and fabric swatches as garments. Could you elaborate on the symbolism behind this collection?

These are the tools of fashion—the things that all of us at my school share in common. Beyond that, we are very different. We come from different countries, subcultures, and ethnicities. We may dress differently, but we all share the same workspaces, hang out in the same smoking areas, go to the same bars, and talk to each other. This kind of community, where such a diverse group of people are brought together through a shared craft, is something you wouldn’t see anywhere else outside of a fashion school. And I find that really interesting.

Fashion often captures the spirit of its time. How does the zeitgeist inform your creative process, and how do you balance creating designs that feel relevant to the present while embracing their inevitable transience? In such a fast-paced industry, do you believe timelessness is still possible?

I’m deeply interested in what’s happening right now. However, it’s hard to pinpoint exactly how the zeitgeist influences my practice—it's difficult to recognise when you’re living through it. That’s what I find exciting about it. I want to look back at my work and see that it was truly reflective of its time.

As for timelessness, I don’t really believe in it—at least not at this point in my career. Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work. But who knows? Maybe one day I’ll want to create something timeless, too.

What does “lasting” mean to you in an industry defined by constant change?

For me, lasting means never settling for what is safe or what already works. Reinvention is key. I admire artists who completely depart from their previous work—sometimes it works, sometimes it doesn’t, but that’s what makes it interesting. The ability to take risks and keep evolving is what makes something truly lasting.

Lastly, what’s next for you? What are you excited to explore in 2025?

I want to reinvent myself—try something new. Of course, I’ll hold onto the things I love and stay true to myself, but I’m curious to see how I can use my sensibilities to create something that feels fresh and different.

Follow @kan_du_choke_meg_litt

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also read
.aesthetic talk STIJN KOKS *Fashion, Process, and the Power of Objects

(c) Neil Zhao

(c) Neil Zhao

“Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

Spencer Carroll - Interview

.aesthetic talk
SPENCER CARROLL
*Chromatic Visions

written + interview TAGEN DONOVAN

Spencer Carroll is emerging as a distinctive voice in the fashion industry, capturing attention with a compelling blend of heritage and innovation.

A recent graduate of Central Saint Martins, Carroll’s work stands out for its seamless integration of traditional influences with modern, forward-thinking designs. Each garment not only showcases the designer’s technical skill but also reflects a unique ability to engage viewers through visual deception and a playful sense of nostalgia.

Alongside Carroll’s formative material experimentations, his early involvement with the sport of fencing played a crucial role in shaping his design ethos. The sport’s protective uniform introduced him to the concepts of structure and protection—elements that have become central themes in his design philosophy. This influence prompted a departure from conventional fashion boundaries, evolving each collection into complex constructions that challenge traditional perceptions of clothing. Carroll artfully balances vulnerability with strength, reflecting the protective and transformative aspects of fencing, which continue to permeate his practice, imbuing each piece with layers of meaning and complexity.

Spencer Carroll, atelier

“I tend to draw inspiration from my immediate surroundings. As for my philosophy, I believe it cannot be pinned down; it is an ever-evolving space.”

Spencer Carroll speak with Tagen Donovan
for LE MILE Issue N3. 37 - AGE OF CHANGE

Tagen Donovan
How would you describe your design philosophy?

Spencer Carroll
I tend to draw inspiration from my immediate surroundings. While maintaining a very optimistic outlook, which also informs my perspective. Altogether, these elements work together in guiding my exploration into contemporary and dynamic areas. And as a naturally curious person, I’m constantly observing and engaging with everything around me. As for my philosophy, I believe it cannot be pinned down; it is an ever-evolving space.

Can you walk through the process of developing your graduation collection from initial concept to final execution?

The concept was developed in response to specific art galleries and exhibitions. Viewing the works of Jeff Koons and John Chamberlain, and observing the craftsmanship required to create these metal structures, was truly inspirational. Further exhibitions showcased by Mika Rottenberg (’GRUPPENAUSSTELLUNG’ at Hauser & Wirth) and Senga Nengudi (DIA Foundation, Beacon) reinforced my connection to the colours, textures, and shapes that were evolving in my mind. It provided the visual confirmation that I needed to pursue the collection, merging art with fashion.
Once I had finalised my concept, I began designing the shapes. The initial stage of experimentation involved a long, playful period of absorbing all of the elements. In part, this approach led to a refinement process, ensuring that the collection was both wearable and desirable. Throughout the conceptualisation stage, it was key to keep the influence of art integrated, defining the shapes within the narrative.

Your collection aims to evoke a sense of playful nostalgia. How do you see this balance between past and present fitting into a broader narrative of cultural change and modern expression?

By drawing on nostalgia, it compels one to reflect and process ideas with a contemporary expression. Sometimes, you might not realise that you are referencing the past because you are working on it in the present; thus, all the modern elements naturally integrate into your narrative subconsciously.
Although the objects I create are physical, they often acquire a much larger presence in the digital realm. Similar to art, clothing is viewed through various media formats, and stories are shared on social media. Therefore, a digital presence is crucial to me as a designer. My collection translates well into the digital space, which is a modern expression that will continue to resonate.

What aspects of Koons' and Chamberlain's work resonated with you the most, and how did you reinterpret these elements to reflect the cultural metamorphosis we see in today's fashion landscape?

With both of these artists there is an alchemy at play. Chamberlain's sculptures, made from steel auto parts, turn something that was designed to be of use – that had a previous life – into powerful pieces of art. It is this transformation of auto parts into these beautifully and intricately constructed sculptures that is so compelling. The shape of his works influenced the silhouettes within my collection.
Koons’ work draws on pop iconography and advertising to create unique and highly desirable pieces of art. Seeing his colourful balloon sculptures in a bright white gallery, with all of the reflections of the gallery environment, was incredibly inspiring. They naturally felt fashionable to me, so it was an easy transition to incorporate their appeal into my collection. There is an optimism in Koon‘s work which I’ve always loved.

Drawing further inspiration from shiny objects, packaging, and digital brights found in newsagents and market stalls, how did you ensure that these everyday inspirations maintained a cohesive and elevated aesthetic in your collection?

These elements are very much a part of my childhood memory and provide an atmosphere that I wanted to incorporate into my collection. At first, I fully indulged in exploring these elements to an extreme via the methods of drawing and production of prototypes. As I began the process of gradually refining to a core essence, this latterly informed my final designs.
My initial experiments were not about clothing per se , but a more literal take on art and playfulness, using balloon shapes and forms wrapped around the body. I didn’t want that element to be filtered out. In essence, each outcome of the engineered prints were maintained with the refinement of the silhouettes.

The rigorous process of playfulness and experimentation gradually distilled into the final pieces, through colour and maintaining the integrity of the story.

In the spirit of radical creativity, how did you incorporate the idea of visual deception, seen in Koons' solid aluminium works, in your garments?

It was important to me to honour the visual deception evoked in Koons' work—the play of the illusion of metallic foil fabric giving the appearance of inflated parts – when the reality is that the fabric is not metallic and that the parts are not inflated. I liked the blend of the overall play on the theme of Koons' work into a fashion landscape.

Can you explain the techniques you used to create the illusion of inflated structures and metallic sheens, and how these methods represent a blend of innovation and traditional craftsmanship?

After I finalised the concept, I produced a high volume of photography to capture the light diffusion on the balloon's surface. Metallic balloons have a joyful appeal to me, and I knew the print needed to be strong. It took a lot of print and colour testing, alongside fabric selections to get the right finish. The digitally engineered prints involved copious experimentations and perfecting, in order to maintain the desired visual impact.

What were some of the biggest challenges you faced while creating this collection?

Maintaining the integrity and desire to fabricate them as if they are pieces of art was a constant focus for me in this collection. Also, blending this process with intricate garment detailing through precise pattern cutting was essential to the collection's success from its conception.

Each silhouette was carefully designed and draped. Ultimately, the real challenge was rooted within the engineering of the prints—ensuring believability through rigorous material trials, while integrating sculptural elements.

From your experience at CSM and your professional roles at AREA and Alexander Wang, what do you see as the biggest challenges for new designers entering the industry today?

CSM is an incredible environment to experiment – allowing space for challenging yourself and your perceived limitations. Similarly, my roles at AREA and Alexander Wang made sense of the reality of the industry. Fashion thrives on experimentation, and both brands encourage forward thinking and creative ideas. Overall, the challenges for new designers and production within the industry will be to embrace environmentally sound practices. I believe this may become apparent through the means of technology and innovation. Looking towards the future, I am confident that we will see change, as at the core of design is an intrinsic link to change.

Now that you’ve graduated, what’s next for you and your label?

My immediate plan is to work within the industry, perfect my craft, and learn the business. I am currently creating the 'Chromatic Inflation' made-to-order capsule collection. This made-to-order approach aligns perfectly with the brand’s ethos of creating truly dynamic garments and artworks. Looking more broadly to the future, I am also working towards exhibitions in London and New York. These exhibitions will continue my exploration of the materiality of fashion fabrication and contemporary art, allowing me to showcase my work to a broader audience. While continuing to develop new collections, each inspired by themes discovered by art and my immediate surroundings.

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also read
.aesthetic talk BASTIEN DAUSSE *Choreographing New Realities

Spencer Carroll, portraits

“By drawing on nostalgia, it compels one to reflect with a contemporary expression. A digital presence is crucial to me as a designer.”

Spencer Carroll speak with Tagen Donovan
for LE MILE Issue N3. 37 - AGE OF CHANGE

Visually inspired by the iconic inflated art of Jeff Koons and the welded metal sculptures of John Chamberlain, Carroll adeptly translates the gleaming, reflective qualities of these robust art forms into fashion. The paradoxes in these works—such as the illusion of inflated balloons in Koons’ solid aluminium sculptures—provide the conceptual foundation for Carroll’s latest collection. Each garment amplifies these contradictions, appearing both light and airy yet grounded in meticulous craftsmanship. This is achieved through Carroll’s innovative use of photographically engineered prints, which create the illusion of inflated structures within his garments. By combining high-resolution digital imagery with textile manipulation, he replicates the appearance of volumetric forms and metallic surfaces with remarkable precision.

Spencer Carroll stands out as a designer who deftly navigates the intersection of tradition and modernity, engaging profoundly with the ongoing dialogue between the past and the future. In an era marked by rapid transformation, Carroll’s approach to fashion is both a tribute to historical craftsmanship and a bold leap into contemporary innovation. His work, distinguished by a seamless blend of time-honoured techniques and forward-thinking principles, reflects the zeitgeist of an age characterised by significant cultural and technological shifts. Through his creations, Carroll not only mirrors current trends but also embeds his designs deeply in the narratives of change, defining a new chapter in the evolving story of fashion.

visuals (c) Spencer Carroll, 2024

Bullyache - Interview

.aesthetic talk
BULLYACHE
*Grit and Glamour

written + interview ALBAN E. SMAJLI

BULLYACHE crafts a visceral blend of working-class grit and queer defiance, a raw reflection of the world’s chaotic pulse.

Emerging from the intensity of sobriety and the tight-knit bond of collaboration, their art fuses mythology with the stark realities of contemporary life. Each performance is a live confrontation with anxiety, absurdity, and the relentless push to create meaning in a fractured world. Disrupting traditional spaces and narratives, BULLYACHE redefines what it means to connect through art, turning instinct into a powerful force that challenges and captivates.

Bullyache
seen by Will Hazel at Abbey Road Studios

“We make performance works in a world on fire, which feels a little absurd, but maybe that reflects a general dissociation and anxiety that's going on.”

Bullyache speak with Alban E. Smajli
for LE MILE Issue N3. 37 - AGE OF CHANGE

(c) Will Hazel

(c) Will Hazel

Alban E. Smajli
BULLYACHE has been described as a pop-culture collision of working-class and queer expression. How does your art reflect the changing dynamics of society, particularly in terms of class and identity?

Bullyache
It reflects it in that we have elevator pitches like this that generalize who we are and make massive claims about what we do. Which isn’t all bad, it's a double-edged sword. There's more of an immediate relationship with someone who hears about the work but at the cost of subtlety and complexity.
We reflect a tiny subcategory of people, but we’re at least trying to do that in a way that feels good for us and the people we work with. If we’re good at that, then maybe it can reach out to wider groups of people. We make performance works in a world on fire, which feels a little absurd, but maybe that reflects a general dissociation and anxiety that's going on. Our end goal is that the work has a relationship to the viewer that blurs boundaries of feeling and definition. It's probably that act of blurring and anxiety that's most reflective.

Your work merges mythology with contemporary socio-political themes. In today's era of rapid change, how do you balance the preservation of cultural narratives with the need to innovate and disrupt?

We don't really care about any sort of preservation. I don't think it’s in our head to disrupt either. We’re trying to get at a feeling we have personally and we use what comes to us to get at that. Mythology can be tragic or kitsch or camp. It’s however the audience feels about it. Most disruption comes from failure.

BULLYACHE started during the pandemic as a manifestation of your friendship and sobriety. Can you share how these personal experiences influenced the birth of your artistic vision?

We couldn't do anything, then we got sober and filled the void with work, co-dependence with each other, and narrowing the vision we have. We spend every day together so we never really have to talk about what the vision is; it's a felt thing.

Your style has been likened to 'Pina Bausch cosplaying as Dua Lipa in Cradle of Filth makeup.' Can you tell us how these diverse influences shape your creative process and stage aesthetics?

We steal, take, reuse, resample, remake, reform until it becomes ours. We take inspiration from everything and nothing. It’s how to interpret our lives with the resources we have available, and ultimately everything just becomes a really practical decision. It's a gut instinct in response to what’s around us.

Congrats on being the first act to bring dance to Abbey Road since Kate Bush. How did it feel to perform in such an iconic space?

It’s a great space and a great team. They were fantastic and the skill level and resource was wild, but we don’t really put too much weight on legacy institutions. It’s incredible, all the people who have been there before, and it’s amazing to join that roster of artists so early on.

We got some homophobic comments on socials from that shoot which we didn’t expect, which was fun. Inviting all our collaborators to the space was super special.

Bullyache ́s performances are noted for their gazelle-like choreography and intense theatrics. How do you use movement and dance to enhance the storytelling aspect?

Movement and dance are the storytelling. You can communicate so much with a body by doing so little with it. If you create a narrative device for it, people will project their own images onto what they see.

Everyone can watch the same piece and have completely different takeaways, that's what we hope for. If there was an A to B thing we were getting at, we could put our energy into being on Twitter [now X].

How do you ensure that the stories of working-class and queer experiences are authentically represented and resonate with a broad audience?

We don’t know if they resonate or not. They should because they are ultimately about the attempts at success and failure that comes with being in the world. Hopefully, everyone can take something away from it.

If it doesn’t resonate, then that's fine. We’re also excited if people hate it. We know it’s not for them, and we’re doing something right. We’d rather concentrate on developing the channel of communication for who it does speak to.

Looking ahead, are there new themes or concepts you're ready to explore in the future?

Suicide and femcels, Luke Belmar, English cuckoldry.

---

also read
.aesthetic talk BASTIEN DAUSSE *Choreographing New Realities

(c) Will Hazel

“We steal, take, reuse, resample, remake, reform until it becomes ours.”

Bullyache speak with Alban E. Smajli
for LE MILE Issue N3. 37 - AGE OF CHANGE

Bastien Dausse - Interview

.aesthetic talk
BASTIEN DAUSSE
*Choreographing New Realities

written + interview SARAH ARENDTS

Bastien Dausse is redefining the laws of physics on stage, where gravity becomes just another element to manipulate. 

From his early days at the Bordeaux Circus School to co-founding Compagnie Barks, he has pursued a relentless fascination with weightlessness and the surreal. His performances challenge our perceptions, blurring the lines between reality and illusion, and inviting audiences into a space where the impossible feels within reach. Dausse’s vision keeps expanding, crafting performances that provoke deeper thought and leave audiences with a lingering sense of curiosity and wonder.

Bastien Dausse
seen by Cécile Prunet / (c) Cécile Prunet

“My fascination with weightlessness stems from a childhood dream of defying the physical limitations imposed by gravity.”

Bastien Dausse speaks with Sarah Arendts
for LE MILE Issue N3. 37 - AGE OF CHANGE

(c) Marc Lahore

Sarah Arendts
Your work often defies gravity and challenges conventional physics. What inspired your fascination with weightlessness, and how do you envision this theme evolving in your future performances?

Bastien Dausse
My fascination with weightlessness stems from a childhood dream of defying the physical limitations imposed by gravity. Watching martial arts films and seeing characters perform seemingly impossible feats ignited a desire in me to explore and push those boundaries. This theme of defying gravity has always been a central element in my work, representing both a physical and metaphorical escape. It's a research theme I'm particularly interested in at the moment because I feel there's a kind of universality to it—the universality of the relationship with gravity. I enjoy the thought that the audience can relate to what I present on stage.

For the future, I have quite a few ideas where weightlessness is no longer central. Instead, I will concentrate more on the design and reflection of new types of scenography and choreography. Even if I think that gravity will always underlie my work.

"Moon" features a series of anti-gravity devices. Can you walk us through the creative process of designing these devices?

The creative process for designing the anti-gravity devices in "Moon" began with the idea of a specific motion or sensation I wanted to achieve, such as simulating lunar gravity or walking on a wall. From there, I engaged in extensive experimentation and research, often working empirically to find the most effective solutions. This involved numerous trials, modifications, and sometimes completely reimagining the devices. The design process is iterative, requiring patience and a willingness to learn from each failure. Once the devices were perfected, the choreographic work could begin. I then spend several weeks working on a new acrobatic and choreographic vocabulary specific to each object I design.


Your performances often play with the audience's perception of space and reality. How do you approach the psychological aspects of your work, and what unexpected reactions from your audience have left a lasting impression on you?

The psychological aspect of my work comes quite naturally into my creative process. It's like a continuation of my approach. I strive to create experiences that challenge the audience's perceptions and invite them to see the world from a different perspective. I always get a lot of feedback from the audience after my shows, as if there was a need to share an experience, and that gives me great pleasure. Recently, several people have told me that they felt as if they were dreaming while awake, like a breath in their daily lives, and that my work had a calming effect. It really touched me that my work could touch people on an emotional level.

From your training at the Bordeaux Circus School to co-founding Compagnie Barks, how has this personal odyssey sculpted your artistic vision, and what core messages are you driven to communicate through your work?

I think that my training in Acro-dance at the Bordeaux Circus School, then at the Fratellini Circus School in Paris, laid the foundation for my artistic vision by providing a comprehensive education in circus and choreographic arts, emphasizing both technical skill and creative expression.

I'm also keen to see different kinds of shows and exhibitions regularly to keep my curiosity alive. Co-founding Compagnie Barks with François Lemoine allowed me to further explore and refine my artistic ideas in a friendly and collaborative environment.

In these times of profound societal change, how do you see your work not just reflecting but actively contributing to the transformations happening around us?

I see my work as a moment of escape from harshness and, I hope, as a way of provoking thought and encouraging people to envision new possibilities. Perhaps it inspires a form of lightness, a need to see the world more playfully, and to find creativity in everyday life.

Your performances transform and breathe new life into familiar spaces. How crucial is the environmental context to your work?

Each performance space offers unique challenges and opportunities, influencing how I design and execute my work. By adapting to and transforming familiar spaces, I aim to create a dialogue between the performance and its surroundings, encouraging the audience to see both the space and the performance in a new light. I like to be not just a performance that fits into a place, but one that fits with the place.

You’ve often highlighted the role of failure in sparking innovation. Can you share a specific moment when a misstep or unexpected challenge led to a breakthrough in your creative process?

One memorable moment of failure that led to a breakthrough was during the development of an anti-gravity device. An early prototype failed to provide the desired effect, leading to frustration and a sense of setback. However, this failure forced me to rethink my approach and explore alternative solutions. This process of trial and error ultimately led to a more innovative and effective design, demonstrating that failure can be a powerful catalyst for creativity and progress.

Your work consistently redefines the boundaries of contemporary performance art. As you peer into the future, what radical vision or wild ambition drives you, and how do you see your legacy disrupting and reshaping the artscape?

I feel I've barely scratched the surface of the subject at the moment. I have the impression that there are still an infinite number of possibilities and ways of developing my subject, perhaps by using new materials and new technologies. But also by creating more immersive experiences and involving spectators even more in the sensation I want to communicate. 

I hope that my work will open up the field of possibilities for other circus and choreographic artists, inspiring them to take an even greater interest in objects and design to enhance their relationship with the body and performance. In the same way that so many visual, choreographic, photographic, and circus artists have inspired me and shown me that it's possible to create differently.

---

also read
.aesthetic talk STIJN KOKS *Fashion, Process, and the Power of Objects

Table et chaises, Bastien Dausse
seen by Marc Lahore

“Recently, several people told me they felt as if they were dreaming while awake, like a breath in their daily lives.”

Bastien Dausse speaks with Sarah Arendts
for LE MILE Issue N3. 37 - AGE OF CHANGE

Stijn Koks - Interview

.aesthetic talk
STIJN KOKS
*Fashion, Process, and the Power of Objects

written + interview SARAH ARENDTS

Stijn Koks builds worlds. Objects hold weight, fabric carries memory, silhouettes tell untold stories.

His work moves through instinct, shaped by process rather than control. Knights of Nostalgia extends this language—sci-fi headpieces, repurposed textures, the raw and the unreal. Film becomes a pulse, turning garments into atmospheres. Koks reworks discarded pieces, not to recycle, but to shift meaning. In this interview, he speaks about movement, material, and the tension between impulse and precision.

watch KNIGHTS OF NOSTALGIA

“It’s a childlike imagination. Playful, but with depth. Irony never outweighs sincerity.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

Sarah Arendts
Your designs feel like relics of a past that never existed—surreal and nostalgic. Is your work about rewriting childhood or weaponizing it?

Stijn Koks
Weaponizing it. Reclaiming its imagination, but with a mature edge. It's about tapping into the raw, unfiltered emotions of that time—when everything was heightened, strange, and full of possibility—and turning them into something more potent, even unsettling. Harnessing childhood elements is not just a sweet reminder of the past, but a tool for imagining the future.

"Knights of Nostalgia" feels like a playground for the imagination. What’s the first thing you built when the idea hit you, and what did you destroy along the way?

I started with sci-fi-inspired headpieces, repurposing old cowhides and jeans—blending raw with refined. The goal was to create something that felt both nostalgic and futuristic? ‘Vintage sci-fi’ might be the best way to put it. I relied heavily on intuition throughout this collection, which sometimes led me to ideas that will never see the light of day. Still, I already have a million things I’d do differently next time, but I wouldn’t have reached that realization without going through this first. Because the process was so instinctive, editing became a constant push and pull—stripping things until the collection as a whole felt right (for now).


Fashion is often called armor, but your pieces feel more like portals. Are you dressing people to escape or confront the world?

I’d say confront, I don’t think there is much happiness in escaping. If I could spark a little imagination, that’d be great. It’s about navigating the complexities of the world, not running from them. There’s strength in facing the chaos head-on, and wearing something that makes you feel invincible. These pieces are tools for transformation, not retreat—focusing on things we can engage with, rather than escape from.

Walter van Beirendonck and Henrik Vibskov are both titans of the absurd. What lessons from their studios have you carried into your own chaos?

Mainly, the pace. At that level, creativity isn’t just about ideas—it’s intertwined with the business side of fashion. In art school, there’s endless room for absurdity, but in the industry, that space shrinks. Yet, they both find a way to make it work regardless. What intrigues me is the constant tension between artistic integrity and commercial viability. If you lean too much into what sells, you risk diluting your authenticity.

They were careful to preserve that balance. It reminds me of that Henry Ford quote: “If I had asked people what they wanted, they would have said faster horses.” I have zero interest in cars but that quote is cool.

Which designer or brand feels like a kindred spirit to your vision?

It shifts all the time but currently I like ERL. They have a nice, nostalgic, playful feel.

Your work demands a kind of physical interaction—it’s loud and textured. Do you think fashion in the metaverse can ever match the tactility of the real?

No. I’m currently in the middle of creating a large installation for my upcoming show, working with wooden branches and metal elements—letting the process take the lead. It’s all about problem-solving in real time, finding ways to connect and shape different materials as I go. I start with a general idea, but the execution is always shaped by the process itself. The same applies to my garments—the concept evolves as I dive deeper into creation. Along the way, you discover better ways to bring an idea to life, and materials often behave in unexpected ways. That kind of tactility simply doesn’t translate to the digital world. Sure, it’s fun to customize your metaverse avatar, but isn’t it cooler to be the actual avatar in real life?

Recycling, repurposing, rebuilding—your process feels part alchemy, part storytelling. Do you see discarded objects as ghosts waiting to be reanimated?

Absolutely. That’s where the idea of readymades comes in—transforming everyday objects, often discarded or overlooked, into something more profound just by shifting their context. A broken chair or a chandelier, for example, both hold certain references and could become vessels for something new—or something funny and unexpected, triggering a fresh perspective. That said, not everything carries that kind of value. Some things are just trash.

The film for "Knights of Nostalgia" is pure fantasy, but it’s also a manifesto. How do you use moving images to expand the language of your line?

The film for Knights of Nostalgia is almost the soul of the collection—like a visual pulse that injects life into the narrative. Moving images allow me to create an atmosphere that transcends static imagery or theusual fashion show format. Through film, the viewer can engage with the collection on a deeper, more visceral level. Fashion is fundamentally storytelling, but film gives that story a fluidity—it’s where fantasy and reality blend, and I get to play with those boundaries. It’s the ideal medium to expand the collection’s universe, capturing not just the look, but the mood, the atmosphere, and the symbolism. The movement, the soundtrack, the pacing—all contribute to turn the collection from something you wear into something you feel. Shoutout to the team for bringing this attitude to life.

There’s something wildly anarchic about pulling childhood toys into adult wardrobes. Are you reclaiming innocence, or are you throwing it into the fire?

I could never part ways with my action figure collection. Showing them off feels right, almost like paying tribute to a part of myself that shaped who I am today. I don’t think you ever truly outgrow your toys; they’re woven into the foundation of who you’ve become. The toys you played with as a kid reveal a lot about your personality, your interests, your imagination. So, why not embrace that? Incorporating them into adult life feels less like clinging to innocence and more like honoring the things that made you, you.

How do you stop irony from swallowing sincerity?

I’m always trying to strike a balance between kitsch, a bit of wittiness, and a level of maturity. I’m not interested in childishness, but rather in a childlike sense of imagination—something playful without losing depth. Back in art school, I was constantly experimenting, mocking certain aesthetics while exaggerating others, trying to find that sweet spot. It’s a careful process of navigating irony without letting it overpower the sincerity I want to preserve. So, I’d say it’s a fine line that I continue to explore.

Since your silhouettes blur edges and identities, breaking free from binaries, does gender even exist in your design vocabulary?

So, if I’m a rabbit walking into a local giraffe store, and I find this knitted balaclava made for zebras—it has two holes for ears, two for eyes. I have four legs, so it suits me as an oversized Raf Simons sweater. I’m walking out of the store with the zebra balaclava. I guess, as a designer, all I’m doing is giving suggestions based on how I feel at the time. A particular casting doesn’t exclude any other wearers—someone else might pull off the look even better. I can only encourage that.

What’s the last fashion show or collection that stopped you in your tracks, and why did it feel so electric?

I’m afraid I’m stating the obvious, but Maison Margiela’s Artisanal 2024 show was absolutely mental. Storytelling at its finest, and truly beautiful.

---

also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

STIJN KOKS
Portrait

“There’s no happiness in escape. Strength comes from facing the chaos head-on. They’re tools for transformation.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

credits
director JEROEN KOOISTRA
creative director STIJN KOKS
production company UNDERSCORE
producer WILLEM BEELAERTS VAN BLOKLAND
D.O.P. BOYD BAKEMA
1st AC TOM SELBECK
steadicam JARON JOOSTEN
gaffer BORIS PETERS
bestboy LENNERT ROIJACKERS
edit STAN VRIEND
grading BOYD BAKEMA
music TOM BRUINS
music mastering TIJMEN VAN STEKELENBURG

models
CARLOS KOK + MEGAN IRUSTA CORNET + KRISTJÁN STEINN KRISTJÁNSSON + COOSJE FROENTJES
styling assistant SOPHIE KOKS
production assistant JADE KLOET
all lookbook images seen by JELLE KOITER

Sofia Lai - Interview

.aesthetic talk
SOFIA LAI
*Out of Body

written + interview Hannah Rose Prendergast

This is not a missing-person case. Sofia Lai's sculptures are placeholders for strangers and loved ones alike. Constructed from memories of yesterday and yore, the Italian artist has an eerily complete way of collapsing time.

After relocating to London in 2015, Lai realized nothing makes you feel more unseen than moving to a megacity. So, she decided to induce moments of deja vu or the already-seen through assemblage. It’s a bonding experience that is both traumatic and joyful, a little like the pile of clothes on your chair that comes to life in the dark.

As a stylist, Lai’s shapes are less haphazard and more thoughtfully layered to reflect human diversity. You can’t walk around in someone’s skin, but Sofia Lai’s sculptures will get you pretty close.

Sofia Lai

“The notebook I carry with me contains all my dreams, nightmares, thoughts, to-do lists, and scribbles. It is everything that goes through my mind that I wish to look back on one day.”

Sofia Lai speaks with Hannah Rose Prendergast
for LE MILE Issue N3. 37 - AGE OF CHANGE

Hannah Rose Prendergast
What was your introduction to the arts as a child?

Sofia Lai
The arts have been a part of my life for as long as I can remember. Throughout my childhood, the arts helped me to express myself and my worldview. Craft allowed me to explore my creativity and create something tangible that words alone could not.

You’re originally from Florence, Italy, but you moved to London in 2015. How did your sense of place develop over time? When did you start to feel grounded?

Sense of a Place is an ongoing project. My definition of groundedness changes day to day based on how I get to know the world and those around me. The place I live is not central to it; it is the people I live with, how I feel, and the appreciation of everyday life. Most days, I do not feel grounded anywhere, and this is what my practice revolves around – the feeling of discomfort that reverts to something negative and then towards something positive in a way that allows everyone to discover and reevaluate what matters in life.


Could you walk me through your sculpting process? Do you always cast your body as the mold?

My creative process starts with daily notes about how I feel and what I see. The notebook I carry with me contains all my dreams, nightmares, thoughts, to-do lists, and scribbles. It is everything that goes through my mind that I wish to look back on one day.

These could be keywords that refer to abstract experiences, such as seeing a stranger talking on the phone or noticing the distinctive shape of a bag hanging on a tree. Sometimes, those notes stay in my head for months without making sense before I can translate them into tangible concepts and elements such as sculptures. I start with my own body as a known tool. My ability to put myself into works created by others is what makes me an artist.

What is the lifecycle of one of your sculptures? Do you ever re-use them?

It depends on the sculptures and how I view them. Because my creative process is deeply rooted in my surroundings, I sometimes cut some of the sculptures and reuse them in a new way. Similarly, the clothes vary depending on the type of character and identity I want to create.

What is important about the presentation of these pieces? For example, you use a hanger sometimes to set things off.

I am interested in forming an identity through specific shapes and volumes created by posing and outfits. Finding the right objects and garments took me some time to accomplish. I use hangers rather than very heavy sculptures that stand alone because I'm trying to replicate the softness and swiftness of specific movements I have in mind for that character.

How do you know that your character has the right outfit?

Having no specific method of knowing when the outfit is right, I know by seeing and incorporating clothing elements reminiscent of something or someone for each sculpture.

How does having insomnia inform the nightmarish quality of your work?

I've always associated insomnia and nightmares with something negative and abnormal. Only in the last couple of years did I realize how unique and positive my "absurdity" could be. We all try to fit into a world that constantly scares and overwhelms us. It was about accepting myself for who I am and separating myself from the idea that people would not understand me if I were so unique. In our community, we all experience struggles in some form, and sharing our weaknesses with others helps us turn them into strengths. Art, for me, is an entity through which I can transfer my feelings towards others.

The bodies’ arresting posture reminds me a little of crime scene photos. Have you ever thought of this?

I did not! However, I love that everyone perceives my work differently and makes multiple connections. I'm seeking an emotional connection with the viewer, and I'm glad my sculpture can shape-shift depending on the person looking at it. The beauty of art is that it is subjective and open to interpretation. Every viewer brings their own experiences and emotions to the artwork, and no two people will have the same reaction.

How has sculpting made you appreciate your body?

Accepting my body is still a work in progress as it relates to accepting the complexity of myself as a human. The body is often the first tangible representation of who we are, and it can be difficult if the thoughts and feelings within are not fully accepted. Discomfort is not simply a negative component we all experience but also a strength that allows us to analyze our behavior and improve ourselves.

Part of your inspiration comes from the people you love, including your sister and grandmother. How have they supported your vision?

I've always been supported in multiple ways by all the people that I love. I have learned that you should be open-minded and able to see and understand the different ways people can share their support. Being grateful and appreciating what you have are key elements for artistic growth. I couldn't be me and do what I do without the support I have around me.

What next for you, Sofia?

I am working on a series based on my past, present, and future experiences. I hope to share this journey with everyone soon.

---

also read
.aesthetic talk KYSHAN WILSON *The Multifaceted Prism of

“We all try to fit into a world that constantly scares and overwhelms us. It was about accepting myself for who I am and separating myself from the idea that people would not understand me if I were so unique.”

Sofia Lai speaks with Hannah Rose Prendergast
for LE MILE Issue N3. 37 - AGE OF CHANGE

Kyshan Wilson - Interview

.aesthetic talk
The Multifaceted Prism of
KYSHAN WILSON

written + interview Chidozie Obasi

When it comes to a grounded star quality, many can only dream of having the determination, skill and poise possessed by Kyshan Claire Wilson.

After her noteworthy appearance in the acclaimed fiction Mare Fuori, the rising talent has made herself between the allusive streets of East London and Naples. But, while a domination of one of the world’s most coveted industries would be a career-high for some, it’s not what the multi-faceted actress plans on seeking for just yet: from moments of doubt to gushes of thrill, the actress began to exceed her own expectations and transcend career boundaries on her own terms, cementing her as a rising star worthy of the name.

total look LOUIS VUITTON

TEAM CREDITS

seen NICOLÒ PARSENZIANI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
grooming CRISTINA CROSARA via THE GREEN APPLE ITALIA
set design IRENE COVERI
video VALENTINA GILARDONI

digital EDOARDO MONTACCINI
talent KYSHAN WILSON via WHYNOT MODELS
light assistant GIUSEPPE PALAZZOLO
production assistant ANJA MENEGON
fashion assistants ISABELLA PETROCCHI + LILLY PADILLA + VALENTINA VURCHIO

blazer ACN N1
shirt GRIFONI
top + shorts SANDRO
pants ALBERTA FERRETTI
bracelets DOLCE & GABBANA
loafers CHURCH’S

“I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

total look LORO PIANA

total look PRADA

watch film

filmed VALENTINA GILARDONI

film assistant LUCA ZITO

“Both professionally and personally, I've been on sets that have inspired me a lot artistically,” she says, the moment we begin to settle into our conversation. “I've been around people that have made me more driven, but I've always been ambitious.” However, in an industry where saturation is increasingly commonplace, there are moments able to hit one’s stride with troubled force. “There are times when you get less auditions, and that ambition doesn't go away, but it can drift in and out. This year, I've met people that have really lit that fire in me again, so I'm really grateful.”

Wilson’s first memory of film has been the experience of viewing an eclectic array of products both on TV and in cinema. “I've always loved being able to live someone else's life, whether that be for an hour or three,” she reminisces. “I've always loved the kind of escape from reality, which can sound bleak, but it was always that for me.”

Wilson recalls having this dream that didn't feel tangible while growing up, not being part of the industry’s nepotism and without connections. “It almost felt that it wasn't the path set out for me,” she explains. As a kid, she forced everyone in her family to watch hour-long shows, which helped her to unleash her inner potential. “The first time I realised that this could be a career was with Mare Fuori, when I started the auditioning process which kind of came out of nowhere,” she opines. “It was this surreal, emotional moment where all of little Ky's dreams were coming true.”

As a woman of great poise, Wilson credits her mother as a main source of inspiration throughout her life. “She was and still is a single mum, and the strength she had to move us into a different country all on her own while always providing on her own has definitely been the biggest element that makes her a role model,” she says, explaining how “she'd be surprised to hear this.” Wilson deems her entire family an anchor. “They’re not afraid to tell me when I'm doing too much or how privileged I am to be in my position at times, and I think that's very important to have people that stabilise you.”

jacket FENDI
shirt BLAZE MILANO
skirt FERRAGAMO
necklace ILENIA CORTI

blazer PHILOSOPHY di LORENZO SERAFINI
pants MARK KENLY DOMINO TAN
socks PAUL SMITH
shoes DR MARTENS

“I want to be a Bond girl! Maybe if I put it into the universe, it will come to fruition.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

coat PAUL SMITH
sweater AVANT TOI
shirt AVIU
skirts VIVETTA
jewels DOLCE & GABBANA

coat + tights JIL SANDER by LUCIE & LUKE MEIER
top FERRAGAMO
skirt AVIU
shoes DOLCE & GABBANA

When speaking on her role in the fiction Mare Fuori, Wilson—named Kubra in the series—speaks frankly about the impact and the relevance her role had in relation to the broader context of the script, which portrayed her as the daughter of a troubled prostitute harassed by male toxicity. “I find this really interesting because my thoughts on Kubra specifically, in Mare Fuori, aren't maybe what you would expect, because the fiction is recounting the story of a group of teenagers in a juvenile prison,” she says. “So I think given that context, for me as an actress, it felt less frustrating and jarring because all of our characters have done terrible things to end up in a juvenile prison.”

Most of the characters came from hard, tough backgrounds, and it’s exactly the reason why her role “didn't feel like the classic stereotypical black actor cliche, where there’s a tendency to cast only poc in degrading roles.” She didn’t feel it was as harsh as other roles in the film industry at large. “There are roles I've played where I’ve definitely felt more pigeonholed, but I think given the context (again, of a prison), I didn't really expect anything less than that.” Wilson took that as a challenge and made Kubra a profound and complicated character that wasn't defined solely by those stereotypical black traits. “I tried to make the best out of it and make her as layered as possible to show the intelligent and funny and human and vulnerable side to her, not just the angry black woman kind of cliche.”

Leaning on representation and the importance of inclusion, in an industry that often exacerbates the state of it at the expense of white privilege, she speaks with unguarded honesty. “I think there's a desperate need to work on representation, especially in Italy, and to be clear I talk about Italian cinema and TV because that's my experience,” she says. “When I talk about more representation, I talk about working on representation. It means not only we don't want roles that are defined by the way white people perceive Blackness, but I also refer to the process of recycling roles intended and written originally for white people, already played by white people, and given to black people as a token.” Wilson deems these attempts “lazy,” and she’d rather see people “invest time, money, invest effort and writers into creating and curating our own stories; stories that take into consideration the black experience, without making it a cliche.” Additionally, Wilson thinks that “sometimes it’s done well and is cool, but most the time feels cheap”

So I cannot help but wonder: how does an actress with such depth and sensitive line of thought perceive otherness and colourism? “I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed,” she freely admits. “I have softer hair and European features, and I'm not going to deny that I believe that has had a positive impact on my career.”

total look SPORTMAX

dress VERSACE

Moving on to softer ground, I ask about the roles she’s cherished the most. “I love Aura in Those About to Die,” she says. “I think there's a lot to play around with, and I think if we get the opportunity to proceed with another series there would be a lot to dive into within her psyche. I love her strength, not in the classic way we see strong characters - but a strength that lies within her vulnerability.” The series explores an unveiled side of Rome: the dirty business of entertaining the masses through blood and sport. “She’s vulnerable, as she's sold into slavery but she's still the rock for her sibling and her mother, and her maternal figure leans on her a lot,” she says. “I love the parallels of strength and vulnerability, particularly when those two things can co-exist because I don't like flat characters and no one wants to see.”

And, if that wasn’t enough, between ensuring that her passion for acting never fades and that her diary is never empty, Wilson is well engaged in the fashion scene. “Fashion is art and it’s expression, and I love any form of art and expression,” she opines. “I'm a very creative person and I'm drawn to cinema, fashion, paintings and any art.

So I love any opportunity I get to be a part of this world: we work very hard with both my fashion modelling agency, WhyNot, and my cinematic agency, Karasciò, to intertwine all projects and make sure that I have the opportunity to be at events, but also so that doesn't get in the way of sets. And they're very good at accommodating each other and me and making it all work.”

What does she hope for the years to come? “To still be doing what I love, which is acting,” she says, her head nodding with excitement. “I also hope to be living in another city, as I love moving around, and I definitely want to slowly emerge into the international world of cinema and TV.”

We’re way past our allotted interview time, and as the end-of-year holidays are fast approaching it’s apt to muse over Wilson’s new year resolutions. “I want to be a Bond girl!” she wildly chuckles, as we wrap up our conversation. “Maybe if I put it into the universe, it will come to fruition. But on a serious note, I just hope to keep doing things to make me fall more in love with my craft, becoming better at it.” And, just like Wilson, I very much hope the same.

Borgial - Interview

.aesthetic talk
BORGIAL
*Ancestral Echoes

written + interview Amanda Mortenson

Borgial’s art defies easy categorization, drawing from a rich well of personal and cultural narratives.

Born in Congo and now based in France, he channels his heritage and experiences into powerful works that resonate with ancestral spirituality and esoteric traditions. His sculptures and performances are engaging experiences, each piece serving as an archaeological dig into his African roots and the complexities of identity. A visceral exploration of memory, mythology, and the profound connections between the physical and spiritual realms, his work crafts a dialogue between past and present, inviting us to engage with the raw, elemental forces that shape our existence.

Through a unique blend of materials and symbolism, Borgial creates a space where art becomes ritual, a pathway to deeper understanding and transformation.

Borgial by Kaj Lehner

“My romance with art has always been a secret place for me to connect with the wholeness of my imagination, in the childish yet visceral idea of me being a wizard.”

Borgial speaks with Amanda Mortenson
for LE MILE Issue N3. 37 - AGE OF CHANGE

Amanda Mortenson
Hi Borgial, your work often involves the mythification of the individual, intertwining personal histories and broader cultural narratives. Can you elaborate on how your personal experiences and your African roots influence your art?

Borgial
I was born in Congo and left my country with my family due to the political instabilities resulting from the repercussions of civil war. As a migrant, being uprooted always leads to an identity crisis. My romance with art has always been a secret place for me to connect with the wholeness of my imagination, in the childish yet visceral idea of me being a wizard. Magic is, in fact, a huge part of my Congolese legacy. My grandfather transmitted spiritual gifts and practices to my dad, who then passed them on to me and some of my siblings.

This sense of spirituality is a significant part of my artistic practice. In my sculptural work, I try to recreate a certain archaeology of what remains of my Africanity (from both the collective and individual experience of it): all the memories, mythologies, and narratives that have taken shelter in my physical and etheric bodies throughout this cultural shift of moving to France. These sculptures and installations are the archaeology of my own history. Due to the Congolese civil war and political instabilities, we lost much of our past (photos, objects, and even memories often due to trauma)—therefore, the idea of archaeology is very important to me.

In my performance work, I engage in exercises (which I often consider rituals) to reconnect with emotions and a profound ancestral spirituality. I strive to reconnect my body with something greater than myself. Performance art serves as a form of personal therapy.

In your installations and performances, you use a variety of materials—each carrying specific symbolic weight. How do you choose these materials, and what do they represent in your work?

I started with fabric. I’ve always maintained a connection with the idea of fashion because it bridges my Congolese and French cultural experiences. It’s like a common thread linking these two narratives. In 2020, I created my first wooden sculpture piece named "Piedestal I." an elevating pair of sculptures and performative objects that embodies the boldness of self-expression. Carving and working with wood felt natural to me—it was organic, physical, and involved endurance and self-realization. With every small gesture I made, I felt as though I was unearthing the history of my ancestors and getting closer to a shared reality. Since then, I have chosen wood as my primary material for sculpture.


Having moved from Congo-Brazzaville to France, how do you balance or navigate the influences of these diverse cultural landscapes in your art?

It’s not easy. It’s a long process. I feel like the life of an artist involves a lot of doing, then questioning the deeper meaning of what we have just done—in order to refine and clarify future attempts, as we weave an entire narrative and identity through the process of art. The more I grow (both personally and in my practice), the more I strive to reach a universal form of expression. One that could blend all the cultures within me and be understood by anyone, regardless of their cultural background. An art that emanates something raw, primitive, and visceral.

This requires staying grounded and close to my origins while also being grateful for every expansion that life provides. This idea of elevation while constantly taking root was the concept behind my piece "Piedestal I." I am currently working on developing a series of these pieces, as I have realized that this theme will always be a part of my life.

all images seen by
KAJ LEHNER

You have a keen interest in esoteric traditions such as alchemy and astrology. How do these disciplines inform your creative process and the thematic content of your work?

I’ve always believed in the magical realms of life—invisible forces and all. I think the deep study of these disciplines helps me bring rationality to my Piscean imagination (Pisces moon here). Alchemy, astrology, and numerology help me understand the subtleties of life and connect with ancestral knowledge. I delve into their iconography to find elements that can enhance my artistic vocabulary. It’s a lot of food for thought for me. It’snot my whole life, but it greatly nourishes my knowledge and comprehension of life. I’m sure it plays a bigger role on an unconscious level of my brain, but I haven’t fully understood it yet.

As an artist, what role do you think art plays in societal change? Do you believe art has the power to influence or reshape cultural or social norms?

I do believe so. In society, art represents the idea of freedom. It has the power to explore diverse realms and intertwine reality with imagination, thereby shaping new realities. To me, it’s one of the most powerful things. I also believe it has become more challenging since social media has gained so much influence on people's lives. It’s both a blessing and a curse.

I know there are many people out there using art to make the world a better place, and I’m very grateful to witness and be inspired by that. One of the latest inspirations I've found is Gilberto Gomes Leal, who explores movement as a powerful and healing tool for both the individual and the collective. I am very inspired by these people and initiatives.

How do you perceive the current shifts in our society? What changes are most significant to you personally or artistically?

Technology. Social media still represents a significant shift for me. I’ve always been quite mistrustful of it, yet it is a tool for promoting my art. I also see the way it impacts people’s mental health.

With the rapid changes and transformations happening today, how can your art contribute to or enhance the public discourse on these shifts?

I want my art to be a window through which we can inspire others to embrace freedom, both in art and spirituality. I also want it to reflect an idea of integrity, authenticity, and responsibility towards humanity and nature. My goal is to have a practice with zero negative impact on nature, one that can elevate minds and souls.

Let’s look forward, how do you see your artistic practice evolving? Are there new themes or mediums you are interested in exploring?

I’m curious about so many things, but I also want to build a career that is coherent, authentic, and meaningful. I want it to convey a comprehensive and unified message. I don’t know what the future holds for me, but I would love to expand my performance universe by traveling the world and, most especially, going back to Africa. There is so much more for me to see and do there. I also want to invite more performers into my work to learn through others and to inspire unity by intertwining bodies and their personal histories. Additionally, I love composing music, so I would really love for music to take a bigger space in my performative explorations. Let’s see! For the moment, I’m just very excited about all the good things that are happening. I’m very optimistic about the future.

What kind of impact do you hope your work will have on both current and future generations? How do you want to be remembered in the world of art and contemporary culture?

Wow. I don’t really know about that. I want my work to inspire an idea of peace and fluidity across genders and cultures. Ultimately, I want my art to tap into the essence of life. That’s my secret dream.

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

“I want my art to be a window through which we can inspire others to embrace freedom, both in art and spirituality, while reflecting integrity, authenticity, and responsibility toward humanity and nature.”

Borgial speaks with Amanda Mortenson
for LE MILE Issue N3. 37 - AGE OF CHANGE

Viviane Sassen - Interview

.aesthetic talk
VIVIANE SASSEN
*Light, Color, and Identity

written + interview Alban E. Smajli

Viviane Sassen’s work navigates the intricate dance between art and fashion, creating a visual language that is both bold and introspective.
Her mastery of color, light, and form captures moments of transformation, where the mundane transcends into the surreal.

DNA, from the series Lexicon, 2007
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

Through a career spanning over three decades, Sassen has continuously pushed the boundaries of photographic expression, drawing from deeply personal experiences and universal themes. Her latest retrospective, "PHOSPHOR: Art & Fashion," offers a profound exploration of identity, intimacy, and the ever-shifting nature of reality, inviting viewers to engage with the complexities of the human experience.

“I hope my work contributes to dissolve the line between photography and ‘fine art’. To be able to move freely between the two is a great gift I cherish.”

Vivanne Sassen speaks with Alban E. Smajli
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition
— at foam amsterdam (Viviane Sassen - PHOSPHOR: Art & Fashion)

Self Portrait, 1990
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

Dior, 2019
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

Alban E. Smajli
Viviane, your work often blurs the boundaries between art and fashion. How does "PHOSPHOR: Art & Fashion" embody this fusion, and what new narratives are you exploring in your upcoming retrospective?

Vivanne Sassen
I hope my work contributes to dissolve the line between photography and ‘fine art’. I feel there’s definitely a wider acceptance when it comes to the merging of these different worlds; fashion, music, design, photography, art; especially in youth culture. But then again; that has been going on for a few decades now. And I don’t really see that many photographers pervade into the ‘serious’ fine art galleries; it’s still a hand full. To be able to move freely between the two is a great gift I cherish, it is also quite rare I realise. In PHOSPHOR I present my fashion photography simply as one of the chapters in my exhibition. I haven’t put an extra emphasis on it, other than placing it at the end of the show. The way I show my fashion images hasn’t changed; I made an installation with sound and mirrors - the images slowly passing-by, projected on the walls.

"PHOSPHOR" marks a significant homecoming for you at Foam Amsterdam. How has your artistic journey evolved since your first showcase, "Flamboya," in 2008?

Oh dear, the answer to that is so extensive, I’m not sure I can elaborate on that! I think if you look at the various projects I’ve done ever since Flamboya, you would see that there is so much variety - different territories I’ve explored. Both conceptual and visually, ranging from very abstract to very organic, from darkness to light, from experimental surrealist series to more documentary work. The essence is that I don’t want to hold myself back when it comes to exploring new territories within the photographic medium. I’m working with film, sound, texts, collage, paint.


In the AGE OF CHANGE (our next issue ́s theme, no. 37 (FW24), how do you see the role of art and fashion in shaping societal norms and challenging conventions?

I hope that in these often harsh times and political climate, people will still understand the importance of art as a catalyst for life, social issues, philosophical and even spiritual questions. I feel that in the digital age society hasn’t only become more dualistic and extremist, but also more homogenous and generic - which can be a great thread too.

Your photography is renowned for its vibrant use of color and surreal compositions. How do these elements convey the themes of transformation and metamorphosis in your latest exhibition?

I think this comes to a culmination in one of my latest series; Cadaver Exquis. They are based on the ‘exquisite corpse’ technique: a creative game that surrealists were fond of playing. Body parts are connected in ways that produce odd hybrid creatures. I used images from my own archive from various periods of time and cut them up, enlarged them to huge proportions and made collages with these elements. They appear to be floating on the wall - I freed them from the frame so to speak. I’ve always been very interested in the concept of transformation and metamorphosis. In my work the outside often depicts the inner process of transformation, and the surrealist nature of my work helps to visualise these often confusing processes.

Given the rapid changes in digital media and technology, how do you foresee the future of fashion photography evolving in the next decade?

I think technology will make it even easier in terms of making high-quality pictures, and I think there will be even more focus on moving image; still images will probably be subtracted from that. A.I. is another thing though. I think it’s too early to tell what it will mean for fashion photography, but I feel that it will change the industry profoundly. I do think there will still be the need for creative people with a good eye and a sensitivity.

Right now, all the AI images I see, don’t excite me very much; it is as if you can feel there is something missing; a soul. They look cold and fake; just as if someone used a new kind of filter. But still, if AI will evolve and become better, there will be a need for strong concepts (what do you feed the computer?) and strong editing. AI will undoubtedly become huge in commercial outings but I think it won’t be able to replace the need for strong story telling that brands need so desperately nowadays to connect with their customers. And simultaneously, people will keep on longing for ‘real’ things, the stuff that you can touch. I have been lucky to experience that defining moment in history when analog became digital. I’m not at all nostalgic about the analog process when it comes to shooting film or developing my own rolls or making hand-prints. I feel that the digital process doesn’t take away from the ‘magic’, like many younger photographers feel. Some people still think analog is ‘better’ which is nonsense. They show me a picture they made on an analog camera telling me ’they couldn’t have made this on a digital camera’ – but showing it to me on their iPhone.

"PHOSPHOR" dives deep into the intersection of art and fashion. Can you share some behind-the-scenes insights into the creative process and the challenges you faced while preparing for your exhibition?

It was just a hell of a job to edit the exhibition...! 30 years of work, two separate archives: the art and the fashion. Both analog and digital archives. It’s a matter of distilling an essence of your work, killing your darlings, and then finding out it might become too rigid so you bring back certain images that you dismissed in the first place. I was hoping to sort out and clean up my archive in the process / simultaneously, but that turned out to be too time-consuming. So I still need to do a thorough editing session.

As we navigate the AGE OF CHANGE, what message do you hope to convey to your audience through "PHOSPHOR," and how do you envision your work influencing future generations of artists and photographers?

Hmmm I think that is not for me to answer. As an artist you always hope to inspire others and to have a little life beyond your own borders in time, but it is a waste of time to think about it. We have no idea how our world will evolve, let alone to imagine if one’s work will still be relevant for future generations. But what encourages me now, is that there are many young creatives who tell me they are inspired and encouraged by my work NOW.

Looking back at your career, from "Flamboya" to "PHOSPHOR" what have been the pivotal moments of change for you as an artist, and how have they shaped your vision and approach to your craft?

I think the most profound moments have been a few key moments in my personal life that have set my creative processes in motion. I think of motherhood. Of loosing my father. Of traveling back to the village of my childhood in Kenya. I guess in my case, art follows life.

HCG, from the series Of Mud and Lotus, 2017
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

Eudocimus Ruber, from the series Of Mud and Lotus, 2017
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

“AI will undoubtedly become huge in commercial outings, but I think it won’t be able to replace the need for strong storytelling that brands need so desperately nowadays to connect with their customers.”

Vivanne Sassen speaks with Alban E. Smajli
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition

credit header image

Adidas x Pharell, 2017
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam)

Itzan Escamilla - Interview

.aesthetic talk
ITZAN ESCAMILLA
*Breaking the Script

written + interview Juan Martí

It’s a pleasant and very surprising feeling when you discover that an actor is nothing like the characters they portray. That’s what happens with the young Spanish actor Itzan Escamilla.

The Madrid native is fun, cheeky, curious, and a huge film buff, with a particular love for horror movies. Like the characters who survive at the end of a horror film, Itzan has managed to escape typecasting and become something much bigger than his role in Élite. His passion for film isn’t limited to his acting career; he’s also a big consumer of filmographies, always ready to watch the next great movie, whether it’s a horror classic like The Exorcist or something more contemporary like Hereditary. His life took a drastic turn when he starred in Netflix’s teenage hit Élite, which turned him into a mass idol, almost like the protagonist of a horror movie who suddenly becomes the 'chosen one' of a new generation.

Now, after leaving his time at Las Encinas behind, Itzan is looking to take on new challenges, like returning to theater, this time with the genius Ana Rujas. It’s like a 'new beginning' in his career, like when the monster of the story finally faces its greatest challenge. While we await the premiere of that new play, we can enjoy his most international project on Apple TV, the thriller series Midnight Family, which stars him alongside one of Hollywood’s rising stars, Diego Calva. One thing we can be sure of: Itzan Escamilla’s adventure has just begun, and the suspense over what comes next in his career remains like a mystery movie that never loses its tension.

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pants KENZO

coat + pants KENZO
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Juan Martí
Itzan, I’m so glad to talk to you! How are you?

Itzan Escamilla
I'm good, thank you! I’m preparing for the play I’ll premiere next year.

You star in La Otra Bestia, an adaptation of the book by actress and director Ana Rujas, right?

Yes, that's right. It will premiere at Matadero Madrid.

But you didn’t know her personally before, did you?

No, I knew her by sight. We’d greeted each other a few times and followed each other on Instagram and social media, but that was about it. Then, she wrote to me, saying she was preparing this play and that she’d love for me to participate. She sent me the script, I read it, and I really liked the character. We started exchanging messages, and at first, it was a bit complicated because I wasn’t sure I could do the project. It clashed with another commitment. However, there was an internal situation, and they decided to create a shared character because the actor originally cast for my role also had another commitment. Since neither of us could be available full-time at Matadero, they decided to have two actors play the same character. This arrangement ended up working out for both of us.

Who is the other actor you share the role with?

Teo Planell, a really cool guy. This isn’t your first time in a theater project; a few years ago, you participated in the Spanish adaptation of Rabbit Hole by David Lindsay-Abaire.

Yes, that was a long time ago. It was my first play and the only one I’ve done so far. It’s true that I trained at Cristina Rota’s school, and the training there was very theater-focused. Not exclusively, but the theater component in Cristina Rota’s training is very important. However, I’ve only done theater once in my life, and honestly, I was very nervous: excited, scared, nervous.

Can you tell me something about your character in La Otra Bestia?

It’s hard to describe because the whole play moves in a kind of code that’s somewhat detached from more earthly reality; I think it’s somewhere between a half-dreamy and half-poetic level. It has something very special that describing it would fall short, so it’s better to go see it. To give you an idea, it’s inspired by a movie used as a reference to develop the script and adapt the poetry book La Otra Bestia. They were inspired by Possession, a 1970s film by Andrzej Żuławski, which has a rather extreme tone.

Are you more of an Isabelle Adjani fan or Isabelle Huppert?

Huppert. I love The Pianist.

A classic. How do you remember your days in Rabbit Hole?

I really enjoyed it. David Serrano, the director, is someone I always say I’ve learned the most from because he knew a lot, had a great eye for actors, and was very intelligent. We had a great time, and the cast was amazing.

You played the role of Jason, right? That’s a very powerful role.

It was a very complex experience. It was an intermittent role in the play, which always makes you feel a bit dizzy because when you’re on stage, you warm up, and in some way, you enter the journey. But when you’re constantly going in and out of the stage, you have to stay focused all the time. Besides the dramatic and traumatic elements of the character, which were a challenge in themselves, there was also the difficulty of staying alert all the time, even when you weren’t on stage at certain moments, because you knew that at any moment you’d have to go on with all the energy.

Now that you're returning to the stage, how have you changed?

I imagine that age gives you experience, and you use that experience as an actor, plus it provides you with more background and more work experience. I also think it gives you greater awareness. The years since I was in theater, the projects I’ve been involved in, and life circumstances have made me more aware. It’s not that I didn’t have that awareness before, but I do think that now I have a deeper understanding of how lucky you are when you’re given an opportunity to work as an actor, and I have more respect for it.

It’s not that I didn’t respect it before, but now I see it in a different light. I have more respect when facing a character, when looking at the work, and more responsibility.

“I learned to be part of a whole... finding my place within such a big machine.”

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

total look BALENCIAGA

Out of all the roles you’ve played, which one stands out to you?

I don’t know if it’s because of the roles I’ve gotten or because of who I am, but I always view myself with self-criticism. It’s like I never see myself in a positive light; I’m always very hard on myself. So, the role I choose isn’t because I think I’m good at it, but because, objectively, it seems to have the most potential, the one that can be “squeezed” the most, the one that has the most to explore and where you can get the most out of it. And that would be the one in Rabbit Hole.

It’s a fantastic role.

Yes, because I really liked the script. I’m drawn to those kinds of stories. It’s a script that’s very well balanced between comedy and drama, which is something I feel about one of my favorite movies, Manchester by the Sea. It’s one of many movies I love that talk about human clumsiness when something very dramatic happens, and how people react in a clumsy way, which generates humor, but uncomfortable humor. I feel like everything is treated in an opposite way to what you would normally expect, not in a melodramatic way. My character had a bit of that, and for me, as an actor, it was very interesting because it went against what you’d expect from such a big drama. So, from an acting perspective, it offered many opportunities to investigate and try new things.

Do you think young actors in Spain are given those kinds of opportunities?

I think it’s a bit of everything. There’s something undeniable and also natural, given the times, the budgets, and everything else: taking risks and betting on an actor’s profile that might not fit right away is complicated. The times are what they are, and the money at stake is what it is, so often, they choose to bet on what we already know will work. I think, on one hand, there’s a comfort zone when profiles are pigeonholed into specific roles within each project, but I also think there are directors who take a chance on something different. That’s where a more auteur-driven approach comes in, which always brings a breath of fresh air, an attempt to look beyond what we’ve already seen, giving a new face to what’s familiar.

I realize that talking to you, I see that you’re nothing like the characters you’ve portrayed or your personal concerns.

I don’t yet have the ability to choose the roles I take. I hope to have it someday, but right now, I don’t. So, I’m really proud of what I’ve done because, for starters, it’s work, and though this expression is overused, working is very important in a profession where there’s so much unemployment. So, I think there’s a natural arc; everyone has it in their own way, and you can’t generalize. I think mine is mine, and the others’ arcs are theirs. But at least in mine, there’s a natural progression where, first, you have to do what people see you can do, give it your all, do your best to start showing different sides of yourself, so that they begin to see you in other ways and start to shape a more multidimensional profile.

What did you learn during your Élite days?

Yes, I learned a lot. I learned mainly about what a shoot involves because, in the end, it was a role that required me to be on set or outdoors almost every week, Monday to Friday. So, I became very aware of what a shoot is, the complications that arise, the mistakes you can make, what you should and shouldn’t do. And I think, as an experience, what I take away the most is learning to be part of a whole. That is, having a more experienced perspective when understanding what’s going on around me on set, knowing where to go, where not to go, and finding my place within such a big machine.

What were you like as a teenager?

I don’t know, in many ways. I don’t really remember well, to be honest. As I got older, I was the class clown, the one who liked to joke around, I guess. I really liked being the class clown. I was a very curious, restless person. I really liked studying, I was pretty good at it, I didn’t fit the profile of a bad student, I was a good student. And I don’t know, I was someone who always had the need to explore hobbies or interests that I didn’t see around me. I always wanted to be part of something special, something different. I had this constant urge to not settle for what was closest, but to look for something out of the ordinary. So, I kept trying, trying everything. I did a lot of sports, skateboarding, martial arts... whatever it was. I kept trying until acting came into my path, and that’s when everything changed.

Do you remember your graduation trip?

I had a problem throughout my adolescence, which was that when I was 11, I had an epileptic seizure. Because of that, my neurologist strictly prohibited anything related to alcohol. I really liked surfing, and they even had to put a life jacket on me to do it. And that kind of carried over into my entire social life, as if I suddenly started receiving a lot of attention that I hadn’t had before.

My parents weren’t exactly neglectful, but they weren’t overprotective either. So, from that point on, everything changed a bit for me. At first, I lived with a lot of fear, and that feeling aligned with my parents’ caution. I was also a bit embarrassed because everything changed suddenly. But I think, after a while, I started doing whatever I wanted.

What’s the craziest thing you did with your friends?

I probably did more things, but the one that we always remember is when we set off a huge firecracker at the Palacio de Hielo shopping center. We thought it was going to make a little noise, but it went off like a bomb. At that time, there was still a risk of attacks. The alarm went off immediately, the police came, and they asked all my friends for descriptions of me. I ran and hid behind a bench, while police cars started to line up in the area. I don’t know if it was the paranoia of the moment, but they really were chasing me. That’s the story my friends and I still remember vividly.

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“When you find a passion and decide to go for it, knowing you’re going to have to build your future on your own, it gives you confidence and the drive to commit.”

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

How does one go from being a troublemaker to a committed actor?

Well, age and the fact that when you find a passion and you decide to go for it, without financial or family support behind you, and you know you’re going to have to build your future on your own, it gives you confidence and the drive to commit.

Do you think that, even as time passes, the desire to throw a firecracker in the middle of a shopping center goes away?

Yes, I got over it (laughs).

Has your twenties been more chill?

Not really, because I starred in Élite.

When did you realize the impact of Élite?

I was in Bogotá promoting Élite before it had been released, and when I came back, it had already premiered. So, I went out for a drink with a friend, like we are now, and suddenly people started staring at me and asking for photos. I remember the first few times they asked me for pictures, I got all red... I didn’t know how to react. And from that moment on, it didn’t stop.

You’ve explored teen drama, human drama... What would you like to explore now?

I really like comedy, and I’d love to do something with Paco Plaza, for example. Paco Plaza is known for his horror films. I really liked REC.

What’s the scariest movie you’ve seen so far?

Oh, I remember one starring Demi Moore that really scared me, I think it was called Half Light. But there’s one scene that has traumatized me the most of all—one that makes your heart skip a beat and leaves you pale for days. It’s a scene where she’s, I think, in the water near the shore, and suddenly the child appears, coming out of the water. I remember leaning back on the couch, feeling like I was having a micro heart attack at that moment. It traumatized me so much that for days, I couldn’t sleep, with the image of that child’s face coming out of the water stuck in my mind. I don’t know, it’s a horror movie that I remember with a lot of fear. The Exorcist is one I really like, but it also scares me a lot. It’s more the underlying aura of the film that gets to me than what you actually see, like the vomiting and those scenes. Although, I mean, with time, it has a bit of a B-movie feel to it, it becomes more gore, more “body horror,” and all that, which sometimes makes you watch it almost from a comic perspective.

Have you ever had a supernatural experience?

Yes, I was sitting on a bench with a friend of mine because we used to do graffiti. We were out on the streets late at night. We were sitting on a bench, and we hadn’t smoked any weed or anything, we were perfectly lucid. At some point, my friend was really into UFOs and always talked about them. There was kind of a relationship between his obsession with UFOs and me, who always made fun of him about it. I’d tease him a lot about it, I was quite atheistic in that sense. We were sitting on the bench, looking at the sky, philosophizing, talking. And at some point, next to the moon, I saw this orange ball. At first, I thought, “Well, it must be a star or a satellite,” but the ball started descending and getting bigger. I remember I was so impressed I couldn’t even speak, and it was a very brief moment. So I tapped my friend to look, and we both just stared, stunned. Suddenly, the glowing sphere shot up to the sky at full speed, leaving a small trail, and then it disappeared.

After that, my heart was racing. I ran, feeling this strange magnetic pull, and even though I’m not into auras or vibes stuff and all that, at that moment, I felt kind of hypnotized. I thought, “I need to get out of here.” I ran, and from that day on, I started sleeping a lot at my grandparents’ house, where I was raised. In my room at my grandparents’ house, I couldn’t sleep. I had that constant feeling of wondering, “What did I just see?” I started getting into all the alien abduction stories. I became interested in horror movies about it, like The Fourth Kind, the one with Milla Jovovich. And from that day on, every day, at a certain time, I think it was around 2 a.m., I would hear this huge engine sound, like it had a lot of power, right above my room. I’d hear the sound of an engine, and I didn’t dare to look, but when I did, I couldn’t see anything. However, every day at that same time, I’d hear that engine above, on the roof of my grandparents' house.

Do you believe in UFOs? Would you go to Montserrat to see if you saw a UFO?

I was in Tepoztlán, which is in Mexico. It's a magical town very related to UFO sightings and all that.

What was it like shooting Midnight Family in Mexico?

Really good, except that I caught three bacteria that destroyed my life for four months.

Maybe they were alien bacteria.

I thought maybe they had cast an evil eye on me (laughs). But seriously, working in Mexico and doing Midnight Family was cool, it was intense. What was happening outside of the shoot really blended with what was happening inside. So, when everything was going well, everything was awesome, but when it wasn’t, it became more difficult. But well, now, looking back, I have very good memories of it because I met people with a lot of talent in Mexico. I had the opportunity to be with them, work with them, see how they work, and honestly, they do it in a way that's quite similar to mine, or to what I had seen around me. An example: Mexico is a city that works a lot in chaos. There’s very little order, really. It’s very frantic, things are constantly happening, but without a clear order directing them. It’s as if everything is left to free will, and in the end, it will probably work out. So, they trust that it will work out and that the chaos is viable. It’s a city that works a bit like that, and I think that also influences how actors and actresses work, at least the ones I had by my side in this project. I always make sure to specify that it was a concrete experience, from one project, because it was probably more of a particular experience than a general one of how their modus operandi is.

Has this experience helped you to be more spontaneous?

I think you have to keep a spontaneous part, because otherwise, you become a Swiss clock, and I think that’s the antithesis of good work. Because in chaos, you always find brilliance or unforeseen things, and that’s where the gem of an interpretation is, when you’re not controlling everything, when there’s a moment of improvisation. But for me, I think I need to have control first, in order to break it from there. I’m speaking from little experience, but if I had to create a sketch of an acting method, it would be something like control, an analysis of the character and the text and then forgetting all about it. In other words, doing all that work beforehand and then forgetting it, so I’m not rusty or focused on any of it when the action happens, and I’m facing the moment. I would like to find a method similar to that.

team credits

seen RAÚL RUZ
styled JAVO GONZÁLEZ
production (off-set) JUAN MARTÍ
make up + hair AMPARO SÁNCHEZ
art direction URI SERRA
production assistant AVA

Saxon Brice - Interview

.aesthetic talk
SAXON BRICE
*From Renaissance to Reality

written + interview Jonathan Bergström

Saxon Brice is a Los Angeles-based multi-disciplinary artist whose work mixes classical painting traditions with contemporary topics, creating a dialogue between the past and present.

Brice’s practice spans oil painting, traditional draftsmanship, and digital media, focusing on portraiture that recalls the grandeur of the High Renaissance and Baroque periods. However, his subjects are not figures from ancient history but people from today, reinterpreted through modern ideas, myths, and the rapid technological changes around us.

In this interview with LE MILE Magazine, Brice discusses how his work has evolved, from combining traditional techniques with digital methods, to the ideas behind his solo show VIBE // SHIFT. He also discusses his continuing exploration of identity, mythology, and the surreal ways art, technology, and human nature intersect.

Saxon Brice
Madonna and Selfie, 2023
charcoal on paper

“The computer is an incredible tool, but the core of art, or at least my practice, will always be the struggle of the human hand manipulating a particular medium.”

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

Saxon Brice
MOYRA, 2024
Charcoal, sanguine and sepia conté, and gouache on paper
25.5 x 19.5 in

Saxon Brice
JESSI, 2024
Oil on canvas
40 x 30 in

Jonathan Bergström
You’ve worked with classical painting techniques and also embraced digital processes in your practice. How do these two approaches influence and complement each other in your creative process?

Saxon Brice
The computer is an incredible tool, but the core of art, or at least my practice, will always be the struggle of the human hand manipulating a particular medium. Like mp3 vs. vinyl, there’s a warmth and idiosyncrasy to the traditional exercise of art that you just can’t quite capture in digital. I tend to think that the two methods are working towards the same end goal from opposite directions. With traditional mediums and classical techniques you’re using this very real, cumbersome and sensuous material to finesse an alchemical illusion, whereas with digital you’re working backwards from something purely illusory trying to make it real. I’ve been experimenting with digital printing on top of traditional work to play with these questions, but I also love the flexibility of digital for compositional mockups and planning out pieces—change a color temperature or value on the fly, drop in a collaged element, move proportions around, etc.

You recently had a solo exhibition in Los Angeles titled VIBE // SHIFT. Can you tell us more about the exhibition and its central theme?

I’ve spent years since undergrad in relative obscurity, building my creative voice and technical skillset in the dark, so this show was kind of like a coming out party for me as a serious painter. Some broader ideas will be coming next, though the show was also a bridge for those. My friend Sean Monahan just released a follow-up to his 2021 viral essay “Anatomy of a Vibe Shift.” The new piece, “Vibe Shift America (boom boom beat doom)” is a searing account of the recent American presidential election. Whatever your feelings on the new political reality, it has become undeniable that we are shifting from one paradigm into something very different.

Growing up in the 90s, I feel like we’ve been living in Fukuyama’s “End of History” delusion my whole life, one that has taken on a very efficient and pragmatic but spiritually and poetically flat metaphysics. The works in VIBE//SHIFT were meant to be a gentle introduction to my feelings and beliefs about beauty and transcendence. My subjects are almost Jungian archetypes of our age: beautiful, self-consciously performative, and maybe a bit lost, but I want us to treat them seriously, so I felt I had to paint them seriously. I wanted to justify that struggle for something as fragile and precious as beauty, in a modern context that was sincere, rather than ironic or glib.


The paintings in VIBE // SHIFT are said to address ”an age where trends move the world faster than painting can catch up.” How do you view the role of slow, traditional techniques in today’s fast-moving, digital world?

Man, it’s tough. There’s a current trend of “fast art” in the gallery world—the necessity of turnover and feeding the beast has lent itself to a very particular type of painting. In the classical era, and even up until the mid-20th century artists might take years on a single masterpiece. Searching for the perfect gestural mark to describe the spirit of a thing, or the perfect color or texture to balance all the disparate elements of a painting into one perfect sensory experience. Now the demands of the market and its timelines put pressure on artists to constantly “execute” without much room for the trial and error inherent to a deep search and discovery. I think if we want those types of paintings to continue to be made, then we have to convince the market it’s in our collective interest as a civilization to make time for, frankly, monetizing these slower, deeper processes. I was painting a couple of the works for like a year and a half until I got them close enough to “right” that I felt they could be shown.

In addition to the paintings, VIBE // SHIFT also included live duels and performances. How do these interactive elements connect with the themes in your paintings?

The general idea was to create this liminal bridge between our physical space and the pseudo-feudal world of the paintings. The performances and medieval/gothic set-dec reflect my background in acting, fashion and art direction. Honestly, it was so refreshing for everyone to go along with something a bit silly and have a lot of fun. I love the art world, but we all know it can be a bit stuffy. I think the “Vibe Shift” is also in relation to encouraging physical community and unique experiences—IRL relationships, as it were—especially after Covid. I have to really hand it to In The Meantime, the event space and creative community I partnered with, for working with me to make it such a cool and unique experience.

The tension between “classical beauty” and “contemporary beauty” ideals seems central to your work. Do you see this tension as a form of critique or more of a celebration of the complexities of our current cultural moment?

I have to say, probably critical over celebratory. I think the tension between the two implicitly suggests that we don’t take beauty very seriously anymore, even if we’re more and more obsessed by a facsimile of it. I think to take beauty “seriously” you have to have quiet moments with it, you have to have deep and abiding reverence for it, not just the desire to possess it.

In terms of process, how much of your work is based on live sittings versus photo references or classical paintings?

While I was living and studying in Italy, we basically only did “sight-size” drawing and painting from life. The intensity of that practice, made my skillset grow like 10 years in one. However, back in LA, the subjects I was interested in weren’t professional models, and I couldn’t ask them to sit for 30-50 hrs anyway, so I adapted my process: still beginning with a live sitting and a conversation, but then multiple photoshoots as well photoshop mock ups as I add more invented or old masters-inspired elements.

The challenge then becomes to seamlessly integrate all these elements, to keep them feeling really alive, and not just “photo real.” They’re really not photo real at all, they’re some kind of hybrid between Classical Realism, Idealism, and my own kind of psychological portraiture. I hope it imbues them with a kind of spirit that is difficult to achieve when simply copying a photo.

Your portraits seem to immortalize contemporary subjects in a classical manner. What do you think this approach reveals about how we view modern identity and cultural change in relation to the past?

A lot has been said, and made, on the subject of “identity” in the last several years. Some good, some pretty dull. I think contemporary morays around identity tend to think of it as something obvious, immutable, largely external. The past, for all its faults, looked at identity as a bit more internal and full of contradictions.
That’s my favorite thing about people, discovering some aspect of them you least expect, exploding all of your preconceived notions about that human being or human beings in general. I tried to piece together this series of LA scenesters, hustlers and libertines from all over the modern “identity” spectrum. They all surprise you with their vulnerability, insight, generosity, or just good comedy about the world. I really respect that, and I wanted to elevate it to the kind of timeless humanism you see decorating the halls of great museums.

Saxon Brice
MAGDALENA (diptych)
Oil on wood panel, irrigation tubing, and maquette wire
62.25 x 51.5 in

“In the classical era, artists might take years on a single masterpiece. Now, the demands of the market put pressure on artists to constantly 'execute' without much room for trial and error.”

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

Having assisted artists like Doug Aitken and Jesper Just, how have these experiences influenced your personal artistic practice?

They both taught me so much about how to work with narratives thematically rather than literally as one would in TV or film. I think my time with them also relates directly to your question about the performative elements of my last show. Ever since early high school, I had all these interests—I kept bouncing around from music, to cooking, to martial arts, theatrical storytelling, and visual art. I think cutting my teeth with Doug and Jesper, as well as artists like Duke Riley, gave me this fantastic experience and showed me how all these interests could be pulled together into a larger, more operatic frame. Painting is just the beginning for me, especially after how well people responded to these larger elements in VIBE//SHIFT. I plan on slowly adding more objects and sound to my practice, possibly video, while continuing to play with performance and art direction.

When creating artworks for artists like Florence + The Machine, how does your creative process differ from the approach you take with gallery work?

With any commission work, you’re essentially realizing someone else’s vision. Florence + The Machine was actually submission-based, so I submitted, then I was accepted—done. But with a lot of the other commission work I’ve done over the years, a Katy Perry music video, album covers, or the paintings for movies and TV that I’ve done, I’m always painting as another artist. Sometimes I literally am producing the work of a fictional artist, and so there’s almost this roleplay or even character creation. I end up doing a lot of research, and, like an actor would, getting into the headspace of this character, their environment, their era, etc. There’s still me, of course. I have to believe they hired me because there was something in my work that they responded to, but it’s a very curated version of me.

You’re currently working on a new series titled Neo Spirito, that reinterprets the traditional Catholic art canon. What inspired you to explore this concept?

I’m not particularly religious, though as I get older, I find myself more and more open to these mysteries that I grew up being so cynical and dismissive of. I definitely didn’t grow up Catholic—my paternal grandfather was a very secular Jew, and I was baptized in a lovely but very “Jesus light” Episcopal church in LA.

However, I think this instinct goes back a long way. I recently discovered an old drawing I made in 10th grade of the creation of Adam, except in this version Adam’s outstretched gesture is mutating into a cybernetic arm, as if infected by the figure of God at his fingertip—an AI with its attendant angels. It made me laugh, I kind of surprised myself looking back at it. Whether you’re religious or not, I think these symbols are the oldest and deepest common language we have to describe what it means to be human.

They are the base of our metaphysics, at least in the western world, and for better or worse have been abandoned in droves over the last century. What better imagery, then, to juxtapose against the hyper-novel onslaught of humanity-disrupting technological evolution we’re currently facing?

In this series you’re drawing inspiration from figures like the Nephilim and conspiracy theories involving animal-human hybrids. How do these themes tie into your broader exploration of mythology and history in your work?

Myth is an intuitive, non-rational way of describing and understanding our world. There’s an interesting discussion taking place currently about the difference between factual and metaphorical truth—things that may not be literally true but true enough to our experience of the world, and therefore useful in surviving it.

In our highly rational age, I think many conspiracy theories sort of play that role. Some of course are useless and ridiculous, and those myths won’t survive long. But some, even if the details are wrong, are true enough that they hold memetic value to our understanding of an increasingly complicated and confounding world. Biblical creatures like the Nephilim may not actually be hiding at the core of the earth, but we have been developing genetic chimeras, like goats bred with spider DNA. Sounds pretty mythic to me.

Looking ahead, do you see the themes you’re exploring in these series continuing to evolve? What are the next steps in your artistic journey?

I see myself working through deeper and deeper ideas relating to Neo Spirito for a while and incorporating myths and philosophy from the classical period as well as the near east. I read about a new future-shock dystopian curiosity at least every month—from artificial womb labs the size of football stadiums, to gene splicing, to the creation of artificial stars. I’ve had these concepts building up in my head since around 2018, so I’ll definitely have a lot to chew on for the foreseeable near-term. After that, I don’t know, maybe I’ll start doing watercolors of peoples’ dogs…if we still have dogs.

Saxon Brice
BINARY STAR
Charcoal and cured digital print on paper
84 x 78 in

“Myth is an intuitive, non-rational way of describing and understanding our world—true enough to our experience to be useful in surviving it.”

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

Chelsea Werner - Interview

.aesthetic talk
CHELSEA WERNER
*In The First Place

forward Hannah Rose Prendergast
interview Alban E. Smajli

Chelsea Werner has a flair for gymnastics. By that, I mean she’s known to nail her routine in front of an audience, so much so that they call her “Showtime.”

Growing up in the Bay Area as part of an athletic family, Chelsea tried a few sports, but gymnastics was the one that stuck. Progress came gradually at first, though she ultimately thrived in the competitive environment, thanks to a coach who treated her like any other gymnast.

In 2012, Chelsea won her first gold medal at the USA Special Olympics and claimed the title for four consecutive years. Naturally, it wasn’t long before the decorated athlete took a shine to modelling. With her bright blue eyes, beaming smile, and fearless attitude, it’s clear the camera loves Chelsea Werner as much as we do.

LE MILE Magazine, AGE OF CHANGE Nr. 37
Fall/Winter 2024-25

Chelsea Werner photographed by Manon Clavelier

top KENZA LATRIDES
collar AMBUSH
shorts ÖCTAGON
bag COPERNI
shoes + earrings FASHION ARCHIVE

“Every gymnastics skill I learn takes me much longer to achieve than other gymnasts. I require much more repetition to master any new skill. Some of my skills have taken five years to achieve.”

Chelsea and Lisa Werner speak with Alban E. Smajli
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

sunglasses AMBUSH
boots FASHION ARCHIVE

top ÖCTAGON
shirt AMBUSH
coat HELMUT LANG

Alban E. Smajli
Chelsea, you have broken so many barriers in gymnastics and beyond. What initially inspired you to take up gymnastics, and did you ever imagine you'd achieve such heights?

Chelsea & Lisa Werner
I started Special Olympics gymnastics when I was 8. I loved being part of a team and having teammates. I especially loved the competitions and having the crowd cheering for me. I was just having fun and had no idea I would ever become a World Champion gymnast.

Winning the World Championships in gymnastics three times is an incredible feat. Congratulations on all the success! Can you walk us through what it felt like to stand on that podium for the first time?

For most of my gymnastics career, I have competed in USA Gymnastics. I train and compete with gymnasts who have no disabilities. For many years, I always took last place. I rarely ever got an award. It was usually only once a year that I got to compete in Special Olympics.
When I won my first World Championship in London, I felt like I was in a dream. I was very emotional when they raised the United States flag and played my national anthem.

Your journey is not just about winning medals but also about challenging perceptions. What has been the most significant challenge you’ve faced as an athlete with Trisomy 21, and how did you overcome it?

Individuals born with Down Syndrome have low muscle tone. We can improve it, but it takes a lot of work. Every gymnastics skill I learn takes me much longer to achieve than other gymnasts. I require much more repetition to master any new skill. Some of my skills have taken five years to achieve.

Gymnastics demands immense physical and mental strength. Can you share a particularly tough moment in your career and how you pushed through it?

My biggest challenge happened last year. I had my first mental block. This is not uncommon in gymnastics. Many gymnasts quit gymnastics when this happens. After tumbling for over 15 years, I couldn’t tumble at all.

It took many months to get over it. I had to go back and relearn how to do even the simplest tumbling. My coach was very patient and persistent with me. I got my tumbling back just in time for my third World Championship in South Africa.

You’ve become a role model for many. Your achievements have paved the way for future generations. What advice would you give to young athletes with disabilities who are just starting out?

I would say to be proud of every little accomplishment. Don’t compare yourself to anyone else. Focus on your own goals and find a coach who believes in your goals along with you.

The upcoming theme for LE MILE is "AGE OF CHANGE." How do you see your role in advocating for more inclusivity and recognition for athletes with disabilities?

Thanks to social media, athletes with disabilities are finally getting recognized. I get recognized all over the world as a result of social media. I am one example of what an individual with a disability can achieve as an athlete. Hopefully, I am opening some doors for up-and-coming athletes with disabilities. We all need and deserve the same opportunities to reach our full potential.

Aside from gymnastics, you’ve also pursued modeling and advocacy. How do these different aspects of your career complement each other?

I have been performing in front of cameras and crowds for a long time. I am very comfortable in front of a camera. The modeling world is becoming more diverse, but models with disabilities are still underrepresented. I am trying to change this and advocating for more representation.

If you could change one thing about the gymnastics world to make it more inclusive, what would it be?

I would love to see more individuals with disabilities included in gymnastics. When I compete in USA Gymnastics, I am always the only one with a disability. I am seeing and hearing that a wave of up-and-coming gymnasts with Down Syndrome is on their way! Many of the parents say that it is a result of seeing my achievements. That makes me so happy!

Looking ahead, what are your dreams and goals for the next phase of your career, both in and out of gymnastics?

I usually don’t think too far in advance. I live more in the present. For now, I still love gymnastics and modeling. In the future, I would love to help teach young girls gymnastics!

dress KENZA LATRIDES
others FASHION ARCHIVE

all FASHION ARCHIVE

“The modeling world is becoming more diverse, but models with disabilities are still underrepresented. I am trying to change this and advocating for more representation.”

Chelsea and Lisa Werner speak with Alban E. Smajli
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

all FASHION ARCHIVE

credits

talent CHELSEA WERNER
seen MANON CLAVELIER
styled CLAUDE PAYEN DE LAPIERRE
produced MELANY COHEN
make up CHARLOTTE NGUYEN
hair MIWA MOROKI
nails MAËLWENN LOBBÉ

fashion assistant KATERYNA DUDCHENKO
light technician CAMERON KOSKAS
digital operator VASSILI BOCLÉ

fashion director GINEVRA VALENTE
artistic director ALBAN E. SMAJLI

Special thanks
Lisa Werner, Jéremy Charolais, Nathalie Dersoir, Bienvenu, and all the Stade Charléty staff

also read
.aesthetic talk LOLITA ENO *Soy un Escorpión

Lolita Eno - Interview

.aesthetic talk
LOLITA ENO
*Soy un Escorpión

written + interview Grace Powell

“Let's talk DEEP,” Natalia Guzman, AKA Lolita Eno, DMs me late Saturday evening. The multi-hyphenate artist, celebrated for blending themes like animal vs. human, nature vs. digital, and philosophy vs. biology, serves as the digital experience's Mother Nature.

Amidst a world where her personal love life shifts between infatuation and heartbreak, Lolita Eno shares her insights on navigating this post-intense situationship era and how her profound understanding of sexual power shapes her artistic expression. Her work has captivated global audiences through exhibitions in Shibuya, Tokyo, Paris, Los Angeles, and Turkey, complemented by numerous solo shows in her home-city of Madrid.

Notably attracting the attention of cultural icons like Kanye West and fashion luminary Alexander Wang, she was also recognized by the European Institute of Design as a promising innovator in 2019 and honoured as a finalist for best digital art at the BMW Spain awards. Do we get deep? You be the judge of that!

(c) Lolita Eno

Talent BENDI GONZALEZ
Stylist STEPHANIA YEPES
Production PABLO MAS
Assistant STEVEN PANE
for RUI

(c) Lolita Eno

Talent TOCCORORO
Stylist STEPHANIA YEPES
Production PABLO MAS
Assistant STEVEN PANE
for RUI

“Love compels me to delve into my deepest emotions, confronting both vulnerability and strength. It’s natural, and nature is impassable.”

Lolita Eno speaks with Grace Powell
for LE MILE Magazine / AGE OF CHANGE Issue 37

(c) Lolita Eno

Talent MURIEL SEGUIER
Stylist Stephania Yepes
Production PABLO MAS
Hair GORKA LAKAN
Assistant BORJA LLOBREGAT

(c) Lolita Eno
for Alexander Wang

Grace Powell
For this interview, we’re delving into the themes of love and intimacy. How do these personal topics influence the art you are currently creating and sharing with the world?

Lolita Eno
Love, in its profound complexity, has become a central theme in my work. It compels me to delve into my deepest emotions, confronting both vulnerability and strength. Through this process, I discover more about myself and the world around me. Love, to me, is natural and nature is impassable.

Why is it important for you to speak on this now?

Recently, I experienced a powerful connection with someone that has now ended. I don't know what will happen in the future with us, the future does not exist right now. Of course, this person has inspired me and my work. My broken heart hurts, but not everything that hurts needs to have a bad ending. Feeling this is tough, but I'm learning, and I've already noticed changes in myself, which I find exciting. This emotional journey has fueled a creative process that reflects my personal growth and introspection.

Love (and heartbreak) are in many ways then charges for you, creatively?

Anything that changes me charges what I create. Creating art is my lifeline, and I'm currently processing what I'm going through —I hope somewhere interesting — All these tears will (re)shape me…I'm losing too much water.

…and vice versa, art too fuels these powerful feelings?

Without art I would slowly die of a sad heart. The love for creating keeps me alive. During a difficult time when I was on a path of self-destruction, creating and falling in love saved me. With whom I stayed for six years. If you are reading this, thank you.

What is the craziest thing you ever did for love?

Is there something crazier than love itself? “Non Voglio Mai Vedere II Sole Tramontare” by Oliver Leith, 12 Ensemble, Eloisa-Fleur Thom and Max Ruisi is how I felt when I was with him, when I was last in love.

Within love is intimacy and sex, how do these play a role within your artistry? 


Intimacy, in all its forms, continues to inspire my work, leaving behind a regenerated spirit that shapes my artistic expression.

Described as both “sexual” and "trippy”, you once said, “I love my vagina and my sexual energy. I believe in it”. What makes the vagina so powerful?


In this quote, I'm talking about the reproductive organ as a metaphor for creation ( and sometimes, this is not a metaphor at all!) For a long time I used to hate my vagina for the collateral implications it has. I discovered my vagina at a really young age, I think I was like 8 or so when I started realising that I had a power between my legs, a power that could be taken out of me.

(c) Lolita Eno
Talent TOCCORORO
Bag EVADE HOUSE

(c) Lolita Eno

Talent EVANGELINA JULIA
Production PABLO MAS
Hair GORKA LAKAN
Assistant BORJA LLOBREGAT

“I love my vagina and my sexual energy. It’s a metaphor for creation—and sometimes, not a metaphor at all.”

Lolita Eno speaks with Grace Powell
for LE MILE Magazine / AGE OF CHANGE Issue 37

How has your relationship to the vagina developed? It is not an area you shy away from in your art. 


Ever since I became aware of my vagina, it has been a constant mindfuck. At times, I have felt imprisoned by my own body, and have associated ‘freedom’ and ‘power’ with cocks. Even though I've always seen myself as a beautiful woman, and understood the power that holds, I have also felt weak and easy to take advantage of. In some ways I purposely refused to be protected, connecting masculine desire with the vulnerability of my body, putting myself in a position to be taken advantage of instead of staying in my own power mode. I have an intense sexual energy despite not being overtly sexual. I don't dress in a 'sexy' manner, haven't had many sexual partners, and rarely date—I'm not easily intrigued. I use this sexual energy in my photos, sometimes explicitly and sometimes not that explicitly …but it's always there, I just can't be any other way. Soy un escorpión.

The theme of the magazine is AGE OF CHANGE, which feels super relevant right now for you and your work! Do you enjoy change? 


Change brings forth a mix of emotions—fear, excitement, danger, and new horizons. It's unstable and lacks security, yet it's fun and appealing. I don't live a traditional life. All can be summed up in : ?????? ! !! ?.

I'm completely changing my life right now, moving to another continent and constantly bouncing between New York, Paris, and LA. It's addictive once you start; having family in these cities makes me feel incredibly lucky. I still have good friends in Madrid, but this lifestyle can be lonely. You have to be selective about who you spend time with, and sadly, you sometimes lose people you care about. Despite the drawbacks, I'd still choose this life.

Do you believe in destiny?


Yes, but not in a mystical sense. I believe our past experiences and qualities shape who we are today. It's like a series of events that fit together when you reflect on them. Surrendering control and allowing destiny to lead can make you feel like a philosopher, contemplating deeply on everything.

“Change is unstable and lacks security, but it’s fun, dangerous, and addictive. Once you start, you can’t stop.”

Lolita Eno speaks with Grace Powell
for LE MILE Magazine / AGE OF CHANGE Issue 37

credit for header image
(c) Lolita Eno

Talents MURIEL SEQUIER, EVANGELINA JULIA, MARTA OCHOA, NINA WASINSKI, CARMEN CANDELA, OTA ANDUIZA, NINA WADANAX, EMME MADDI, and MARINA JONE PODEROSO / Stylist STEPHANIA YEPES / Production PABLO MAS / Hair GORKA LAKAN / Assistant BORJA LLOBREGAT

Carlo Lucidi - Interview

.aesthetic talk
Carlo Lucidi
*Artistic Narratives

written + interview Amanda Mortenson

Carlo Lucidi, renowned curator and artist, continues to bridge contemporary creativity with timeless narratives.

His latest project, Dipingo fiori per non farli morire (I paint flowers so they will not die), celebrates the 70th anniversary of Frida Kahlo’s passing through an extraordinary exhibition of contemporary jewelry.

Opened on November 30, 2024, at Sala Santa Rita in Rome, the showcase features over 300 pieces by 80 international artists. These works, crafted from diverse materials such as gold, ceramics, and recycled metals, reflect themes of resilience, identity, and feminine creativity—key elements of Kahlo’s enduring legacy.

crown
Hanna Katarina Alexandra

necklace
Mercedes Castro Corbat

Amanda Mortenson
Carlo, with “I Paint Flowers So They Will Not Die,” you've curated an all-female lineup of artists in tribute to Frida Kahlo. What drew you to explore femininity and resilience through the medium of contemporary jewelry?

Carlo Lucidi
That's an important question, and I like starting to talk about my project from this perspective. First, a premise about contemporary jewelry: it’s a highly current form of communication and expression, with dynamics all its own, both connected to and distinct from fashion and art. The fact that it’s such a unique phenomenon makes it less subject to market forces and trends, granting it an inherent freedom and openness to engage with the challenges present in both the art world and the world at large.

That said, my desire to promote it and convey its artistic and poetic essence has often come up against the difficulty of making it accessible, of sparking curiosity in potential collectors, art lovers, and the simply intrigued.

Frida Kahlo is an iconic artist, and this year, with the seventy-year anniversary of her passing, I felt a strong urge to delve into the process of narrating her story. Her reflections on impermanence, suffering, and community have always struck and fascinated me deeply. Given her inspirational role in today’s world, it felt necessary to honor her legacy by dedicating this exhibition to female voices. That’s why the open call was exclusively for women and non-binary artists. Of course, this was not without controversy, but life is made of difficult choices. In being misunderstood for these decisions, I felt, in some way, once again in tune with Frida Kahlo.

The pieces on display feel like vessels for stories beyond adornment—a raw, intimate language of survival and beauty. How do you think jewelry can capture these layers in ways traditional art forms might not?

The lack of a strong and structured market behind it is the real struggle of contemporary jewelry. It’s often seen by the visual arts world as a simple, inadequate attempt, by the fine jewelry market as a 'crude' use of rough techniques, and by the fashion world as a curious but ultimately minor accessory, something small and difficult to define commercially, and impossible to brand for the big names. Yet, this inadequacy is precisely contemporary jewelry’s greatest strength: a field where exploration happens without rules, free from trends, and as the result of genuine, personal research that doesn’t only exist on an expressive level. That’s true of all art forms. In contemporary jewelry, though, the research also considers wearability—whether it’s possible, practical, or even comfortable for everyday use. The act of creating a piece while imagining it as an artwork frames not just the object itself, but also the act of wearing it as part of the design. It invites the audience not just as observers, but as wearers, or at least as people who wonder what wearing it would feel like. Is it possible? Adequate? Comfortable? This specificity, when applied to themes as powerful as survival and beauty, draws the audience into the same questions raised during creation, placing them in a much more active role compared to most other art forms.

“Frida Kahlo is an iconic artist, and this year, with the seventy-year anniversary of her passing, I felt a strong urge to delve into the process of narrating her story.”

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

Carlo Lucidi
wearing brooch Anu Kirkinen

brooch
Anu Kirkinen

necklace
Slawa Tchorzewska

Frida Kahlo’s presence looms large in this exhibit. If she could walk through your gallery today, what do you hope she’d feel or recognize in these works?

Frida would see so many women asserting themselves in the art world, building communities, and facing the same questions she grappled with in her own work. She would see her face, her themes, her flowers, the monkeys, the birds, but most importantly, she would recognize through the eyes (or perhaps the hands) of the artists present what she achieved in her life: transforming her suffering into true wonder. I’d hope she would recognize herself in the interpretations these artists have made of her, but even if she didn’t, I would love to hear her dialogue with them. The exchange of human experience would be priceless.

The exhibition touches on the transformative power of art. In a world constantly changing, how do you see the role of contemporary jewelry evolving as a medium for cultural and personal expression?

I believe that personal and cultural expression is crucial, ethically and politically, especially when the world around us seems driven by forces of homogenization, simplifying rather than enriching. Contemporary jewelry, because of its heterogeneity, its transformative nature, and its ability to embody the artist’s expression on the wearer’s body, is a powerful way to resist without weapons. To show one’s individuality is always to enrich the other with questions and the possibility of exchange. In a world as fast-paced as ours, where first impressions seem to matter more than ever, the ability to make a statement through something worn on the body is simply brilliant.

“The act of creating a piece while imagining it as an artwork frames not just the object itself, but also the act of wearing it as part of the design.”

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

"I Paint Flowers So They Will Not Die"
Location: Sala Santa Rita, Rome
Dates: November 30 – December 4, 2024
More info: culture.roma.it

Over 80 women and non-binary artists from around the world present more than 300 pieces of contemporary jewelry in homage to Frida Kahlo. Organized by the Associazione Metamorfosi and curated by Carlo Lucidi, the exhibition delves into themes of strength, resilience, and feminine identity. Each piece weaves personal expression with Kahlo's reflections on impermanence and renewal. Free admission.