Lester Kamen - Perspective

.aesthetic talk
The Rebirth of Lester Kamen
Finding Harmony in Chaos

written + interview Chidozie Obasi

Recent years found many artists rejecting “coolness” (a buzzword of the early noughties) for a more introspective approach.

Oxford-based Lester Kamen’s journey of early music pursuits could partially relate to such an example, which has seen him swapping pitches—from the court to the piano—with a somewhat freewheeling vein that’s currently searching its edge.

coat + jacket THE FRANKIE SHOP
shirt QL2
pants CHRISTIAN BOARO
loafers SANTONI

“I'm continuously exploring myself because I have feelings of being tangled, and maybe I don't express them well in words as I do with music, which is my comfort zone where I feel like I can thrive.”

Lester Kamen speaks with Chidozie Obasi

coat TOM FORD
jacket DIOR HOMME
shirt MEIMEIJ
short skirt QL2
long skirt MEIMEIJ
loafers SANTONI

jacket FERRAGAMO
shirt PAUL SMITH
pants + loafers ZEGNA

“I'm continuously exploring myself because I have feelings of being tangled, and maybe I don't express them well in words as I do with music, which is my comfort zone where I feel like I can thrive,” opines Kamen. “My mum's been a piano teacher since I was born, so for the whole time I've had a really deep music knowledge in my house. I've also had guitars, but one thing that my mum never did is force me into learning, or taking grades and all that.”

With early stints as a footballer, Kamen later withdrew from this practice as he was diagnosed with blood clots in his leg, meaning he has to take a particular drug that wouldn’t let him play football full time. “I can have a kick about with my friends, however I can't play fully, and when I was younger my whole life was about pursuing this sport—but I used to sing in my own time while playing guitar and piano just as a thing on the side; and after the doctor told me I couldn't play again, such a decision took a toll to me and I needed something where I can pour my heart into. It eventually happened step by step, and I felt like I started to lean on to music as a way of expressing myself because football was my outlet back in the day.”

Weirdly, it’s interesting how newcomers build up their own obstacles to pleasure. It’s exactly the reason why the scale and complexity of the music industry imply that those with the means to deeply understand and acknowledge the meaning of their artistic practice could lead the way on the long haul. Not only by expressing mere passion. Which pretty much epitomises the discernment between an artist and a singer.

“I feel that it's very important to have a body of work before you jump into things too much,” Kamen offers, who’s currently working on his first compendium of songs to present by the start of next year. “Because if one song does extremely well, and people are expecting a lot more but you don't have a body of work, you will find yourself having to press the breaks on everything whilst you have the pressure of writing something.”

Another reason why he’s taking it slowly, working to ensure he gets it right before pouring his songs out and into the wide world. “Well, I gave myself this period of time to create this body of work that once it's out, there'll be enough songs that are not just a few, but that feel like a whole body of work. And I did have to spend some time just not releasing anything and being quiet so that, again, the bigger the body of work, the more it feels like I'm prepared for what this music industry has in store.”

pants PAUL SMITH

Will his music be ready for his next act? “As I write more songs, I would like my words to be simpler and simpler in a way that I can say a lot with a little,” he offers. “Maybe I haven't said that, but again, when you're left to your own devices, you can write a song that can convey something in as little words as you want.”

All in all, his songs do not have a theme per se, and upon questioning, Kamen was reluctant to “philosophise” over his music practice, which I thought was a shame. In other words, let the lyricism speak for itself, which these could do plenty if honed rather rigorously.

total look MCQUEEN

total look LORO PIANA

“As I write more songs, I would like my words to be simpler and simpler in a way that I can say a lot with a little.”

Lester Kamen speaks with Chidozie Obasi

also read
.aesthetic talk CAELIAN DEL’MARE *On Identity, Rebellion, & Finding Home

jacket THE FRANKIE SHOP
sweater CANAKU
shirt GRIFONI
t-shirt DIOR HOMME
skirt THE FRANKIE SHOP
pants ZEGNA

TEAM CREDITS
seen COSIMO BUCCOLIERI via Studio Repossi
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
make up KIM GUTIERREZ via Studio Repossi
hair GAETANO PANE via Julian Watson Agency
talent LESTER KAMEN

photography assistant ANTONIO CROTTI
production assistant ANJA MENEGON
fashion assistants GINEVRA ELISA VITALI + GLORIA MOLTRASIO + VERONICA VAGHI



(c) LE MILE Magazine, Cosimo Buccolieri

MOEBE - Interview

.aesthetic talk
MOEBE
Rewriting the Rules of Design

written + interview Monica de Luna

MOEBE is rewriting the language of design. With Martin de Neergard Christensen, Nicholas Oldroyd, and Anders Thams leading the charge, this Copenhagen studio is all about pushing boundaries.

Their latest project, the Modular Sofa, premiered at 3daysofdesign 2024, embodies a new era of design thinking— modular, sustainable, and unapologetically forward-looking.
MOEBE’s design philosophy challenges conventions, blending modular innovation with an uncompromising focus on sustainability. Each piece is carefully thought out, designed for flexibility, and built to endure, reflecting a future where furniture adapts to life’s changes.

In the AGE OF CHANGE, Fall/Winter 2024 edition, we sit down with the visionaries behind MOEBE to explore the ideas and processes driving their work. This is design that moves with you, built for the ever-shifting rhythms of modern living.

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams

“Versatility and sustainability are a compound subject at MOEBE, and all of our designs adhere to these principles in one way or another, whether it’s through their construction or their adaptability.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Monica de Luna
The Modular Sofa made its debut at 3daysofdesign 2024. What was the core inspiration behind creating such a versatile and eco-friendly piece?

MOEBE
Versatility and sustainability are a compound subject at MOEBE, and all of our designs adhere to these principles in one way or another, whether it’s through their construction or their adaptability. Our commitment to designing in this way has only strengthened over the years as our collection grows, and the Modular Sofa is really a natural extension of this design philosophy.

MOEBE is renowned for its modular design approach. How does the Modular Sofa elevate this concept in the world of adaptable furniture?

The Modular Sofa is a continuation of that modular, component-based thinking, perhaps even taking it a step further. Of course we are not the first to have the idea of a sofa split into sections, but we have tried to push the boundaries of what modular design can do and what a modular sofa can be.
For example, not only is the sofa constructed from individual modules, but the modules themselves can be separated even further to their constituent parts. Modules can be easily reconfigured, the cushions can be changed out without affecting the rest of the sofa, and everything is designed to arrive flat-packed. You have more choice when it comes to colour and form, and you are not tied to one specific configuration. When most people think of modular design they tend to think of flexibility, but we are just as interested in its other benefits, such as how easy it is to assemble, and how parts can be repaired without needing to be replaced. All of this can be found in the Modular Sofa.

Sustainability seems to be a cornerstone for the Modular Sofa, with certified oak and EU Ecolabel- compliant foam. How crucial is sustainability in MOEBE’s overall design philosophy?

Sustainability is really important to us, and something we consider through every step of the design process. That said, it’s also an incredibly broad area, and sustainability means different things to different people. So we decided to build our own framework to operate in, and we came up with six guiding design principles that feed in to everything we do, and help keep us in the right direction.

For example, we also have a commitment to producing spare parts for all of our designs. We believe that it should always be easier to repair than to replace, so this commitment is our way of helping people keep their furniture for longer, instead of always having to buy something new. It sounds simple enough, but it actually takes a lot of work to make sure that our designs are made in such a way that they can be repaired. Looking again at Modular Sofa, the way it is constructed and put together means that it can be shipped flat- packed, which has the environmental advantage of reducing the carbon footprint of shipping, and the component-based design lets us focus on producing a set number of parts, which helps avoid overproduction.

Flat-packed and easy to assemble – what were the biggest challenges in designing a piece that balances simplicity, durability, and style?

Aside from the technical challenges that come with designing any piece of furniture, we really wanted to create something that could stand by itself, without needing to rely on its label as ‘flat-packed’, or ‘easy to assemble’ to be attractive. In short, we wanted to create a sofa that people fall in love with because of how it looks, as well as how it is built.
When you design a sofa to be as modular as possible, with modules that work in any angle and configuration, you are really challenging yourself. You have to put that extra bit of effort in to make it look just as sharp. To make sure that the corner module works just as well on the left or the right side, and so that the middle section can turn both ways. It needs to look good as a pouf, or as a two-seater sofa, or as a much larger configuration that can turn corners and even accommodate people sitting at opposing angles. It’s a challenge for us as designers, but it’s also an opportunity to show what modular design could do. All of this flexibility from four basic modules, without compromising visual appeal. Now that’s a challenge!

Your Modular Sofa is the first large-scale seating option. What does this launch signify for MOEBE's growth and future direction?

It underlines our commitment to our design principles, as we continue to grow into a full-scale design studio. MOEBE started over ten years ago, and in that time we have gone from making small accessories and design items through to bigger interior and furniture pieces. We design everything in-house, and we only add products to our permanent collection that we fully believe in.

Everything needs to be born of the MOEBE design philosophy, whether it’s a small Key Ring or a Shelving System that spans a whole room. The Modular Sofa will definitely not be the last big piece, but rather the start of the next phase of MOEBE. Perhaps we’ll push even further into architecture and finally build that little shed in the woods we always dreamt about?

“We really wanted to create something that could stand by itself, without needing to rely on its label as ‘flat-packed’, or ‘easy to assemble’ to be attractive.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams

From single pouffes to multi-angled sofas with integrated tables, the Modular Sofa’s flexibility is impressive. How do you see this versatility fitting into modern living spaces?

We designed the Modular Sofa to work in many different situations, and we thought a lot about how it could help facilitate a more modern, dynamic lifestyle. We see two main scenarios where the flexibility can help achieve this. To start with, the modules can be added and changed over time, meaning that you can start with a single chair or pouf and add it to at a later time. You don’t need to start with a four-seater sofa from the beginning, but instead you can slowly work up to it as your living situation changes and evolves. Secondly, we wanted the modules to be adaptable in real-time, meaning that you can re-arrange and re- configure when the need arises.

We think the sofa looks beautiful in a big empty space, but we know that most of us live in smaller spaces or apartments where there is always the challenge of shared spaces. You want a comfortable sofa to watch TV, but perhaps you also want a more spread-out seating arrangement for when guests come over for coffee. With the Modular Sofa, you can simply break up the modules and move them around, easily adapting it to different needs at different times. It can do all of these things, and we think that’s super nice, especially over a long period of time. It’s a system you can build on, but you can also use its flexibility on a daily basis.

The smart construction of the Modular Sofa becomes evident in the details. What were the key considerations in ensuring the piece remains both easy to assemble and durable?

We think a lot about construction and how we put things together, so we love that you can see it. As designers, of course we are interested in forms, shapes, and colours, but it’s also incredibly important to remember that a sofa needs to be durable, hard-wearing, and suitable for years of everyday use. The requirement we set ourselves to make it both robust and easy to assemble was perhaps the real challenge of designing the Modular Sofa. Without getting into too much technical detail, we tested out hundreds of different construction methods in the design stage, and ended up finding elegant solutions that facilitated both of these demands.

Even if some of the details are hidden from view, you can see the constructional simplicity of the modules when you turn them upside down. The construction is easy to understand and never gets in the way, which is what we’re always aiming for.

How do you see the Modular Sofa challenging traditional furniture design and impacting future innovations?

Danish design has a unique heritage, and when we started MOEBE ten years ago we wanted to build on that, demonstrating that it can be done differently, with more focus given to making things that are easy to repair, and can adapt to changes in how we live. And this of course has an impact on future innovations too. We are part of a movement showing how sustainable thinking can be designed in from the start, and the Modular Sofa is our biggest statement yet of that way of thinking. It’s proof that you can make a sofa that follows these design principles, that is flat- packed and component-based, but is also beautiful, functional, and comfortable. We are always seeking out better materials or design solutions, and we know that our customers are too. The more designers that are active in pushing for these things, the more chance there is that the rest of the industry will move in the same direction. That’s our hope for the future.

“We are part of a movement showing how sustainable thinking can be designed in from the start, and the Modular Sofa is our biggest statement yet of that way of thinking.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Caelian del’Mare - Interview

.aesthetic talk
CAELIAN DEL’MARE
*On Identity, Rebellion, & Finding Home

written + interview Alban E. Smajli

Caelian del’Mare is a force shaped by the vibrant chaos of Kreuzberg, the vivid energy of Istanbul, and the cinematic pull of Los Angeles.

Rooted in his Berlin upbringing, the actor moves through life with an authenticity that feels as raw as the streets he calls home. His work is an exploration of identity, movement, and resilience—layers formed through early experiences that continue to fuel his creativity.
In this exclusive conversation with LE MILE Digital, del’Mare shares how Kreuzberg’s diversity shaped his worldview, how Istanbul’s markets ignited his determination, and how the rhythm of dance connects to the emotional depths of his roles. Whether reflecting on the transformative power of a name or imagining a character yet to be played, del’Mare embodies the energy of someone constantly in motion, constantly evolving.

jersey CAYEMO

“Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

pants HOLZWEILER
jacket + bag FASHION ARCHIVE
shoes CAMPER

Alban E. Smajli
Berlin, Istanbul, Los Angeles—where does Caelian del’Mare feel most at home, or are you constantly searching for something beyond places?

Caelian del’Mare
Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me. So much love, but also so many contradictions—it’s rough around the edges. Many say that if you’re born here, you never truly leave, no matter where you go, and that’s true. I could move elsewhere, but I want my big breakthrough to come without even realizing it’s happening. I want to show my people that I have what it takes to be the next movie star.

When you step into the skin of a character, how much of Caelian stays outside?

There’s always something of me in every role, maybe just a nuance. My early, often tough experiences sparked my creativity and gave me a unique perspective on characters. As an actor, I am confident and serious but also relaxed enough to approach any role flexibly. My expressions give my performances a certain intensity that often resonates well with people. It feels like I bring parts of myself into every role while transforming into the character.

From short film to feature film—is it just a change in runtime, or does each format demand something entirely different from you as an actor?

Each format has its own rhythm. In a short film, you have to portray the character quickly and precisely, almost like a poem that touches directly. A feature film, on the other hand, gives you more time to unfold the character step by step and take the audience on a deeper journey. For me, that means each format requires a different approach.

You’ve trained in street and urban dance—do you find that rhythm and movement unexpectedly guide you in intense scenes?

Absolutely. Dance gave me a kind of language for rhythm and body movement that goes beyond words. Sometimes, it’s not the dialogue but the movements that bring the moment to life. The rhythm of the body can build tension. This connection to movement often gives me access to the emotions of the character.

Your name, Caelian del’Mare, has an almost mythical quality. Does it influence how people in the industry perceive you or the roles you’re drawn to?

I’m completely at peace with my identity and real name, and I don’t deny it in any way. But my stage name, Caelian del’Mare, represents a creative extension of myself. It allows me to show a different side of me and create something that stands apart from my everyday life. The name was born from my desire for change and hope for something new – it symbolizes a fresh start. It’s entirely possible that I’m perceived differently because of the stage name, as it establishes a distinct creative identity. Still, it remains a part of me, and it’s not about hiding or completely changing who I am but about presenting my art from a new perspective.

What is your creative rebellion? Is there a rule in filmmaking you’d like to break but haven’t had the chance to yet?

There are no rules. I’ve seen a lot in life, more than one might guess from the outside. There were times when I felt lost, unsure of who I truly was or where I belonged. Acting gives me the chance to step into roles that are far removed from the life I was born into. It’s as if I’m living out all the dreams I could never fulfill. I’m not just playing a character – I’m living everything I might never have experienced. Every role I play is a piece of me that I find and lose. It’s a journey that changes me more than I ever thought it would.

total look GCDS

“There’s always something of me in every role, maybe just a nuance. It feels like I bring parts of myself into every role while transforming into the character.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Was there ever a costume or look for a character on set that felt so close to your personal style you wanted to take it home?

Yes, absolutely! Once, I played a character who wore a worn leather jacket and black boots—it reminded me of Marlon Brando, a simple yet authentic look. The jacket felt like it had a story, and it just clicked with me. At the end of the shoot, the costume designer practically had to wrestle it out of my hands.

When you play someone complex, like Umut in Tek Yol, do you lose parts of yourself in the process?

With Umut, I played a very complex character, defined by intense emotions and contradictions. He is aggressive, doesn’t take anything lying down, and is full of energy, but at the same time, he is also emotional and a true charmer – the 36 Boys were my inspiration. From the very first moment, I had a vivid mental picture and genuine thoughts about him.

These thoughts allowed me to experience the character with all his depth and pain. My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.

Is there a story or character the world hasn’t seen yet that you’re eager to bring to life?

I’d love to play a character struggling with their inner self, someone who sees the world differently and is often misunderstood. Someone who lives for themselves despite all the obstacles in their way. I’m fascinated by how such people think and feel, and I’d love to portray that role as vividly as possible.

What’s next—are there any projects, collaborations, or creative directions you’re looking to explore?

There’s no official new film project at the moment, but plenty of exciting opportunities are on the horizon. A few open castings and collaborations are being discussed, and I’m excited to see where it all leads.

jersey CAYEMO

shirt ASKET

production credits

talent CAELIAN DEL´MARE
seen JULIAN MELZER
styled KLAAS HAMMER
photo assistant IMKE HOYNDORF
production LIAM MONOT
post production lemilestudios

“My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Jorge López - Interview

.aesthetic talk
JÓRGE LÓPEZ
Hot Pursuit

interview Juan Marti

Madrid’s heat blazes like an open flame, pushing the city to its edge, and in the midst of it, Jórge López appears like a shot of cool relief. Known worldwide as one of Chile’s most electric talents, he’s captivated screens with an intensity that refuses to fade.

Jórge López defies the usual trajectory, choosing a path of substance over spectacle. In an exclusive interview and photoshoot with LE MILE Magazine, he reveals a moment of genuine connection—focused on new roles, personal pursuits, and a vision that’s both dynamic and unapologetically his own.

total look Dsquared2

total look LOEWE

“I know it's going to surprise you, now it's my turn to play the villain, an ambiguous man, with intentions that are difficult to understand.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen ANDREW JIM
styled SERGI PADIAL
producer JUAN MARTÍ
grooming SERGIO ÁLVAREZ
retoucher ISMAEL VILLAR
talent JORGE LOPEZ
production assistant VINI DORE
fashion assistant ANDREA ESTIRADO
artist (painted backdrops) LUCHO CAMPOS

total look DSQUARED2

total look DOLCE & GABANNA

Juan Marti
What have you been up to these days?

Jórge López
I confess that I don't stop; I haven’t had time to be still since the summer started. I just got back from Mexico a few days ago after finishing a project. Now I’m in Madrid, dying from the heat.

Speaking of the film and your roles, which character have you been focusing on?

I know it’s going to surprise you—it’s my turn to play the villain, an ambiguous man with intentions that are difficult to understand. But it’s been a real gift because I returned to Disney with Tini, the Argentine star. We both return to that place that saw us grow, which has now become a platform for all kinds of audiences and produces a wide range of content. Our project is a real thriller that explores identity and how our environment influences us as we develop as people and individuals, as well as the situations we can get caught up in when we’re unclear about who we are or when we become someone we don’t want to be.

Where do you want to focus right now?

I’m giving myself a period of self-care. I’m trying to break away from the conventional idea of success and the endless work spiral. I love working, and I want to keep working, but I also want to live. I want my life project to be my main focus. In Chile, I’m remodeling my house, and here I just finished renovating my apartment. I want to accomplish personal goals, even jotting down ideas as they come to me. I’m also considering a trip to Angola.

What do you have coming up?

An adventure that, for now, has no end and that I plan to enjoy. I really want to explore that part of Africa and learn its dances, to connect with my body and my side as a dancer. I want to nurture myself, to travel alone. I love traveling solo; it’s an experience that forces you to be self-sufficient and resilient.

total look LOEWE

total look DIOR MEN

“I'm trying to get away from the conventional concept of success that surrounds us and the endless spiral of work.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Omar Rudberg - Interview

.aesthetic talk
OMAR RUDBERG
Northern Star

written + interview Juan Marti

Passion can be a dangerous feeling in the heart of the wrong person. Such an emotion makes us do crazy things but also great deeds.

That has been the case with young singer and actor Omar Rudberg: The Swedish-Venezuelan singer and actor was born with the most radiant passion running through his veins and from minute one it was clear to him.

His desire to express himself through music dominated his world and in early childhood he started working hard on his musical technique. Making the audience dance, feel and enjoy with his voice was his light bulb in an adolescence where we all wondered who we wanted to be and where we wanted to go. Omar's talent eliminated any kind of doubt and from the beginning of his solo career, through the years as a member of the boy band FO&O, Omar has shined with his own light. Becoming one of the most recognized voices and faces in Sweden thanks to starring in the Netflix hit show Young Royals, Omar lives an artistic moment of maturity and reinvention, where he feels free and powerful to unleash his most honest passions. A well-deserved feat, then, for a promising star.

total look VERSACE
necklace SWAROVSKI

“You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen NICOLA PAGANO
creative fashion director CHIDOZIE OBASI
fashion editor DENNIS CAPPABIANCA
head of production JESSICA LOVATO
contributing editor LEONARDO MARTINO
talent OMAR RUDBERG via NEXT MANAGEMENT

make up MATTIA ANDREOLI
hair DOMENICO PAPA
video editor ALEXANDRE JOUX
set designer ALESSIA SORESSI

fashion coordinator LEONARDO VANTAGGI
fashion assistants LAURA GIROLAMI, JULIA ANTONIN, NICOLÒ PIOMBINO, IRENE MOTTO-ROS
production assistant ANJA MENEGON

LE MILE Magazine’s 37th issue, AGE OF CHANGE, is sold out in print but still available as a Digital Download.

total look DSQUARED2

cardigan ALEXANDER MCQUEEN
trousers LEONARDO VALENTINI
boots DSQUARED2

Juan Marti
Omar, it is a pleasure to talk to you. I would like to start talking about changes. This year has been very important for you and I would like to know how you face the new chapters in your life. What feelings do moments of change awaken in you?

Omar Rudberg
This year is one of the most exciting and important years of my career. I really get to release my new music for the international market and it’s very exciting. I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.

Do you consider yourself someone who is not afraid of risks or are you a more cautious person who prefers to think twice?

That really depends on my mood. Sometimes I wake up and I’ll think multiple times to do things right, and sometimes I don’t. I’ve learned from taking risks and I’ve gained from them. I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.

When it comes to making an important decision, do you prefer to go it alone or do you like to seek advice from someone you trust?

I definitely seek advice from my real ones. I trust the ones that are close to me, and I know they’ll always tell me their honest opinions. Seeking advice is never a bad thing. And sometimes it can even change the way you see things and suddenly, everything is so much more clear.

Musically, 2024 has meant your expansion as a singer to a much wider audience. Have you felt pressure or nerves when facing this new challenge?

I think that I’m my worst enemy when it comes to pressure. I put a lot of pressure on myself sometimes and that has been something that I’ve had to work on.

I like that one of the first singles of this new stage is Bye Bye. It is clear that you are saying goodbye to a stage, but beyond that, what other things are you saying goodbye to with that song?

Actually, the first single of this new era was Red Light. But yeah, I’m basically saying Bye Bye to bad habits, bad relations and bad energy. I feel free and I’m doing what I love and what I want to do and nothing or no one will stop me!

coat JIL SANDER by Lucie and Luke Meier
trousers THE FRANKIE SHOP

watch making of film

“I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

total look DIESEL

shirt THE FRANKIE SHOP
skirts MOSCHINO
earrings LAG WORLD
necklace SWAROVSKI

also read
.aesthetic talk Nemo *Fame, Freedom, and the Art of Doing Nothing

Last February was your first solo concert. You did it in Stockholm in front of thousands and thousands of people. How did you experience that concert? Do you have any special memories?

That day was one of the most amazing days of my life. I felt so much joy, love and energy. I still can’t believe to this day that it all happened. I’m so thankful for every single human being that came to the show. It was an honor to be able to give them a bomb ass show!

Sweden is the country where you grew up but you were born in Venezuela, how do you keep your roots alive with this beautiful country?

My roots are just in me. I’ve always seen myself as a Venezolano. My mom and my family are number one to me. I eat Venezuelan/Latin American food everyday, listen to the music everyday, and I speak my Venezuelan Spanish everyday. I can’t wait to go back and visit my home country. Venezuela Libre. ¡Hasta el final!

As a big fan of crime novels that I am and you being from Stockholm I would like to ask you if you are also a fan of that genre that is so acclaimed in Sweden, any recommendations?

If you like crime tv shows, then I’d see Snabba Cash on Netflix. It’s not a novel but it’s a really good Swedish show.

I have to congratulate you because I really liked your debut in Karusell, I'm a big slasher fan. How did you prepare for the role, are you a fan of horror movies?

Thank you! I do like horror movies. For me it’s a fun experience watching a horror movie with friends or family. Since Karusell only was my second project to film, it was important for me to feel like I was playing a new character far from Simon in Young Royals. Dante is pretty much the opposite of what Simon was so it was kind of easy for me to find who Dante was.

Karusell confronts its protagonists with the pending accounts of what happened in their adolescence, what were you like when you were in high school?

I never went to high school. I was busy touring Scandinavia and the US with my band at the time. In school I was a loud and crazy kid with my friends. But I was also very shy and insecure at times.

This year the Netflix series you starred in, Young Royals, one of their biggest hits came to an end. What lessons have you been able to learn from that incredible experience?

You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did. I’m glad I did—even if it meant skipping mathematics in high school.

I'm sure the years you spent filming Young Royals were incredible, can you tell me about any moments you hold dear to your heart?

The whole casting process to me is something I’ll always remember. It was a very weird and special time in my life before the casting started. But when Young Royals came into my life it changed me.

I would like to end the interview talking about new beginnings, what can we expect from the new…

You can expect a lot of great new music and live shows!! Because I’m releasing new music very soon and I’m going on tour! Also, 2025 is going to be NEXT level.

“I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

NEMO - Interview

.aesthetic talk
Nemo
Fame, Freedom, and the Art of Doing Nothing

written + interview Alban E. Smajli

Nemo’s world is a delicate line—fame on one side, fierce privacy on the other. Talking with LE MILE, Nemo is clear: silence is as essential as sound.

Fresh off the Eurovision win, Nemo is headed somewhere quieter, carving space for nothingness in Aix-en-Provence, where everything else can fall away. Nemo creates music as a universe—crafting worlds, experimenting with genre, and aligning their art with their wardrobe, where every stitch resonates with sound. Privacy, once blurred in the rush of recognition, is now an obsession.
In the spaces between spotlight and solitude, Nemo finds the balance—where the loud meets the quiet, where raw edges mix with crafted lines. Their art? Pure and boundless, spilling over into fashion, music, and a life that answers only to their own rhythm.

shirt MCM
pants NAMILIA
jewelry PANDORA

“I think I'm learning to do nothing in my downtime. I’m going to Aix-en-Provence in France, and my plan is to do absolutely nothing. If this works out, then I would say that what gets stripped away when the lights fade is, ideally, everything.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

dress  RITUAL UNIONS

total look TOEBROCK
sunglasses MCM

Alban E. Smajli
How do you balance the rawness of your personal life with the glossy, sometimes artificial world of fame? What gets stripped away when the lights fade?

Nemo
I think I'm learning to do nothing in my downtime. I worked through my first vacation after, like, five months of working full-time every day. I’m going to Aix-en-Provence in France, and my plan is to do absolutely nothing. If this works out, then I would say that what gets stripped away when the lights fade is, ideally, everything. I work in cycles of full awareness, being fully present when working and giving it my all, then having days where I do nothing at all. I think that's a balance. I mean, I crave to create.

Your style is a statement on its own. How do fashion and your art collide? Is your wardrobe a mirror or a mask for the world to interpret?

I think my wardrobe aims to reflect my music in the best possible way. So, in that sense, it’s a mirror of my music, my art. It’s either a mirror or an extension of it, sometimes both. That’s what I strive for, from stage to street.

Where does your artistic identity end and your private self begin? Or is the concept of privacy already extinct in your universe?

No, privacy is really important to me. I’m realizing this as I become more exposed, both as a person and as a public figure. Through this, I’ve come to see how essential privacy is. I didn’t understand this at the start, as my public and private lives were intertwined—everyone in my public life was also part of my private life. But as I became more recognized, especially to the degree that happened this year, I began craving privacy, moments for myself and with friends, away from the public eye. I value being with people who don’t overanalyze or categorize everything I do. So yes, privacy has become very important to me.

Does the music industry’s obsession with genre labels suffocate creativity? How do you intend to break those constraints with your next moves?

I always aim to create something fresh, something that opens a door not many have stepped through—or maybe even one no one has. In a world where almost every sound has been explored, new genres rarely arise, so mixing elements—genres, moods, contrasts—is how something entirely new can emerge. The more daring you are with mixing, the more likely you are to hit those moments. That’s my goal in music, and I think it's there in many of the new songs I’m working on. This explosion of constraints. I might put that in my bio: 'I’m an exploder of constraints.'

team credits

talent NEMO
seen JULIAN MELZER
styled KLAAS HAMMER
hair + make up LEO STERN
photo assistant YEONGHYEON KANG
fashion assistant KATHARINA PITTACK
production LIAM MONOT

post production lemilestudios

“Privacy is really important to me. I’m realizing this as I become more exposed, both as a person and as a public figure. [...] I value being with people who don’t overanalyze or categorize everything I do.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

total look PINKRAININTHEBRAIN

also read
.aesthetic talk JOEL SÁNCHEZ *Breaking New Ground

Are you craving a deeper integration between music and the fashion world in your future?

Definitely. I’ve been working closely with many designers recently and learning so much about fashion, especially in the UK. I’ve met some wonderful people, and I feel the urge to expand my vision through fashion. It’s a powerful way to express myself, alongside music, singing, and writing. Integrating fashion more closely feels essential. The experience over the last few months has been eye-opening, and I look forward to more collaborations, launching my own line, and possibly participating in Fashion Weeks. These are things I’d truly enjoy.

Your lyrics seem to hold the weight of entire worlds. What's the one theme you keep circling back to, even when you try to escape it?

A general theme in my music has been freedom—finding freedom in yourself and defining it personally. That’s at the core, and even when it’s not directly in the lyrics, it’s in the sounds I choose, the worlds I create, and the feel of my music. So, I’d say that’s the recurring theme.

The Eurovision crown is still yours. What’s next? What keeps you awake at night now that you’ve tasted this level of success?

I’ve learned a lot over the past half year. The main thing is that I love creating without limits and collaborating with musicians I admire. Recently, I’ve been working with people I hadn’t had the chance to work with before, and it’s opened a new world for me, pushing me beyond my comfort zone. That’s a feeling I love. My aim is to make music, release albums, play concerts for the rest of my life, and create work that deeply resonates with me and challenges the conventional views of music and art, as well as myself. Those are my goals.

jacket + pants NAMILIA
shirt MCM
sunglasses KRISZTIAN P

“The experience over the last few months has been eye-opening, and I look forward to more collaborations, launching my own line, and possibly participating in Fashion Weeks. These are things I’d truly enjoy.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

Joel Sánchez - Interview

.aesthetic talk
JOEL SÁNCHEZ
Breaking New Ground

written Juan Marti

Sometimes it's all down to fate. It happens when the stars conspire like the witches of Mcbeth and without expecting it, someone appears who makes a great impact, a person with something special.

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

JOEL SANCHEZ wears
total look JIL SANDER by Lucie and Luke Meier

watch film

“It allows you to live a thousand lives and makes your own life more complete because it makes you look into your psychology and above all into people's.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

That thing is difficult to explain but it's what makes you can't take your eyes off them, that makes you interested in the way they dress, the way they talk, even the way they smoke. Joel Sánchez is one such example: he has that thing that dazzles before the cameras and he has been able to prove it with only one TV series behind him.

His character in the successful spin off of Money Heast, Berlin, made millions of people fall in love with him all over the world thanks to his mischievousness, attractiveness and comedy. Critics and audiences have deemed him as the show's "breakout star", and for good reason. The entertainment and fashion industries have surrendered to Joel as he deals with maturity and professionalism the wave of fame that has burst into his life. But the actor, with a splendid future ahead of him, maintains his relaxed attitude and tries to savor every second of the magnificent gift that life has given him: making his dream come true.

total look ALEXANDER MCQUEEN

vest PAUL SMITH
pleated trousers SETCHU
trousers CHB CHRISTIAN BOARO
shoes SEBAGO
earrings VOODOO JEWELS

Juan Marti
Joel, time goes by so fast! It's been almost six months since the premiere of Berlin, the spin-off of Money Heist, which was a huge success. Looking back, what do you feel when you think about the months in which the series came out?

Joel Sánchez
Well, I feel very happy because it was something new for me, and to be able to see how people embrace the project and your character is something very nice and something I had never experienced before.

Berlin was also your first job as an actor, a profession that has always been your great passion. Do you believe that dreams come true?

It is a profession that always generated a lot of curiosity in me, but honestly until I did not work in it I did not realize what a beautiful job it is, it allows you to live a thousand lives and makes your own life more complete because it makes you look into your psychology and above all into people's. I feel very lucky to have found this beautiful profession. I feel very lucky to have found this beautiful way of making a living.

In less than a year your life has changed completely. I'm sure there are times when big changes can be overwhelming. Have you ever felt overwhelmed by everything that has happened?

The truth is that no, as I said before it has been a very nice process, I really enjoy the messages I read and things like that. Obviously there will be moments and moments as with all things, but at the moment I am savoring it.

Is it easy to keep your feet on the ground when success comes so unexpectedly?

For me that lies in the education and values that each one has.

During this year, what is the most important lesson you have learned?

The most important lesson for me that I have learned is that you have to be "calm" when things go well and when things go wrong, because everything is over, everything is temporary.

trousers VERSACE
necklace SWAROVSKI

team credits

seen NICOLA PAGANO
creative fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
contributing editor LEONARDO MARTINO
talent JOEL SANCHEZ via NEXT Management @nextmilan

makeup MATTIA ANDREOLI
hair stylist DOMENICO PAPA
video editor ALEXANDRE JOUX
set designer ALESSIA SORESSI
fashion coordinator assistant LEONARDO VANTAGGI

fashion assistants LAURA GIROLAMI, JULIA ANTONIN, NICOLÒ PIOMBINO, IRENE MOTTO-ROS
production assistant ANJA MENEGON

“You have to be 'calm' when things go well and when things go wrong, because everything is over, everything is temporary.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

shirt DURAZZI
pull FERRAGAMO
shorts THE FRANKIE SHOP
trousers ZEGNA
tie CARLO PIGNATELLI

shirt DSQUARED2
blazer OCTOBRE EDITION
jeans LOIS JEANS
shoes SEBAGO

micro-striped shirt BALLANTYNE
maxi collar shirt SANDRO
orange shirt FENDI
pants DIESEL
shoes PAUL SMITH

You will soon premiere La Favorita 1922, a big production about a restaurant in Madrid in the 1920's. What exactly interested you in this project?

Well, I was interested because it is my second project and I want to work and work and work, but above all I was curious to be able to play a period character, the clothes, the way of seeing and enjoying the life of that era.

You now live in Madrid but I know you are very attached to your homeland, the Canary Islands. What do you do when you feel homesick?

I start watching videos that I have in my favorites of moments with my family and friends in Lanzarote and I get over the nonsense (laughs).

Starting your life in a big city is always hard and you live moments that you never forget. How do you remember your first years in Madrid?

My mother is from Madrid so for me the change was not so radical, besides that I consider myself a very open person and always eager to meet new people so the adaptation was quite easy.

Now that you have immersed yourself in a project set in the last century, I would like to talk about nostalgia. Are you a person who usually remembers the past?

I tend to remember the past as long as it does not affect the future I want to project. It is true that for this work you have to resort to past things to empathize with things of your character etc. But I always try to do it in a healthy way and not to stir up old traumas.

What advice would you give Joel from ten years ago, and how would he feel if he saw all that you are achieving?

To enjoy life because 80% of the problems happen only in our head. That it is good to worry about the future but not to live in it.

I am happy because it has not been an easy road, at the end you make a decision without knowing the consequences and once you have seen them and see that it was worth it, it is a very nice sensation.

also read
Gregory Crewdson at Espace Louis Vuitton *Dreamscapes of a Haunted America

coat OUR LEGACY
shirt LEVI’S
skirt DURAZZI MILANO
trousers DOLCE & GABBANA

polo CALVIN KLEIN JEANS
shirt Plissè ISSEY MIYAKE
jeans THE ATTICO

If you could choose a past era to live in, what would it be?

I would say the 70's or 80's, in those years for me life was more real, without social networks, without anything that could distract you from being here and now.

How did you feel when you first entered the beautifully constructed sets of La Favorita 1922?

As if coming out of a time machine, the truth is that the sets are a real blast.

Your character is a waiter trying to find a better life, in what way did you connect with your character? Do you always seek to identify in a certain way with the characters you have played so far?

In a way, I also worked as a waiter and other things to pay my college tuition, so I empathize with my character, I think you always have to look for something of yourself in the character to empathize with his life, but I also think that throughout your career as an actor you will get characters that make you learn and delve into areas that you had never considered within yourself and that's nice.

blazer TOM FORD
trousers LOUIS VUITTON

“At the moment, I am savoring it.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

Gregory Crewdson at Espace Louis Vuitton Munich, Cathedral of the Pines

Gregory Crewdson at Espace Louis Vuitton
*Dreamscapes of a Haunted America

written Monica de Luna

Gregory Crewdson’s photographs are a punch to the gut, and the latest exhibit at Espace Louis Vuitton München doesn’t hold back.

As part of the Fondation Louis Vuitton’s bold Hors-les-murs program, Crewdson’s series Dream House (2002) and Cathedral of the Pines (2014) are unleashed upon the Munich audience, exposing the fractures beneath the pristine surface of middle-class America. The exhibition pulls you into a world where the familiar dissolves into the surreal, where dreams blur into nightmares, and where small-town life becomes a stage for unsettling cinematic narratives.

(c) Gregory Crewdson, Cathedral of the Pines
at Espace Louis Vuitton Munich

(c) Gregory Crewdson, Cathedral of the Pines
at Espace Louis Vuitton Munich

Crewdson doesn’t just photograph—he directs. His large-scale works, meticulously staged like movie stills, turn ordinary scenes into eerie tableaus. The deserted streets, the muted lighting, the frozen moments—they all draw from the visual lexicon of film noir and psychological thrillers, leaving you hanging in the quiet dread of what might come next. The characters are caught in the eye of a storm you can’t see, their stillness heavy with a tension that won’t break.

This latest showcase at Espace Louis Vuitton Munich goes deeper into that dissonance. Dream House is a series that pulls back the curtains on domestic spaces, revealing the lurking darkness that fills the cracks of suburban life. Crewdson’s use of twilight and nighttime settings floods each photograph with the same unease you get from waking up in a dream you can’t shake. Cathedral of the Pines, on the other hand, feels more intimate, more introspective. Shot in the forests of rural Massachusetts, these images are quieter, more meditative—yet no less haunting. You feel the weight of isolation, of lives lived on the fringes, of nature encroaching on the fragile constructs of human existence.

What sets Gregory Crewdson apart is the way he plays with time. In his world, nothing moves. There’s no before, no after—just the moment. This cinematic suspension freezes the characters and the viewer, locking you in an unresolved narrative. That sense of unsettling calm, of a story half-told, is why his work lingers long after you’ve left the gallery. Every photograph is a secret waiting to be uncovered, but Crewdson isn’t offering answers. He’s here for the mystery!

In Cathedral of the Pines, the mystery becomes more personal. The forested backdrop and the desolate interiors of small-town homes mirror Crewdson’s own journey—of dislocation, personal reflection, and a return to the woods of his youth. This series marks a shift, a softer but more emotionally charged tone that contrasts the colder precision of Dream House. Here, the silence is almost deafening, but it’s the kind that invites you to listen closely—to the rustling leaves, the creaking floorboards, and the whisper of unsaid thoughts.

(c) Gregory Crewdson, Dream House
at Espace Louis Vuitton Munich

There’s no escaping the comparison to David Lynch. Like Lynch, Crewdson captures the dark underbelly of the American dream. Both artists are fascinated with what lies beneath the surface of manicured lawns and polite smiles. In Crewdson’s world, the perfect façade is just that—a cover for something far more disturbing. It’s no accident that his images feel like stills from a movie that could sit comfortably between Blue Velvet and Twin Peaks. The suburban dread, the unease in the everyday—Crewdson’s lens finds the uncanny in what most would overlook.

And yet, despite the cinematic scale of his work, there’s something deeply personal about Crewdson’s exploration of these themes. Whether through the stark portrayal of loneliness in Cathedral of the Pines or the visual claustrophobia of Dream House, there’s a sense that Crewdson is constantly searching for a way out—of both the frame and himself.

His images require you to stop, stare, and confront the unease that rises from the edges of the frame. They are moments from a story you’ll never fully understand, but one you won’t be able to forget.

(c) Gregory Crewdson
Espace Louis Vuitton Munich, 2024

(c) Gregory Crewdson, Dream House
at Espace Louis Vuitton Munich

HARRI - Interview

.aesthetic talk
HARRI
From Inflatable Fantasy to Everyday Edge

written Gennaro Costanzo

As Fashion Week nears, designer Harri KS, famous for his avant-garde inflatable pieces, is taking a fresh turn. This season, he's blending his artistic vision with a more wearable, everyday style — without losing the edge that made him a standout in the fashion world.

It’s September — the time of year when the world begins to embrace autumn. But for fashion lovers, it signals something even more exciting: Fashion Week is just around the corner. Designers like Harri KS are busy wrapping up their collections, adding the final touches that will soon grace runways. When I met Harri, it was no surprise to find him in his London studio, diligently putting the finishing touches on his newest collection. At just 30, this Indian designer has already made waves, from the British Fashion Council to fashion insiders, thanks to his signature bold, inflatable garments. But now, Harri is turning the page, ready to embrace something new. As he explains, his latest collection isn’t just about pushing the boundaries of fashion anymore — it’s about merging his artistic vision with something more wearable, while still keeping that unmistakable edge that made him stand out in the first place.

“The material tells me what to do. I listen to it. I don’t see colour like everyone else. My world is defined by light, shadow, and form.”

Harri speaks with Gennaro Costanzo
LE MILE .Digital Special

Harri’s journey into the fashion world is as unique as the designs he creates. Born and raised in Kerala, a lush, scenic state in southern India, Harikrishnan Keezhathil Surendran Pillai (or just “Harri” to his friends and fans) grew up far removed from the fast-paced fashion capitals of the world. In Kerala, people typically find themselves drawn to steady, stable careers, much like his father, who worked in the public sector. “My dad wanted me to follow that path because he values security,” Harri shared. For a long time, it seemed like he was on that track too — a future in banking or public service seemed almost inevitable.

But something inside Harri was pulling him in a different direction. “After the 10th grade, I realised I didn’t fit in. I needed to create my own life and take charge of it,” he says, reflecting on a time when he made the bold decision to pursue modelling. It wasn’t an easy choice. Leaving Kerala for a bigger city — much like how young designers leave for Milan — was necessary to chase his dream. It was a move that would change everything.

Harri’s path wasn’t linear. After enrolling in a design institute, he quickly found out that his career in fashion would be more of a winding road than a straight shot. His time as a model and bodybuilder weren’t just career choices; they were part of his process of self-discovery. “I started modelling, but after six or seven months, I knew it wasn’t for me,” he recalls. While the role gave him a behind-the-scenes look at the fashion industry, it wasn’t fulfilling. Bodybuilding, on the other hand, became a deeply personal outlet. It was a place where he could reflect and recharge. “The gym was my time to speak to myself,” Harri says, adding that bodybuilding wasn’t just about physical transformation. It mirrored his design process. “In both, there’s discipline and focus. Whether I’m shaping my body or working with fabric, it’s about planning, thinking, and breathing through it.”

team credits

Photographer @inkan___
Production @dktalkies
Movement Director @5eirian
Movement Artists @5eirian / @berendamico / @zacktidswell / @airajadi
PR @inderatamara
Photo Editor @stefanogiovannigiuliano
Assistant @binusabu
Equipments @jerinjosephphotos
Logistics ARUN

Special Credit @rkimaging

“We did artsy before, but this collection is more fashion, more clothing. I want my work to be accessible, but still true to who I am.”

Harri speaks with Gennaro Costanzo
LE MILE .Digital Special

Harri’s big break came when he introduced the world to his inflatable trousers, a daring and playful design that caught everyone’s attention. These bold pieces weren’t just about making a statement. “For me, it was about the process,” he says. The trousers, which quickly became his signature, represented his own evolution — a blend of artistry and craftsmanship. They caught the eye of artists and performers, including Sam Smith, who famously wore Harri’s black latex suit at the Brit Awards in 2023. The look went viral, solidifying Harri as a creative force in popular culture.

When it comes to his work, Harri’s approach is deeply rooted in the materials he uses. “The material tells me what to do. I listen to it,” he says, explaining how his colour blindness has shaped his design choices. “I don’t see colour like everyone else. My world is defined by light, shadow, and form.” This unique perspective has heightened his sensitivity to texture and shape, which is clear in his work. His designs often play with bold, surreal forms while keeping the colour palette understated. “I have rolls of grey and olive green in the studio. They’re labeled, but to me, they look the same,” he laughs, adding that this limitation forces him to rely on other creative instincts.

Now, as he prepares for London Fashion Week, Harri is stepping into new territory. His upcoming collection marks a shift away from the purely artistic pieces he’s known for. “We did artsy before, but this collection is more fashion, more clothing,” he says. It’s a move toward something more practical, but still infused with his signature creativity. Harri wants to create pieces that people can actually wear while staying true to his bold, innovative spirit. “I want my work to be accessible, but still true to who I am,” he adds.

This collection represents more than just a new season for Harri; it’s part of his ongoing exploration of what fashion can be. He’s open about the financial realities that come with balancing creativity and commercial success. “We’re experimenting, trying to figure out what’s next. If it’s not financially viable, we’ll have to reconsider, but for now, we’re pushing forward,” he admits.

As Harri looks back on his journey, it’s clear that his work is more than just clothing. It’s a reflection of his life, his challenges, and his growth. “Each season, we experiment and gain clarity about what’s next,” he says. His designs don’t just push boundaries — they tell a story. A story about a young man from Kerala who dared to step off the beaten path and carve out a space for himself in the world of fashion.

also read
Dorothy Rice *New Look Model & Painter

Harri’s work goes beyond fashion and art. It’s about making a connection, leaving a lasting impact on both a personal and cultural level. “I want my work to resonate, to mean something,” he says. And with every bold design, Harri KS continues to do just that — challenging norms, sparking conversations, and inspiring those who follow his journey.

follow artist @harri_ks

Jonell Lennon & Mark Pittman - Interview

.aesthetic talk
Dorothy Rice
*New Look Model & Painter

written + interview Jonathan Bergström

Dorothy Rice (1924 - 2023) was an artist whose work spanned across multiple disciplines, including painting, sculpture and silkscreens in addition to her celebrated career as a fashion model.

Known for her bold approach, she defied traditional boundaries throughout her life. Her iconic role as the face of Christian Dior’s New Look collection catapulted her into the fashion limelight, resulting in collaborations with top fashion photographers, as well as performances in more than 100 plays and several acclaimed TV shows.

In this conversation with Le Mile Magazine, Jonell Lennon and Mark Pittman (representatives of Dorothy's estate) offer a deep dive into Dorothy’s legacy, shedding light on her artistic evolution, her global influences, and the guiding philosophies behind her work.

Dorothy Rice
painting in studio, 1975
courtesy of Dorothy Rice Art Company

Dorothy Rice
Marshes, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

Jonathan Bergstrom
Dorothy displayed artistic talent from a young age. earning an invitation to the Art Students League of New York at 14. What sparked this early interest?
Jonell Lennon & Mark Pittman
Dorothy’s early interest in the arts was deeply rooted in her familial origins. She descended from a long line of talented artists, including her father who had a successful commercial art studio in Manhattan. Dorothy spent summers working with him at his studio where she learned to draw and do illustration work. Dorothy wanted to be an artist, and her father supported her. Upon his urging, Dorothy applied and was accepted to the Art Students League when she was just 14. She went to high school during the day and took art classes at night where most of her classmates were more than a decade older than her.

To someone who isn’t familiar with Dorothy, how would you characterize her as an artist?
Dorothy was a versatile artist whose intellectual curiosity about people, culture, fashion and the human spirit pushed her to try not only a variety of mediums but also different artistic fields. Despite her father wanting her to paint, Dorothy explored a variety of art forms. Her resolve was evident in her artistic journey, beginning as an illustrator in her father's studio at 13, transitioning to modeling at 15, and later, acting in more than 100 plays and multiple television movies before shifting her attention back to painting in her 40s. Dorothy spent the next several decades experimenting with materials, technique and subject matter, using oils with a palette knife, watercolors, sculptures and silkscreens. She typically built collections based upon specific locations throughout the world. She did not want to be put into a box and felt it was essential for an artist to continuously evolve. 

How did she go from being an artist to becoming a highly sought-after model in the fashion industry? 
When Dorothy was 15, on an evening out with Art Students League classmates at the legendary nightclub El Morocco in Manhattan, she was "discovered" by Vogue photographer John Rawlings. That connection led to a shift in focus to modeling. Dorothy started with girl-next-door shoots for Town & Country and pinups for Earl Moran. Her big break came shortly after WWII when Christian Dior chose her to be the face of his “New Look” collection for American Vogue. Dorothy traveled to Paris for the shoot. She said the French models she met were upset that she was chosen for this honor; they felt a French woman should represent Dior’s clothes. Once the Vogue issue featuring Dorothy hit the newsstands, Dorothy shot to stardom. 

What qualities do you believe led Christian Dior to choose Dorothy as the face of his “New Look Collection” for American Vogue?
Dior scouted hundreds of models in France before expanding his search to America to find the woman he felt best projected the sultry image he wanted for his collection. Dorothy believed Dior was initially interested in her because she had the physical attributes he required: a voluptuous body and a young, blank face. Interestingly, Dorothy didn’t yet see herself as a sophisticated woman. She was just 21 and had done mostly girl-next-door shoots. It was Bettina Ballard, the fashion editor at Vogue, who convinced Dorothy that with the right makeup, styling, and attitude she could adapt to fit the part. Dorothy worked with the creative team and studied every aspect of Dior’s collection to ensure she could deliver the look and presence Dior wanted. 

“Dorothy was a versatile artist driven by intellectual curiosity, starting as an illustrator in her father’s studio at 13, modeling at 15, acting in over 100 plays, and returning to painting in her 40s. She believed in continuous evolution, experimenting with various mediums and styles throughout her life.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

Dorothy Rice
Mountain View, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

In what ways did her modeling career influence her artistic work?
As a model, Dorothy spent years working with renowned designers, stylists and high art fashion photographers such as Milton Greene, Horst P. Horst and Francesco Scavullo, honing her adaptability and attention to detail. She constantly evolved her look to suit changing tastes; one minute she could look like an ingenue, the next a glamorous runway model. Most of the time Dorothy did her own makeup and hair and credited her artistic eye to keeping her in demand for 18 years. When she transitioned to painting, she said she was happy to turn the focus away from herself to the world around her. Dorothy took a similar approach to painting as she did to modeling, constantly studying and experimenting with different styles and techniques. 

Could you point out some of the standout collaborations Dorothy had with top fashion photographers and designers throughout her modeling career?
The two standouts are her collaborations with designer Christian Dior and photographer Peter Basch. Dior chose Dorothy to be the American face of his “New Look” collection, but she also modeled his clothes numerous other times. In the mid-1950s, Dorothy teamed up with Dior again for a documentary about his life that was filmed in New York. They became good friends and planned to work together on more projects, but he died tragically of a heart attack in 1957. 
Peter Basch was a well-known fashion photographer in the 50s with whom Dorothy collaborated extensively. He loved her versatile look. When Dorothy was starting out, Basch helped her by taking photos for her lookbooks, which were books models used to get work before the rise of the internet. When Dorothy’s career later took off and she was a top model, she repaid Basch by regularly posing for him. 

Which of Dorothy’s photos or collaborations do you hold as personal favorites?
Jonell Lennon
All of Dorothy’s modeling photos are incredible. One of my favorite collaborations of Dorothy’s was with the photographer Ewing Krainin, who coincidentally was my maternal grandmother’s cousin, which Dorothy and I discovered years into our friendship. Dorothy said the photos Krainin took of her didn’t portray her as the most glamorous or sophisticated version of herself but captured her exactly how she saw herself.  

How did she balance her modeling career with her passion for painting during the height of her modeling success?
Dorothy didn’t paint during the peak of her modeling career. Instead, in order to achieve the level of perfection she sought as a model, Dorothy focused exclusively on every aspect of the craft: fashion, design, lighting, photography, hair, makeup, etc. When Dorothy first started out, she was uncomfortable in front of the camera and spent months learning to overcome her fear. She referred to modeling as her “first acting role.” After years of studying and working on her craft, she learned to create and portray the persona each shoot called for.  During this time, Dorothy was repped by John Robert Powers who negotiated her deals, but she had to get her own work, which she said she did through hustling and word of mouth. Dorothy returned to painting only after her modeling and acting careers ended. Once she made that transition, she was solely committed to her art.  

With the move from New York to Beverly Hills, Dorothy began to transition more into television and acting. How did this change of environment impact her personal life and professional work?
Dorothy met her husband, Stanley Chase, in New York while she was transitioning from modeling to acting and studying with Uta Hagen. Stanley was an up-and-coming theater producer, backing Bertolt Brecht’s The Threepenny Opera (which ran for seven years and helped legitimize off-Broadway productions), as well as plays written by Eugene O’Neill and Graham Green. During their New York years, Dorothy and Stanley were in the center of the social scene, befriending authors such as Gore Vidal and Tennessee Williams, and stage legends such as Rosemary Harris, Anne Bancroft and Marlene Dietrich. Dorothy and Stanley supported each other’s careers and were also colleagues. When they moved to Los Angeles, they both shifted their focus to television and film, collaborating when they could. For example, Dorothy appeared alongside George C. Scott in the Emmy award-winning Fear on Trial, which was produced by Stanley. Dorothy helped Stanley with his projects, including giving notes on scripts and advising on casting and directors. While Dorothy embraced much of the California lifestyle, she was always a New Yorker at heart, including never learning to drive.  

What drove her decision to go back to painting after her successful modeling and acting careers, and did her artistic focus shift when she came back to it?
When Dorothy transitioned from modeling to acting, she deeply enjoyed the craft but didn’t enjoy the business, the politics or the way women were treated. Despite being offered prime roles, she wanted to challenge and express herself in a more in-depth way which led her back to her first love, painting. While modeling and acting, Dorothy developed a disciplined artistic approach that emphasized constant study, practice and experimentation. That same process was applied to her painting career but instead of concentrating on her own performance she found joy through engaging with inspiring people and places, whether a farmer’s market in Morocco, a street scene in France, a beach in California or children playing in Mexico. 

Do you have any personal stories or anecdotes about Dorothy that capture her creative spirit and the influence she had on those around her?
While modeling, Dorothy lived for nine years at the Barbizon Hotel, a women’s only residence in Manhattan, which was filled with aspiring models, actresses, dancers and artists. She loved being part of a female artistic community and supporting other women.  As her career blossomed, Dorothy mentored younger models and enjoyed passing along what she had learned about the craft and business.  She displayed the same generosity with actor Jack Lemmon. She had known Jack for years as their fathers were friends and also through studying together in an acting group. Jack was not yet successful, but Dorothy was struck by his immense talent.

She felt his lack of confidence was preventing him from landing good roles. Dorothy spent hours working with Jack on scenes for their classes and prepping for auditions. His confidence blossomed and his career soon took off.  Later, Dorothy and Jack worked together professionally in a French comedy called La Ronde, which was a nice full-circle moment for both of them.

Dorothy Rice
Untitled, ca. 1976-1979
3.5 x 12 in

“Dorothy’s big break came when Christian Dior chose her as the face of his "New Look" collection for American Vogue, propelling her to international fame. Her collaborations with top photographers and designers, including Dior and Peter Basch, solidified her as a highly sought-after model.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

all images (c) Dorothy Rice

Clara Galle - Interview

.aesthetic talk
Clara Galle
*Truth in Art

interview + written Alban E. Smajli

In Clara Galle's dazzling realm, the fusion of genuine emotion with artistic excellence sparks performances that captivate and strike a chord.

Clara, renowned for her authentic portrayal, masters the intricate dance of human emotions with unparalleled depth. Her diverse roles across genres showcase a dedication to capturing the true spirit of her characters, supported by a distinctive combination of athletic discipline and the instinctive fluidity of her performance style. Whether it's through carefully crafted character playlists or engaging in the collective endeavor of storytelling, Clara's method stands as a tribute to the impact of sincere engagement. As a protector of human stories, Clara Galle's body of work invites us to engage with narratives that resonate with honesty and deep understanding. Elevating beyond mere acting, she emerges as a storyteller in an arena seeking truth. Her empathetic journey into the human condition marks her as a transformative presence, reshaping the narrative landscape with her steadfast devotion to genuine storytelling.

Clara wears
dress PALOMO Y BIMBA & LOLA
shoes FERRAGAMO
jewelry TOUS

full look VERSACE
garter belt BIMBA BLUME
jewelry TOUS

“What I always look for, and what is essential for me, is to tell the truth. That's the focus I bring to my characters... If I find myself blocked in a scene, I tell myself, 'Just tell the truth,' and I think that's what makes a character come through.”

Clara Galle speaks with Alban E. Smajli
LE MILE Magazine TRANCE, Nr. 36

Alban E. Smajli
Your performances are often described as captivating and immersive. Can you share with us how you prepare to embody a character and create such a deep connection with your audience?
Clara Galle
What I always look for, and what is essential for me, is to tell the truth. That's the focus I bring to my characters. Obviously, I build their personality, the way they talk, how they walk, but in the end, when I'm on set, the most important thing is that those characters somehow move, and you're not going to move if you're not looking for the truth. That's why, for me, everything else comes in second place, even though I work a lot on each aspect and build it from scratch. If I find myself blocked in a scene, I tell myself, "Just tell the truth," and I think that's what makes a character come through.

Trance can be interpreted as a state of intense focus and immersion. Have you ever found yourself so engrossed in a character that it felt like entering a trance-like state? If so, what was that experience like for you?
I can easily differentiate when I am in character and when I am not. I know how to get out of it, but it is also true that, since you give yourself completely to the character, to the scene, and to the sequence you are working on, even when you know that you are no longer in character, the body is still there somehow. You have forced it to feel something in particular, be it sadness, happiness, or any other emotion, so, somehow, you trick your body. It has happened to me that I have gone home sometimes with the feeling that I have worked with, although mentally, I know I'm not there.

Throughout your career, you've taken on a variety of roles across different genres. Is there a particular genre or type of character that you find yourself drawn to, where you feel most in tune with your own artistic expression?
I haven't been in this career for very long, but it's true that I've had the opportunity to work in different genres, and I'd like to explore all of them in the future. I'm a curious person and would like to try action, horror, romance, or science fiction. But what I feel more in line with my artistic sensibility, more than the genre, is the everyday scenario. A sequence that does not need many elements, but several people, or even one person, talking and expressing the deepest yet simplest aspects of human beings. I feel that in those simple things, I recognize myself the most and can dig the deepest artistically. But there is also another part of me, the impulsive, restless, and sporty part (since I come from the sports world), which is very much drawn to action. When I move and use a kind of energy that comes from another place, I feel that I generate an artistically different Clara, and I love that too.

As an actor, you have the unique ability to transport audiences into different worlds and experiences. How do you approach the challenge of balancing the authenticity of a character's emotions with the demands of storytelling?
What is important for me, when telling the story and at the same time being faithful to the character and the expression, is to trust the script, the director, the rest of the cast, and the team. It may seem that creating a character is an individual task, but when the character comes to me, it has already gone through a screenwriter and a director. Although you are the one who delves into the depths of the character, it is a collaborative effort. Cinema cannot be individualistic; quite the opposite. The purpose of cinema is collective, so the creation process cannot be individualistic either. It requires both an individual and a group effort.

Trance music often serves as a catalyst for introspection and self-discovery. Have you ever used music or soundscapes to enhance your preparation for a role or to deepen your understanding of a character's psyche?
Music is a tool I use extensively for my characters, to work on them, even for casting. All my characters have had a playlist with songs they would probably listen to, songs that remind me of a scene or describe a character's emotion. In the end, what is rational, what can be said in words, is limited, and a character and a mood are not, so I feel that music reflects that best. I use it as a field study, but many times also on set, I put on the music and create the atmosphere from which I transform myself into the character.

Re flecting on your journey as an actor, what has been the most unexpected lesson you've learned about yourself or your acting?
It's actually something I already knew, but this profession constantly reminds me of, and I love that it does: I don't know anything. I have millions of things to learn, and there will always be many more to come. It can be a bit overwhelming at times to think that, no matter how much you want to learn and grow, you will never have complete knowledge, but actually, I find it fascinating to know that every day you will go out into the world and learn new things. I think it's a thought that keeps you constantly with your eyes open, keeps you curious, interested in what's around you, and in how human behavior can be. It is a lesson that helps me in my work, to put things in perspective, and also to manage my self-demands.

full look GEORGES HOBEIKA
jewelry TOUS

full look PRADA
jewelry TOUS

“Music is a tool I use extensively for my characters, to work on them, even for casting. All my characters have had a playlist with songs they would probably listen to, songs that remind me of a scene or describe a character's emotion.”

Clara Galle speaks with Alban E. Smajli
LE MILE Magazine TRANCE, Nr. 36

bra VALENTINO
dress ANA LOCKING
jewelry TOUS

team credits

seen Leire Cavia
art direction Josefina Maiza
styled Manu Mendi
muah Pablo Macías by ARMANI Beauty
fashion direction Chidozie Obasi
talent Clara Galle
retouch Sara Ivars
set design Lucho Campos + Josefina Maiza

As you continue to evolve in your career, what are some personal or professional goals that you aspire to achieve?
Obviously, I have speci fic dreams, such as directors or actors I would like to work with, genres or stories I would like to tell. I have learned to write down the things I want on a list and keep them there but let my path choose me, which will always find me striving, working, and learning, since many times what comes is even better than what I wished for. But my greatest wish is to be able to choose things with my heart and see that I am improving, growing as a person and as an actress.

In a world that often feels chaotic and overwhelming, what role do you believe art and storytelling play in helping us navigate and make sense of our experiences?
I believe that telling stories, as well as listening to the stories that are told to you, is essential. Since I was a little girl, my weekend plans with my family (even though my parents don’t professionally belong to this world) have been to go see a play at the theatre or a movie at the cinema. I have grown up with that, and I don't know how I would reason in my head if these activities had not been a regular part of my life, if I had not grown up listening to stories. There is something about sharing, about knowing the same story, seeing the same movie, having the same or different feelings about the same story, that makes society become a community, and makes us think and consider things.

follow artist @claaragalle

all images for LE MILE Magazine (c) Leire Cavia

Dana Montlack - Interview

.aesthetic talk
Dana Montlack on Art and Science
*Microscopic Worlds

written + interview Jonathan Bergstrom

As both an interdisciplinary biospheric artist and researcher, Dana Montlack bridges the gap between art and science.

Montlack's work, distinguished by its unique composite style and mixed media, urges viewers to see the unity of all living things and to reflect on our environmental impact. Her work has been exhibited in museums and galleries worldwide, including the Whitney Marine Biology Research Center, Atlantis The Palm in Dubai, and the Museum of Contemporary Art in San Diego. Alongside her artistic career, she is also a devoted educator, teaching Visual Arts and Contemporary Art History at Georgia State University. We had the chance to talk with Montlack about the challenges of translating science into art, her deep affection for the ocean, and how art can bring awareness to the wider public about the state of the environment.

Dana Montlack
SIO-24. Sea snail, Venus comb murex
topographic and bathymetric map of the Sea of Cortez

Dana Montlack
SIO-75. Giant Kelp, Gulf of California
Sea Nettle tendrils

Jonathan Bergstrom
I understand that your grandfather played a pivotal role in shaping your career path. Can you share more about his influence and the ways he impacted your journey?
Dana Montlack
Both my grandparents were hugely influential in my life and career. My grandfather was a physician in Cleveland, Ohio. When I was 15, he took me under his wing and taught me how to take and develop X-rays in his office, probably to keep me out of trouble. My grandmother was a dancer who left Akron, Ohio, at 15 to pursue a career in dancing with the American Ballet School in NYC. They were a continuous stream of encouragement, emphasizing that falling and getting up again and again is part of the journey.

What is your method for merging art and scientific elements in your interdisciplinary work?
I merge artistic and scientific elements, propelled by a relentless pursuit of understanding and decoding nature's secrets. I perceive each layer as an intriguing challenge to uncover, akin to sifting through the layers of sediments on the seafloor, excavating soil strata or deciphering the growth rings of a tree. Importantly, I thrive on collaborative efforts, as they not only provide ongoing personal and intellectual development opportunities but also foster a sense of shared achievement.

Can you walk us through your process for creating your composite imagery pieces?
I am inspired by geological locations, species that one cannot see with the naked eye and the behavior of particular animals like the octopus, bower bird, and the waggle dance of honey bees. Then I do a deep dive to know everything about the area, species, etc. I take hundreds of photographs, both microscopic and macroscopic, including archival maps, topographics and bathymetrics. I juxtapose this with scientific data using layers of information, often drawing and painting on top of photographs and reincorporate that into the final image.

What difficulties do you encounter in making scientific concepts accessible to viewers through visual art?
The allure of abstract ideas and forms is undeniable, and I've come to realize that it can pose a challenge for many. Viewers often find it difficult to extract information from abstraction, leading them to overlook its significance. To tackle this, I've started incorporating subtle hints in my work, be it in the title or a quote, to nudge viewers towards their own understanding.

“I merge artistic and scientific elements, propelled by a relentless pursuit of understanding nature's secrets. Collaborative efforts foster ongoing personal and intellectual development and a sense of shared achievement.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

Dana Montlack
W-30. Southern goose barnacles, jellyfish polyps, Catostylus blue blubber jellyfish
Chromogenic print mounted on acrylic, 24 in x 48 in

What do you think the microscopic world can tell us about our daily lives? 
The microscopic world creates curiosity and awe, prompting us to ask questions and wonder about the unseen aspects of the world around us. By examining the intricate details at a microscopic level, we can better understand the world around us and how it impacts our daily experience.

Is it challenging to maintain scientific accuracy while also conveying artistic creativity?
It is less about accuracy and more about my understanding of the science and the narrative I want to create. The images are multi-layered and complex. Sometimes I get lost in the creative process and forget some of the essential data I have encompassed. It’s more about remembering which data and imagery I’ve included; at a certain point the images are not recognizable.

Your work can be seen in Waves of Wonder at the Ships of the Sea Maritime Museum in Savannah, Georgia through September 2024. Can you tell us more about it?
My work there draws its inspiration from the delicate and captivating interplay between land and sea. This exploration is a testament to the vulnerability and resilience of coastal ecosystems, where the ebb and flow of tides reveal a hidden world of diverse life forms and intricate interactions. This opportunity was awarded by the Georgia Sea Grant, NOAA, and the assistance from Dr. Mona Behl (UGA), Dr. Joel Kotska (Georgia Tech), and the Imaging Core Facility (GSU).

What draws you to the ocean as a central theme in your work?
My work is a tribute to the ocean, a testament to its scientific and sensory significance. The ocean is where I find clarity and grounding. The thick, invigorating salty air keeps me present. The sight of the vast, ever-changing sea brings me calm.
Scientifically, the ocean is a lifeline for our planet, shaping weather patterns, providing a home for countless species, and generating a significant portion of the oxygen we breathe. Sensory-wise, the ocean's sounds, smells, and sights are a wellspring of inspiration for my creativity. By infusing the ocean into my art, I strive to share its beauty and importance, fostering a deeper appreciation and a call to action to protect this invaluable resource.

You have collaborated with scientists from institutions such as the Scripps Institution of Oceanography. How has that experience been for you?
I am deeply honored by my collaborations with scientists at the Scripps Institution of Oceanography and others around the globe. I am grateful for the time and insights these scientists share with me, as each interaction is a relationship that informs my work. I continue to work with scientists, finding kindred spirits in their curious pursuit of understanding and interpreting the world around us.
Scientists’ approach to rigorous research and dedication to uncovering truths about our natural world inspires me every day. It is a privilege to witness their commitment firsthand and to translate their findings into visual narratives that can resonate with a broader audience. This collaboration has reinforced my belief in the power of interdisciplinary efforts to address and solve some of the most pressing environmental challenges we face today.

How do you think art can influence people’s perspectives on environmental issues?
Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed, and proactive approach to environmental stewardship. It can also illustrate the interconnectedness of all species and ecosystems, emphasizing the importance of biodiversity and the impact of human actions on the environment.
Lastly, art can be an educational resource, making scientific concepts and data more accessible and understandable, as well as a lasting record of the state of the environment, preserving the beauty of natural landscapes and documenting environmental changes over time.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

What impact do you hope your artwork will have?
As an artist, I am driven by a profound purpose to ignite curiosity and inspire a deeper understanding of the Earth's need for protection, shedding light on both its visible and invisible aspects, which is why I often underscore the interconnectedness and interdependence of all species for survival. By bringing these critical issues to the forefront, I urge individuals to introspect on their relationship with nature and to actively contribute to its preservation for future generations.

Dana Montlack
C-17. Coral, ocean, netting, seaweed, cells, giant kelp
Photograph printed on archival paper

“Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed approach to environmental stewardship and emphasizing the interconnectedness of all species and ecosystems.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

follow talent @vonwolfe_

all images (c) Wolfe von Lenkiewicz Studio

Wolfe von Lenkiewicz - Interview

.aesthetic talk
Wolfe von Lenkiewicz
AI in Art Reimagined

written + interview Tagen Donovan

Wolfe von Lenkiewicz’s practice modifies our visual understanding of the past through reconfigurations of iconic pre and postmodernist imagery.

Occupying the periphery of convention, Von Wolfe utilises innovative techniques with use of AI technology, harnessing the tools of a visually hyper-saturated landscape. The revered artist has been described as both ‘an unbound geneticist turned artist’ and ‘a contemporary iconoclast’. Steadily commandeering the intersection of classics and modernity.

Graduating with a degree in Philosophy from the University of York, specialising in Contemporary Epistemology. Naturally the exploration between linguistics, mythology, and the complexities surrounding identity remain at the forefront of Von Wolfe’s practice, combined with the nuances of AI generation - the artist engages his audience with critical thought-systems, and invites the notion of a (re)contextualised trajectory of art. Most importantly, what lies at the core of his visual consideration remains the use of language, and it’s reinterpretation within the sphere of visual arts. On all counts, Von Wolfe remains a disruptor. Eliciting an awareness of a subtle complacency towards our visual world that we have in turn grown indifferent towards.

Wolfe von Lenkiewicz
Always Screaming When Her Voice Is Cracked, 2022
40 x 40 cm
Copyright The Artist

Wolfe von Lenkiewicz
The Kiss, 2022 Works
85 x 80 cm
Copyright The Artist

It could be said that our understanding of visual language has become somewhat warped through the avalanche of cultural knowledge that we often get overwhelmed by. The extent to which we place our trust in almost familial reproductions of iconic artworks, begs to question if we still maintain the ability to appreciate these monumentally important artefacts from bygone eras. It is through this concept of inquisition where we see the importance of the artists exploration of complex issues within the contemporary and artificial intelligent realm. Provocative by nature, Von Wolfe's work reveals the breaking of barriers by way of a distinct visual-syntax. Conceptualising ‘meta-history’ in order to fashion a new mythology - a history about the history of art.

Holding philosophers Wittgenstein and Paul Feyerabend as having a profound influence on the artist. It would be the work of Wittgenstein’s that particularly enamoured Von Wolfe, and the concept of rule-following among philosophical investigations. Deeply resonating with the growth of natural language-coding remains closely aligned with the artists fixation. However to the same degree, Feyerabend’s realisation that science is a belief-system much like any other, and is intrinsically shaped by culture balances out Von Wolfe’s perspective and encourages the process of critical thinking, especially to the tune of the role science plays among society. Wittgenstein and Feverabend have provided valuable insight to the artist, allowing a deeper grasp relative to the nature of language and the ways in which we understand and engage with the world.

In contrast to other artists, Von Wolfe does not position himself as a singular artist with an overarching desire to dominate visual history by virtue of the unparalleled works that he creates. Instead, Von Wolfe operates from a meta- postmodernist vantage-point, examining society’s construction of art history as a fiction, yet remaining authentic to his approach. Extracting meaning within our preexisting realms of information, Von Wolfe unearths and resurrects works from the past, stretching to the self-professed “red hot period of art history”, spanning between 33,00 BC to 1519 AD.
Embellished with symbolism and an undeniable classical skill. Von Wolfe employs a full mastery of the techniques utilised by the original artists tinged with the fluency of AI technology. The sheer magnitude of his work, together with a dexterous grasp of contrasting aesthetics work to dissect and reconstruct. Most importantly, Von Wolfe warmly embraces history – equally with scope to challenge it. Through the cultivation of disparate elements, belief-systems pertaining to the modern and postmodern leads the artist down the rabbit hole, encountering new worlds and beyond.

As the course of visual and contemporary culture continues to evolve, so must the perception of the language and imagery around us. Continuing his exploration into a non-linear history, Von Wolfe single handedly disrupts traditional artistic practices by reverse engineering and adapting techniques to fit the current zeitgeist.

“AI raises questions about ethics, aesthetics, and autonomy. It disrupts traditional practices and challenges our notions of 'art', operating independently and raising questions about human control and agency.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Tagen Donovan
What are your thoughts on the relationship between artificial intelligence and contemporary art? In what way does this mesh with your practice?
Wolfe von Lenkiewicz
When it comes to artificial intelligence and contemporary art, there are many complex issues to consider. One of the main areas of concern is ethics, as the use of AI raises questions about the roles and responsibilities of both the artist and the technology. There are also aesthetic concerns, as AI has the potential to disrupt traditional artistic practices and create new forms of art that challenge our traditional notions of what constitutes “art”. Another important aspect to consider is autonomy, as AI has the ability to operate independently and make decisions on its own, which raises questions about human control and agency. Finally, there is the issue of the very nature of art itself, as AI has the potential to fundamentally alter our understanding of what art is and how it is created. These are just a few of the many facets that must be unpacked when considering the intersection of artificial intelligence and contemporary art, and they all contribute to the complex and dynamic landscape of this rapidly evolving field.

Your work evokes a sense of history, the characters inhabit their own world that resembles a bygone era. How do you interpret the environment and the figures depicted in your paintings? And what cultural references do you lean towards when mapping out a new piece?
In my artistic process, I carefully consider the cultural references that I choose to incorporate into my work. I often prompt the AI to focus on artists who are centuries old and whose works are in the public domain, as these provide a rich source of inspiration that is outside of copyright restrictions. By reverse engineering these artists and adapting their styles to fit the contemporary zeitgeist, I am able to create art that is rooted in tradition but also relevant to the present moment. When the AI produces less coherent results, I sometimes turn to traditional drawing techniques to help guide the direction of the work. Finally, I physically paint the digital works using traditional methods such as oil painting on canvas or panel; seeing both the AI- generated and human-made images as independent and equal art manifestations of the process. It is important to me that both aspects of the process are given equal weight and attention.

What is the impetus behind your body of work – what idea did you begin with, and how did this develop overtime to where it is at present?
One of the main goals of my work is to identify and explore aesthetic “outliers”; or unusual traits within the thousands of artworks I have created with AI. By testing these pieces against each other at a high frequency, I am able to identify those that stand out artistically and may be relevant to contemporary issues such as gender, race, sexuality, and disability. Rather than approaching these subjects in a journalistic manner, my work aims to delve into them in a more visceral and psychological way. In addition, I strive to counterbalance any biases that may have been present in the data used to train the AI by carefully considering the prompts and post-production processes. By seeking out and examining these outliers, I hope to shed new light on important social issues and offer fresh perspectives on the world around us.

What kind of relationship do you have with your work? Does this relationship extend itself to the characters portrayed within your practice?
One of the byproducts of creating my work at such a high frequency is that I am able to approach it as if I were a stranger, rather than becoming too attached to it.This allows me to survey the meaning within the shared language and culture of our society in the same way that others might. By creating a sense of dislocation between myself and the work, I am able to retain a certain level of objectivity and perspective. Too close an attachment to the “self” within the image could potentially lead to biases or subjective interpretations that might distort the intended message or meaning. By maintaining a sense of distance, I am able to better understand and communicate my ideas to others in a clear and effective way. This does not mean I fail to have an emotional response but rather my aesthetic choices and reactions are not distorted by my sense of ownership.

With a considerable presence on social media, do you find the intertwining of virtual and physical worlds at all invasive? How important do you feel it is for a contemporary viewer to relate to the subjects of your work?
I take my use of social media very seriously and see it as a crucial platform for sharing my art with the world. Despite being virtual, my presence on social media puts me in the public realm, much like a street artist who performs for a live audience. I find social media to be both rewarding and challenging, as it allows me to connect with a wide audience but can also expose me to criticism and polarising debates. In addition to social media, I also use Discord as a way to engage with a community, particularly for my upcoming NFT project TREASURY, which is set to launch in 2023. Overall, I see social media and online communities as an important part of my artistic practice and am always seeking to find new and creative ways to engage with my audience.

Humour is a common thread that runs deep within your practice, could you elaborate on this?
It is not something I consciously try to incorporate. In fact, I see myself as being completely devoid of it. However, I have had experiences where my work has been met with unexpected laughter, such as when I showed a film featuring characters in strange costumes I had made, who were supposed to be enlightened thinkers having an argument on a beach. Despite my initial embarrassment, I have come to realise that the humour in my work is of a peculiar, uncanny nature. I want viewers to approach my digital images or large- scale paintings in a gallery and feel a sense of uncertainty about whether they should laugh or cry. Upon closer examination, they may be drawn to the intricate details of the outfits and design elements, even as the overall image is disturbing or unsettling. It is as if the horror of Joseph Conrad’s Heart of Darkness, is inappropriately followed by an unexpected appreciation for the aesthetics of the cool jumpsuits the characters are wearing.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

There’s a timelessness about your work, yet your paintings are rich with references to other decades. Which eras and movements do you feel most affinity with?
Of the narrow range of European art culture, I have a particular fondness for the work of Rogier van der Weyden and Leonardo da Vinci, particularly da Vinci’s lost works such as the Battle of Anghiari, Leda and the Swan, and the early Garden of Eden. I particularly like the span of a wide range of time, from 33,000 BC to 1519 AD, which represent what I consider to be a “red hot”period in art history. However, my fascination with art is not limited to just European culture. I have a nearly infinite curiosity and appreciation for the art of all cultures around the world and am captivated by the creativity and cultural significance of all forms of art.

Wolfe von Lenkiewicz
Magdalene, 2022
130 x 130 cm
Copyright The Artist

“My goal is to explore aesthetic 'outliers' in AI-generated artworks, addressing contemporary issues like gender, race, and disability in a visceral and psychological way.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Wolfe von Lenkiewicz
The Runners, 2022
220 x 220 cm
Copyright The Artist

Could you elaborate on your background and your journey to becoming an artist?
I guess I am more comfortable with a blank bio.

What is your stance and relationship between the fusion of contemporary art, architecture, fashion, craft and fine-art (Gesamtkunstwerk)?
My goal is to create a unique and innovative form of art that combines and reimagines the styles of historical artists, much like how NASA fine- tuned the mirrors on the James Webb telescope. I am deeply interested in the psychology of my subjects and strive to create art that is relevant and meaningful for the contemporary moment. In regards to fashion, I also design original clothing, shoes, and hairstyles to complete my artistic vision within the paintings.This new form of art is intended for both the digital realm of social media and the physical world, and can be described as a type of international high frequency art that embodies metamodernism.

Your paintings communicate a sense of optimism, accentuated by vivid colour palettes, comical gestures and jovial expressions. This tongue-in- cheek approach to cultural critique feels inherently British. Would you agree that this method of evaluation behind your work lends itself to being more accessible to a wider audience?
Although I have never personally been inspired by a British artist, with the exception of the esteemed portrait miniaturist Nicholas Hilliard, I must acknowledge that Britain has a rich history of artistic and cultural contributions. The country’s literary and scientific achievements are well-known and respected throughout the world. Despite my lack of personal connection to British art, I cannot help but be impressed and inspired by many of its artists such as Gwen John, Augustus John, Meredith Frampton and Alfred Gilbert.

follow talent @vonwolfe_

all images (c) Wolfe von Lenkiewicz Studio

Andrew Georgiades - Interview

.aesthetic talk
Andrew Georgiades
Breaking Digital Boundaries

interview Chidozie Obasi

Andrew Georgiades, the British-born, Greek Cypriot creative, is redefining modern artistry. From theatre and cinema to high fashion, his journey defies convention.

Rejecting industry norms, Georgiades blends his love for photography, music, and cinema with his fashion career. Embracing Bruce Lee’s philosophy of being like water, he navigates the fast-paced digital era with authenticity and balance, prioritizing mental health and personal growth.

Andrew wears
coat + scarf Nanushka
shirt + bag Issey Miyake Homme Plissé
trousers Loro Piana

“My first artistic medium was theatre and cinema. I fell in love with photography […]. Fashion came later, starting with retail jobs at Hollister and AllSaints, which led to modeling and opened my eyes to the interconnected world of fashion.”

Andrew Georgiades speaks with Chidozie Obasi
LE MILE .Digital

Chidozie Obasi
Was fashion your key go-to goal or did you dab into other stuff prior to venturing in this field?
Andrew Georgiades
Never. In fact my first artistic medium was theatre and cinema. At school I wanted to be an actor, and was deeply passionate about filmmaking as a craft and artform. This led me to fall in love with photography, and continue to achieve a bachelor's degree in multimedia design. Fashion came later on for me, my first two part time jobs (retail at Hollister and Allsaints) led to being signed as a model which introduced me to the fashion industry, and with it, opened my eyes to a world which felt very transferrable and intertwined with my other creative passions. I always knew modelling was not my end goal, and ended up combining all my talents to take advantage of social media platforms and the digital era to further my positioning in this high fashion industry.

As you’re paving the way amid a sea of social media creators in an age permeated by digitalisation, how did you manage to start in this field back in the day?
In a world dampened by labels and boxes, I approached social media in a more holistic way. For example, when instagram found popularity amidst the fashion industry, ‘models’ were encouraged to use this platform as their ‘portfolio’, sharing campaigns, and professional shoots. I was also advised to ‘create a separate account for my photography endeavours, as people follow me to see my face, and not my skills as a photographer’. I deliberately rejected this approach, and instead, used social media to show, behind the scenes of my job, my own personal fashion style, my personality, humour, photography, music and cinema tastes etc. And in doing so, I became a fully fleshed out human to my followers rather than a two-dimensional pretty face. This has become the normal approach now, but at the time, was a rarity. My style also aimed to bridge the gap between streetwear and culture and luxury high fashion.

What do you feel that has changed in this landscape?
I think what’s notable is how the landscape is in a constant and rapid state of change. For this reason I'm always looking ahead, with the intention to be adaptable and to evolve, and to stay ahead of the curve in a way that is truthful and unique to myself.

How do you manage to navigate through this system, staying afloat?
What did Bruce Lee once say? “Empty your mind, be formless, shapeless, like water. Put water into a cup, it becomes the cup, put water into a teapot it becomes the teapot.Water can flow or it can crash, be like water, my friend.” I love that quote, it gives this sense of being ever present, and not changing who you are. I'm water, I'm not trying to be ice, or fire, but be adaptable, be able to manoeuvre with swiftness. But ultimately, outside of constantly reinventing yourself, I'd say nourishing relationships, being true to yourself, kind to others, unapologetic, and believing and loving yourself. And embrace the ever teaching lessons of life, they come in different forms, every single day, you’ll miss them if you’re not looking.

Speaking of mental health and the hardships of being constantly exposed to the public eye, there must be a severe pressure to always ‘show’ parts of you in order to feel valued, coveted and appreciated. How much weight do you give this job, and where do you see yourself in a few years time?
I give this job a lot of weight, and at least the first few years, whilst being immensely enjoyable and deeply fulfilling, I burnt myself out. Which I think is sometimes necessary when starting out, especially if you want to pave your way. Now I have found more of a healthy balance: I know when to turn off, I don’t rush to post in real time all the time the way I used to. I am comfortable saying no to things if it doesn't feel right, I say no to most things. Might I add, I would also do this when I had no work and no money, and I think those no’s led to a lot of the opportunities I have today. In a few years time, specifically, that’s a secret, I keep certain things close to my chest. But every year is an evolution for me, I don’t like cycles of repetitiveness or being complacent or comfortable. So in a few years things are going to look a lot different, a level up.

Andrew wears
coat Dunhill
blazer Denzil Patrick
trousers Dries Van Noten

“The first few years were fulfilling but led to burnout. Now I have found a healthy balance: I know when to turn off and am comfortable saying no to things that don't feel right.”

Andrew Georgiades speaks with Chidozie Obasi
LE MILE .Digital

full look Loro Piana

team credits

seen Tom J. Johnson
styled Daniel D'Armas
grooming Doey Drummond
fashion direction Chidozie Obasi
talent Andrew Georgiades

What is the most challenging aspect of your job, and why?
I think as a creative and artist, and having built a large audience via social media the expectation to be constantly online, live and seen. As we’re in this cycle to show the ‘process’ of everything we do, our entire lives, curating instagram posts, posting stories everyday. Or at least following the landscape to be aware of the shifts and changes, all of these things can be a distraction from the creative process. Historically, when an actor prepares for a role, this happens in silence, when a musician lives the experiences he draws inspiration from to write, or when he records his album, he gives life that space to breathe. Being constantly online can take away from these life experiences you are required to live presently in, and to ’disappear’ in order to return better. This expectation to have this whole process documented in real time, can hinder creative thinking and headspace.

And how about the most satisfactory?
Everything else. The social aspect, meeting and learning from people from all walks of life with all different talents, travelling to the most beautiful places on earth, eating the best food, experiencing unique events you may otherwise not have access to, sporting events, F1, watches and wonders, Festivals, Cinema screenings, Theatre, Live music performances in intimate settings, art exhibitions, fashion shows. I’m a geek. I love the things I love, and this world is a platform to truly experience these things through a unique lens. Also the doors it opens, and the unlimited potential to go wherever you want from here.

What are your plans ahead of your future?
I want to design luxury products, fashion and interior design. I want to act in films, I want to make films, I want to be involved in the production of music, I want to shoot campaigns, I want to feature in campaigns. I want to collaborate with people who I respect, admire and inspire me. I want to inspire people. I want to launch my own brand. I want to live presently, I want to love intensely.

Future hopes for yourself and the industry?
God I don't know, I think I want to move away from virality for the sake of virality. I would love the care to maintain the artforms remain strong with less of the pretentiousness. I don’t have the answers, but I do believe in humanity. I believe I am on the right path.

follow artist @andrewgeorgiades

all images for LE MILE Magazine (c)Tom J. Johnson

Jesse Draxler - Interview

.aesthetic talk
Jesse Draxler
The World Is Mine & I’m Thinking About You

written Natalia Finnis-Smart

In the ever-evolving world of art there are certain artists who continue to leave a lasting impact on its shifting creative landscape. For many, their work transcends time and leaves a lasting, standout legacy that serves as an inspiration to the future.

One of these master originators, who first rose to fame during Tumblr’s early days, is Jesse Draxler. Throughout his career, the creative visionary has remained steadfast in presenting his imaginative creations by way of unapologetic experimentation and aesthetic dogmatism. I recently sat down with the aesthetic trailblazer to delve deeper into the experimentations that fuel his creative output, his latest true-to-form exhibition U&I, and new book The World is Mine and I’m Thinking About You published by Sacred Bones.

Jesse Draxler
THREE MOMENTS OF AN EXPLOSION

“When Tumblr came around, I started using it quite a bit, and I started gaining quite a bit of a following quickly. It changed the entire way that I worked. At that point, it was clear the Internet would be the main mode of distribution of my work moving forward.”

Jesse Draxler speaks with Natalia Finnis-Smart
LE MILE Magazine ISSUE, Nr. 35

Our conversation starts at the root of his meteoric ascent and how it has shaped his early career path. “In hindsight, I reflect on it quite fondly. I see it as a part of an origin story of sorts,” Draxler says. “I was moving a lot. My life was pretty chaotic, but I remember the time leading up to Tumblr.”

“I remember getting a text from a friend saying, ‘You should check out this Tumblr thing.’ I checked it out, and it took off very quickly. It changed the entire way that I worked. At the time, I was focused on making my work look very good in person, thinking that’s how I would get known. When Tumblr came around, I started using it quite a bit, and I started gaining quite a bit of a following pretty quickly. Not easily, but quickly. Then I thought, ‘Okay, this is how everybody is going to see my work.’ At that point it was very clear the Internet was going to be the main mode of distribution of my work moving forward.”

We then delve into how his Midwestern background has shaped the themes he explores in his art and journey altogether. “I’m starting to think about it a little bit more as it emerges in my work. In my show, U&I, there are pictures of deer fur and some bones which I took in Wisconsin, where I'm from, and I chose to use the images for aesthetic reasons, rather than conceptual. Now, reflecting on the way it interacts with everything else, the way it tells a story of where I was and what I was thinking about at the time and what I focused on, I think it’s really influential. I’ve been going back to Wisconsin as much as I can. I have a tiny cabin there. It has become my favorite place to spend free time, when I have any.”

Draxler proceeds to express the role experimentation has played in his process as an artist who blurs boundaries between different mediums, also touching on how to choose the most fitting ones to showcase as part of his artistic vision. “I’m still figuring it out myself. That’s the fun part, you know? Just learning how it works out. It's always changing. It's always progressing. I’ve been thinking a lot about how it's so important that I work directly with my hands. I will work on more conceptual-only projects in some fashion down the road where I don't have to have my hands in everything. But right now, with the way things are unfolding, if I wasn't hands-on with everything and I wasn't constantly using experimentation as a means of creation, none of these pieces would even exist.”

As experimentation is a significant aspect of his work, so are the messages he aims to communicate through his creations. Yet, Draxler acknowledges it can still pose a sense of difficulty because of how audiences are ultimately left with their own interpretations. “That's the hardest question, right? It's really up to the viewer and how they respond to it. I have control up to an extent until they view it. There are many themes of transformation, I would say, in my work, which is very important to me, and much of what I embody is centered on thought-causation as well as challenging the status quo. Those concepts are definitely rooted in my work, but my work is really meant to engage the viewer in a way that provokes them to discover meanings themselves.”

Speaking about his collaborations like those with the late Prince for his PlectrumElectrum album cover and an artistic collection with Alexander McQueen’s sister brand “McQ,” Draxler shares how these influences have shaped his practices and overall evolution. “I feel like, if I do one now, it's going to be a whole different story. The Prince collaboration was a long time ago. That's when I still lived in Minneapolis, and McQueen, that was more recent. Every time I get a big commission, I go through a period of sheer panic because it becomes the most important thing in my life at that moment, I must nail it. There are definitely moments when I'm working on those collaborations where I feel like I cannot do this. I'm about to fail. I have to call them. I have to tell them I can't. I can't deliver the greatness you deserve. I’m sorry. I feel it every time, and I have to push through that. It usually takes days, or it used to. And usually at the end of that, it's the greatest work.”

Jesse Draxler
LIQUID SWORDS

Jesse Draxler
TONER CARCASSALIER

“I’ve been thinking a lot about how it's so important that I work directly with my hands. If I wasn't hands-on with everything and constantly using experimentation as a means of creation, none of these pieces would even exist.”

Jesse Draxler speaks with Natalia Finnis-Smart
LE MILE Magazine ISSUE, Nr. 35

Jesse Draxler
LOVERS, The World Is Mine, I´m Thinking About You
published by Sacred Bones

In relation to his newest creations, Draxler premiered a new exhibition in Los Angeles, titled U&I, that dissects the concept of humans’ relationships to the world around us. “The title of the show goes back to emotional content. Something I've been focusing on recently is the idea of togetherness, even though I don't really like that word. But I guess relationships are on my mind a lot. I don't mean romantic relationships. I mean the relationship between everything, including the relationships we have with the objects in our life, our environment, the T-shirt we're wearing, our toothbrush, everything. I mean, the relationship with everything and how those objects and things we interact with all the time actually influence us. If we change those things, even subtly, how can they change our lives in big, meaningful ways? The title U&I is meant to be kind of a grand name, very inviting as well, open. It's not just me, it's you too. You're part of this, you and me. You're in this with me in some sense. It’s this idea of being more than an individual, blurring the lines of individuality, exploring broad relationships between not just each other, but from macro to micro, the inner world and the outer.”

Draxler’s U&I exhibition featured various artistic expressions, such as the inclusion of conceptual sculptures, video projections, and painted panels which he believes is key to the overall immersive experience. “As I mentioned before, the whole show is like a puzzle box, where the different pieces inform one another in a significant way. Including all of these elements tells a complete story. Including the sculptures is incredibly important because I wanted to highlight the physical aspect of my work. I really wanted the show to have a more experiential quality where people can enter a space and engage with an object, rather than just viewing it from the wall. The video shown outside on the building wall is a process documentary, shot entirely by me, showing the creation of every piece in the show. The videos inside are behind the DJs - vinyl will be spun all night before and between performances. Each performer throughout the evening, of which there are three - Ho99o9, Daniel Davies, and God Is War - has their own projection video created by myself specifically for them.” He goes on… “…those are only viewable on that first night of the exhibition but being able to see all of those along with the physical works, the panels on the walls, and the book, the clothing, I involved many senses because I want it to be all-encompassing. I want this world to envelop you.”

“The title of the show goes back to emotional content. Relationships are on my mind a lot. Not just romantic ones, but the relationship between everything, including the objects in our life, our environment. How those things influence us and can change our lives in meaningful ways.”

Jesse Draxler speaks with Natalia Finnis-Smart
LE MILE Magazine ISSUE, Nr. 35

With the show’s premiere comes his new book, The World is Mine and I’m Thinking About You, which tackles several present day concepts like the role of aesthetics and social media in today’s society. Draxler shares more of his approach to these topics and the conversations he intends to evoke: “I started including screenshots of tweets. I've always thought of tweets as more than just a tweet, especially a really good one. I screenshot a lot of them and have intentions to do things with them eventually. I found all the content for the book by going through my old hard drives and such. I also went through social media because Instagram now has an archive function. I looked back at my stories archive from three and four years ago to see what I was doing. I would come across things and think, ‘Wow, that was really good. I forgot about that.’ Here's another use of social media that's not social, it's just me looking through all that. I started seeing some really good screenshots, and I thought, ‘Oh, that should be in the book, all of that should be in the book.’ It just emerged and evolved from there, using screenshots in a book. There's not really a narrative, it's more like if I include this screenshot, it makes sense to include this one, and I can build on that. If there's any narrative, it's more supposed to be a provocation towards social media. It's meant to be a question of what's going on, how we perceive it, how we accept it, or if we accept it without questioning. By using these screenshots, I was able to communicate my thoughts, reactions, and responses to a lot of current events through social media and what's happening with technology.”

Concluding our conversation, I can’t help but ask his advice for aspiring artists who are beginning to explore their creative paths. “I recently tweeted not too long ago: don’t take advice. It’s common for me to have conflicting beliefs. I always find myself in that situation. I never really took advice from others. If someone gave me advice, I would usually do the opposite or think, ‘Well, that’s what you did. I want to do something different.’ “So, I’ve always avoided giving advice. What I will say is do you as much as you possibly can. That’s what I decided a few years ago, being as me as I can is the best thing I can do for my art.”

Jesse Draxler
FEED

Astrit Ismaili - Interview

.aesthetic talk
Astrit Ismaili
Bloom Unapologetically

written Monica de Luna

Astrit Ismaili, a trailblazer in the realms of performance art and experimental pop, crafts a sonic world where transformation is a lived reality. "The First Flower" project emerges as a vibrant testament to Ismaili's ingenious fusion of sound, narrative, and a profound exploration of identity.

Through an album that transcends conventional music boundaries, Ismaili plunges into the heart of queer experiences, challenging societal norms with every note. This interview unveils the layers of Ismaili's artistic vision, where the act of blooming becomes a bold statement against the backdrop of a world grappling with beauty standards, gender dysphoria, and the quest for queer visibility. With "The First Flower," Ismaili narrates the tale of transformation and at the same time embodies it, inviting listeners to witness the power of metamorphosis and the beauty of becoming.

Astrit Ismaili
art Ville Vidoe
styled GH
hair + make up Elvi
prosthetist + assistant Simon Marsiglia
garments Tra My Nguyen

“Music, especially the singing voice, has transformational properties. It transcends words, becoming universal. My goal is for the music to be catchy, leaving the public with a piece in their head and heart.”

Astrit Ismaili speaks with Monica de Luna
LE MILE Magazine TRANCE, Nr. 36

Monica de Luna
Your work as a performance artist delves into the transformational potential of bodies and spaces. How do you approach the fusion of experimental pop music and performance to explore this concept?
Astrit Ismaili
I believe that music, and especially the singing voice, has transformational properties. The voice, produced from within, and the melodies can often be transcendental. Words that are sung add an emotionality that somehow makes it surpass the meaning of the actual words, therefore it becomes more universal. For me, it is important that the music I make is catchy so that the public leaves the performance with a piece of music in their head and heart!

"The First Flower" project is derived from your previous performance work titled 'MISS.' Could you tell us how the transition from performance to an experimental pop music album took place and what themes you carried over from 'MISS'?
I compose music for all my performances, including ‘MISS’. However, this is the first time that the music of the performance has become an album with the intention to connect with the public outside the realm of live performance. The album deals with many different subjects but is mainly about the courage to transform and ‘bloom’ in hostile environments, and by doing so, not only changing themselves but also the surroundings around them, just like the first flower on earth, which is the totem of the album.

In "The First Flower," you explore the perspective of the world's first flower undergoing physical and spiritual transitions. How did you use this unique perspective to address issues such as beauty standards, gender dysphoria, and queer realities within the context of your album?
The transformation of a plant into the first flower on earth, which is believed to have happened hundreds of thousands of years ago, has indeed revolutionized the entire ecosystem. Knowing that a lot of organisms on earth depend on flowering plants and exist thanks to them. On the other hand, this change came with a big price. The commodification of nature and the extraction of natural resources has brought us to a climate emergency. The songs speak about the industrialization of flowers and climate change but also about queer phenomena that, within the botanical world, happen naturally and undisturbed. The story of the first flower is used as a metaphor to talk about my experience as a queer person navigating environments that work against queerness. Some songs are also quite political and personal and speak about the struggle of identities that are fighting for their political existence in society.

You mentioned using the first flower as a metaphor for queer experience and transformation. Could you dive deeper into how you developed this metaphor throughout the album? Were there any personal experiences or historical events that influenced its integration?
In the song 'Queer Garden,' among other things, the lyrics talk about the sexual fluidity of plants. For example, Avocado trees seamlessly transition between male and female reproductive phases within a span of 36 hours. During the day, they unfurl pollen-producing flowers, while by night, they bloom with pollen- receiving buds. Similar examples exist in nature, and over hundreds and thousands of years, while in our societies, anything that doesn't fit the patriarchal system is oppressed. I, like most queer people, have to navigate in societies that cater to heteronormativity, and metaphorically speaking, "blooming" unapologetically in these environments feels like an image of a flower growing out of concrete.

The album showcases a stylistic hybridity of performance art pop, hyper, gabber, and glam, along with contemporary sound design. How did you decide on these stylistic elements, and how do they contribute to the album's narrative?
The album represents an eclectic selection of genres that somehow influenced me, consciously and unconsciously, in my upbringing. In general, the melodies are quite pop and catchy, but the structures of the songs are actually fighting the traditional structure of a pop song. The songs in the album are rather way longer than the usual songs, and the lyrics are definitely not the basic love songs that one can hear on the radio nowadays. I guess, coming from performance, my approach to writing lyrics is a way to tell non-linear stories, as well as to fabulate, speculate, and be playful. The narrative and the unconventional way of how I compose the melodies for this album asked for a more unique music production approach. The decision to work with different producers for each song and sometimes even a few producers in one song allowed for different references and ideas to come together, and voila, this is what came out!


Your work often involves alter egos, body extensions, and wearable musical instruments. How do these elements help you embody different possibilities for becoming, and what role do they play in your creative process?
Through alter-egos, body extensions, and wearable musical instruments, I try to expand the human body beyond its norms. I question distinctions between natural and artificial, real and fiction, body and machine. By doing so, I want to understand where our bodies start and end and how this extension relates to current socio-political contexts in relation to gender and identity.

“Femininity, like flowers, is seen as delicate but is actually resilient and intelligent. I believe masculinity and femininity exist in nature beyond gender, and I showcase oppressed notions as empowering.”

Astrit Ismaili speaks with Monica de Luna
LE MILE Magazine TRANCE, Nr. 36

Astrit Ismaili

You've touched on reinterpreting femininity within your work. Could you expand on how this exploration has evolved over your career? Are there other aspects of identity politics you're interested in exploring through your future work?
The use of wearable musical instruments, body extensions, and fiction in my work are tools to somehow move further from the bodies and identity questions that we are dealing with today. To be honest, identity politics bore the hell out of me; I wish we did not have to deal with it at all. However, the environment is pressing us to deal with urgent concrete matters because they really affect my life and then also my work. So I find myself in between telling stories that seem urgent and using my voice politically, but more importantly, contemplating future bodies, new bodies, and other possibilities of becoming, referencing material from academia, biology, science fiction, etc.

You've been active in the Kosovo children's music scene since the early 2000s. How has your background in music composition and singing influenced your approach to performance art and experimental music?
Well, I've realised there's a power in being able to do it on your own. So, of course, you never do anything really alone, which is also an illusion, but this thing of working intuitively with the process and not splitting it too much up into parts is something I learned a lot. I think has been working for me and makes it interesting for me to go back to it as kind of my own technique of making music.

And then in terms of next projects, you said you're working on new music, right?
From a very young age, I've been surrounded by women musicians, and singing as a child with my sister surely left a mark on my artistic journey. My grandmother had a great voice and was always singing and telling stories around the house. My mother, Selvete Krasniqi, is a music composer, and she introduced us to music and art. As a teenager, I worked at a radio station and had the chance to listen to and select new music for my show. While doing so, I loved guessing who would be a star. I was right a few times; for example, I guessed that Gaga, Amy Winehouse, and Adele would be big stars when they just came out, and they were. I loved playing that game! Later, but still quite young, I directed a music video for 'E dehun' by Era Istrefi, one of the biggest pop stars in Kosovo. Naturally, pop music became my main field of research, always seeking new sounds, aesthetics, and live pop performances interested in the use of fashion, art, and social questions by pop stars.

However, my obsession with pop music took a different approach and direction in my practice. At first, I was fascinated by the impact of pop music on society. I adopted pop music songwriting and pop performativity in my practice, but my approach was more spatial, experimental with a goal to explore the transformational potential of bodies and spaces. The performance art scene allowed me to take a more conceptual approach and also freed me from the weight of being an entertainer, which is something I am not so interested in my practice. Making this album now has made it very clear that I will continue recording my music in the future. Reaching the public through recorded music is another outlet that creates more accessibility in my work, and I am definitely interested in that!

Can you share how your collaboration with artists like Mykki Blanco and Colin Self shaped the sound and narrative of "The First Flower"?
This project is indeed a dream project. Having the opportunity to work with Mykki Blanco, someone I looked up to for many years who has inspired me and an entire generation with their courageous presence and their cutting-edge work. It's been a total honor to work with Mykki, and their contribution in ‘Miss Kosovo’ has definitely elevated the song artistically and politically, making the song, I believe, an anthem for the underrepresented identities who are fighting to be recognized and acknowledged.

Colin Self produced ‘Voices’, a very personal song to me which actually speaks about my experience of the Kosovo war. Me and Colin are also friends, and they produced a song that is indeed one of my favorites in the album. Working with them has been so inspiring and safe; it's always beautiful working with queer peers and supporting each other. I love our beautiful connection and friendship and appreciate Colin's work as an artist, and I am blessed to have a song with this great artist and friend.

In your artistic practice, femininity is seen through a queer lens as a transformational force. How does your exploration of femininity intersect with your examination of pop culture and identity politics through music and performance?
Flowers seem to be considered feminine and delicate, fragile which usually in society have a connotation to weakness and naivety. But in reality, their story is one of intelligence, sophistication, beauty, and resilience. I feel the same about femininity; I believe both masculinity and femininity exist in nature in different shapes and qualities outside sex and gender. Our bodies are made of both and more. I am always interested in working with notions that are oppressed and showcasing them as empowering.

follow artist @astritismaili_

all images (c) Astrit Ismaili

Patricia Vernhes - Interview

.aesthetic talk
Patricia Vernhes
The Phenomena of Keepin’ On

written Colter Ruland

Patricia Vernhes has gone by many other names. She was professionally known as Pati Yang and formed the bands Children, Flykkiller, and Patti Yang Group. Her Polish birth name is Patrycja Grzymałkiewicz. Her name, like her life and work, is constantly changing and reforming.

Vernhes’s past lives are manifold. She grew up under martial law in Poland, touring with her punk rock stepfather, Jan Borysewicz of the band Lady Pank, as the country transitioned from communism to democracy; she emigrated to London, lying about her age in order to study at university, only to have her visa denied while she bartended during the night to go to class in the morning; she started several experimental bands and released her debut album, Jaszczurka, in 1998 with Sony Records; she moved to the United States by way of New York, where she began some of her first paintings, before finally settling in the desert near Joshua Tree, California.

“Once I stepped out of the car for the first time, I knew I needed to live here. There is ether around, waiting to be filled with ideas, creations, manifested thoughts and wants. It's like living on a blank canvas.”

Patricia Vernhes speaks with Colter Ruland
LE MILE Magazine HEROES, Nr. 32

Vernhes’s interdisciplinary artistic practice is the convergence of these many past and present lives, incorporating elements of sound installation, sculptures, found objects, and abstract painting. No matter the type—she rightly disputes any concrete “classification” of herself or her work—the vein running through her story is the desert in which she currently lives with her new name, creating what she calls a “dialogue with the other side.”

Vernhes lives on a plot of land near the 70,000 acres of wilderness at Black Lava Butte, a part of the Sand to Snow National Monument. This environment, too, is a convergence of multiple ecosystems. This is an area where several deserts exchange boundaries, where chaparral and woodlands are found to the west, the San Bernardino Mountains beyond.

When she came to the desert, Vernhes was struck by the immense quiet: “I consider silence one of the rarest luxuries of the modern world. Once I stepped out of the car for the first time, I knew I needed to live here. There is ether around, waiting to be filled with ideas, creations, manifested thoughts and wants. It's like living on a blank canvas.”

Within the silence that the desert provides, Vernhes founded a studio where she creates sculptural work in an ongoing series called Other One and an experimental audio project called Noirmoutier with her husband Nicolas Vernhes, a music producer, mixer and engineer. The objects Vernhes creates are often encased in plaster and epoxy, an act of simultaneous exaltation and deconstruction. Noirmoutier adds a performance element to her work that, in her words, acts like a “blood pulse in the veins of an image.”

The two utilize a variety of instruments, including a set of 20 binaurally tuned quartz bowls, synthesizers and analog tape delays, to create auditory experiences inspired by the laws of sound, hallucinatory resonance, and sound therapy.

Noirmoutier creates soundscapes that remove referential frameworks and clear structures so listeners can sit with themselves, reminiscent of how animals might perceive, understand, and interpret sound. Their aim is to convey a nonverbal narrative inspired by the stillness of the desert. The same is true of Vernhes’s sculptural work: the structures of objects and how we might expect to interpret them are realigned, pulled out, or hidden altogether. By recasting an object, Vernhes both destroys the original and elevates it as a work of art.

“I can never put an object back where I took it from in exactly the same way. That place will never be the same as it was before I picked it up. It’s a renewal in the sense of giving a new meaning to an object and transferring it, with that new mission, elsewhere.”

Patricia Vernhes speaks with Colter Ruland
LE MILE Magazine HEROES, Nr. 32

While her work can operate separately—here one might point out her sculpture, over there her music—they are meant to work together. This cooperation extends to the environments these objects and sounds reside in.

“I paint with light and shadow and everything that surrounds me.” Vernhes frequently installs her painting and sculptural work in the surrounding hills. Their placement outside in the desert is documented like one might document a rare ritual.

The experience of Vernhes’s work, especially alongside Noirmoutier’s live performances, recalls our oldest stories and the oral traditions they come from—how many of them do not have singular, identifiable authors and are therefore rendered genderless and fluid. Her work, like the oral tradition, is not cemented in written language. Like these stories, often centered on heroes who are emblematic of entire societies or ways of being, Vernhes’s work, rooted in the personal, is emblematic of the universal nature of things: the planet, memory, and existence.

Vernhes cherry-picks elements of larger, unseen dramas.

A camera Vernhes’s grandfather gave to her mother, now covered in plaster, encloses the memories of her familial life in Poland. This sculptural camera, called Les Premiers Pas, recorded Vernhes’s first steps as a child. One only needs to peer a little deeper to see the larger backdrop of growing up during that time.

“One of my earliest memories,” says Vernhes, “is watching the army and tanks outside of our house. Sometimes I see this memory from above, as if I took myself out of it and witnessed it as a ghost. Sometimes I see it abstractly: brutalist architecture, vandalised staircases, rationed food, empty stores, censored art and music that led to a vibrant underground culture, propaganda, double standards in education when we secretly learned at home the ‘other’ history that we weren’t allowed to disclose outside our homes in order to keep our families safe. This phenomena of keepin’ on as if all was OK, as if joy and love were our birthright no one could take away—it was full of polarities.”

It is this phenomena, wild and protean, that Vernhes wrangles and concentrates into her objects. She transmutes the past into profound meditations on purpose and renewal.

A decade ago, Vernhes’s intestines twisted and she nearly died. Her internal scarring, the result of the traumatic handling of her organs in an emergency procedure, formed adhesions. Vernhes, who recently underwent another surgery to address this past trauma, speaks of this time in relation to her own work, of removing and handling objects that form new bonds, adhesions, with worlds they may not be familiar with. A chess board is repainted in order to void its own rules; a large piece of natural driftwood is artificially sealed in white plaster; two lava stones are placed together to form a pair of organs during the pandemic in 2020, when we were only beginning to learn how COVID-19 affects the lungs.

also read
Patricia Carr Morgan *I Love You Don’t Leave Me

The organic and the humanmade become interchangeable, handled with care even if they are forever altered. Like Vernhes’s own body, these objects are reformed to find new purpose. “I can never put an object back where I took it from in exactly the same way. That place will never be the same as it was before I picked it up. It’s a renewal in the sense of giving a new meaning to an object and transferring it, with that new mission, elsewhere.”

Once Vernhes takes an object from its natural state or recast from its original intent, it is an action that has the potential to reverberate throughout time. A river rock, taken from a dry lake bed in Johnson Valley near Landers in the Mojave Desert, might never have been touched by human hands until Vernhes came across it. A Japanese pachinko machine from the 1950s, found in a swap meet, can no longer function properly and dispense euphoria in the same way it was intended.

What kinds of lives do inanimate objects have outside the moments we are aware they exist? Can these things live independently of our involvement?

There is something inherently tense, grand, foreboding, tragic, perhaps comforting about using an object such as a pachinko machine or a river rock as a microcosm for existence. “The rocks are laughing at us,” recalls Vernhes, when she installed several works amongst the harsh shadows of boulders overlooking the desert. One’s existence, like the many lives Vernhes has lived, suddenly becomes so small when placed within a landscape that is millions of years old. So much of Vernhes’s work is about decentering our perceived importance.

There is an elegiac quality to these objects that are irrevocably changed. While they indeed remind us of our own mortality and uselessness, they also remind us that our utility is not codified. All things are able to undergo transformation, and because something has always behaved in one way, it doesn’t mean it cannot be changed. The memories trapped in Vernhes’s camera can simultaneously be about life under martial law or her first steps as a child. The river rock can be mourned for its removal from the desert or it can be lifted from its humble origins onto a pedestal as a remarkable work of art. Vernhes helps us escape from the labels we inflict upon each other and ourselves.

“I am thrilled to send my sculptures into the world so they can change whatever environments they end up in.” Perhaps the rocks, and any other objects Vernhes sends from her small studio in the desert, will carry their laughter with them.

follow artist @patriciacvernhes

Chloë Cassens - Interview

.aesthetic talk
Chloë Cassens
Sacred Monster

written Colter Ruland

There are many ways to first encounter the work of Jean Cocteau. For some, it’s through his poetry and novels; for others, it’s through his films and paintings. While he might have flirted with a number of the major art movements he lived through, he never seemed fully committed to any one in particular, ultimately turning him into a chimera whose influence runs deep within culture, perhaps so deep it runs the risk of being underappreciated.

This is why Chloë Cassens decided to start her educational and essay project SACRED MONSTER: to excavate the surprising connections and lasting influence Cocteau continues to have on everything in contemporary life, from art, to celebrity, to sexuality. A writer and representative of the Severin Wunderman collection (the largest collection of Jean Cocteau in the world), Cassens offers an intimate perspective on a towering figure who has more in common with the art, movies and media you like than you might realize.

Chloë Cassens
seen by Frédéric Tröhler

Jean Cocteau
Illustrated Letter, Portrait of Peggy Guggenheim, s.d. (1956 c.)
Ink on paper, 22,5 x 15,5 cm
Private collection

©Adagp/Comité Cocteau, Paris, by SIAE 2024

“Cocteau’s power and true brilliance comes from the fact that, in my opinion, he and his work were consistent in theme and subject matter, even if it was extremely ahead of its time and taboo.”

Chloë Cassens speaks with Colter Ruland
LE MILE Magazine Digital

Colter Ruland
When was the first time you were conscious of Jean Cocteau’s importance in your own life?
Chloë Cassens
My grandfather passed away suddenly in 2008, and we were very close. I was 14 years old at the time. I remember being drawn quite strongly towards Cocteau’s work in that immediate aftermath, as it made me feel connected to Severin and was absolutely a way to process my grief. It was the first time that I felt really attracted to Cocteau on my own terms. I think that a large part of my ongoing research and interest in Cocteau will be rooted in that grief. It’s an emotional connection for me, in addition to being an intellectual pursuit.

The next issue’s theme is AGE OF CHANGE, which is fitting given that Cocteau worked across a plethora of mediums. Today one might be tempted to call him a nonconformist but what do you think?
I often say that Jean Cocteau is the cultural equivalent of a Rorschact test. What people define him as, or how they know him, really says more about them than it does Cocteau. Cocteau’s power and true brilliance comes from the fact that, in my opinion, he and his work were consistent in theme and subject matter, even if it was extremely ahead of its time and taboo. In some ways, I think the terms to best describe him came after his lifetime, depending on who’s talking. It’s certainly apt to call him a nonconformist. I’m a rock chick at the end of the day, so in my mind, he was Punk before Punk ever existed.

How do you think the response to Jean Cocteau has changed (or stayed the same) over the years?
It really depends on who I’m speaking with. To the film nerds I live with in Los Angeles, he’s a legend (and they’re not aware that he worked in every medium available to him, but think he was simply a filmmaker); the Parisians I hang with can’t believe that he isn’t a household name internationally, to all generations. To people in the art world, he’s on the upswing, especially following the Peggy Guggenheim exhibition in Venice. What’s consistent is that there’s always something to chew on and appreciate. Very rarely do I run into a negative response to Cocteau’s work, especially nowadays, which is interesting seeing as Cocteau wasn’t even cutting edge, but bleeding edge, so far ahead was he! And it’s a hallmark of those who are really at the forefront, cutting new paths and doing things that are truly different, to not be understood or fully appreciated by the public at large.

How do you respond to change in your own life?
I welcome it. I love change and find it comforting. It’s one of the few certainties we have in this life. To go in a woo-woo LA direction, I’m a Scorpio with a stellium in Scorpio. My oldest, closest friend is an astrologer, and tells me that most of those placements are in the 8th house, which signifies rebirth and change, on top of the fact that Scorpios have a propensity towards reinvention. Perhaps it’s just my nature. I get really antsy and irritable when things are too consistent for too long.

You’ve had an interesting trajectory, to say the least, from working at The Roxy as a teenager to DJing to working at The Sex Ed. How do these experiences culminate in your current work as a writer?
Speaking to the way change has affected my life, I’ve always had the mentality that I should roll with it, and go where the wind takes me. I wouldn’t say that I come from a place of “yes”, but rather, a place of “fuck it, why not?” Overthinking things can be my downfall, and jumping into something before asking too many questions has worked out (so far!). I started at The Roxy when I was only 14 years old and told by my parents to get a summer job. I think they would have been satisfied if I’d babysat kids in the neighborhood, but instead I got a job at the local rock club. I didn’t think much of it at the time, I just figured I could walk to work and I liked live music, so I reached out and they were crazy enough to give me a gig.

The same thing happened with The Sex Ed. I was preparing to move to Paris, ironically enough, for a master’s as I was quite stalled at the time. I got an email from Liz Goldwyn saying that we had mutual friends and that because of my DJ experience, could I help with her podcast? I thought to myself, sure, I’ll do this sex thing for a month or two, maybe learn a cool trick before I leave the country, and ended up loving the job so much that I stayed on for four years, and advanced well beyond just producing the podcast.

The same thing happened with SACRED MONSTER. I had the thought that I needed to do it, and jumped in. I started to write, and here we are. There’s never a good time, so you might as well just do that thing now and think about logistics later. While I go where change takes me, I never leave something unfinished, and I never, ever half-ass anything. If I decide to do something, it’s because I think it’s worth my time. If I’ve learned anything, being the granddaughter of someone who was literally called “The Time Lord” while he was alive, it’s that time is our most valuable resource. I absolutely loathe wasting it.

Jean Cocteau
Fear Giving Wings to Courage (La Peur donnant des ailes au courage), 1938
Graphite, chalk, and crayon on cotton, 154,9 x 272,1 cm
Collection of Phoenix Art Museum, Gift of Mr. Cornelius Ruxton Love Jr

©Adagp/Comité Cocteau, Paris, by SIAE 2024

“Cocteau is relevant to contemporary culture in so many ways. As you mentioned, he was a chimera, always changing, never conforming. Pop stars today are expected to have set 'eras,' which is something he was doing way before the practice.”

Chloë Cassens speaks with Colter Ruland
LE MILE Magazine Digital

Philippe Halsman Jean Cocteau
New York, USA - 1949

©Philippe Halsman / Magnum Photos

Do you think this multi-hyphenate background allows you to better understand the breadth and variety of Jean Cocteau’s work?
I do, to a degree. I have an appreciation for his flexibility in his choice of creative mediums. I think that being literally and figuratively nimble keeps you sharp in life; helps you go further, makes you and your work stronger, and makes you overall a healthier human being in mind and body. Cocteau was constantly experimenting and surrounded himself with young people, which kept his eye looking consistently ahead. I think that perhaps my background has done the same for me.

Do you think there is perhaps a link between your perspective from working at The Sex Ed and the thread of eroticism running throughout a lot of Jean Cocteau’s work? What can this 20th Century eroticism tell us about sexuality today?
I am so grateful to have had my experience at The Sex Ed because it really informs my worktoday in more ways than I can count. First of all, I learned through practice how to educate and meet people where they are on a tough subject. Sex is the background software running in everyone’s life and it informs so much of our decision making, conscious or not. Sex is also extraordinarily taboo, regardless of audience or background or mindset. The deeper I come to understand sex in culture and society the more layers to the taboo there are to discover.

I was hanging out with a new friend, an artist, in Paris not too long ago. He started to tell me that he was interested in exploring some of what he called the “darker” – meaning sexual – aspects of his psyche and incorporating them into his practice. But he was stumped when I asked why he thought merely exploring sex and pleasure would equate to darkness. Maybe for him it was a French, Catholic thing, I don’t know. There’s a lot of really heavy shit tied to sex in that way. At The Sex Ed, we always approached sex from a perspective of joy, emphasizing both the connection between mind and body as well as everyone’s right to pleasure. And I think that Cocteau, in his exuberant, queer – and vulnerable – exploration and depiction of his desires, for lack of a better word, triggered people who clearly had a lot of baggage associated with sex and eroticism. It's a subject that I’m super comfortable talking about. I could talk about sex and art and Cocteau all day long, and again the next day.

Cartier Paris

Academician’s Sword for Jean Cocteau, 1955
Gold, silver, emerald, rubies, diamond, white opal (originally ivory), onyx, blue enamel, and steel blade)
Lunghezza: 87 cm
Cartier Collection

©Adagp/Comité Cocteau, Paris, by SIAE 2024.

Jean Cocteau
Untitled (Sans titre), 1930
Ink on paper, 29,6 x 20,9 cm
Centre Pompidou, Paris. Musée national d’art moderne / Centre de création industrielle, Gift, 2018

©Adagp/Comité Cocteau, Paris, by SIAE 2024

As the representative of The Severin Wunderman Collection (the largest collection of Jean Cocteau in the world), how do you think Jean Cocteau remains relevant in contemporary culture at-large?
I think Cocteau is relevant to contemporary culture in so many ways. As you mentioned, he was a chimera, always changing, never conforming. Pop stars today are expected to have set “eras,” which is something he was doing way before the practice. He integrated the personal into his artistic output in a way that is also pretty normal today but was really looked down on in his time. He worked with whatever technology he had available to him, and wasn’t set in one medium, which is almost expected today. I think for sure he would be on TikTok, and would’ve been early to MySpace and Instagram had he been alive today. The tendency towards provocation I also think is relevant to today. Whether or not he enjoyed it, necessarily, he certainly poked the bear and participated in the 20th century French art world equivalent of what we call rap beefs today (the Surrealists were always big mad at Cocteau for one reason or another). Cocteau understood the attention economy in ways that his contemporaries didn’t.

Your project SACRED MONSTER is a bi-monthly essay project exploring Jean Cocteau, his friends, your grandfather Severin Wunderman, and contemporary culture. Some of the essays chart surprising territory, like connecting the dots between surrealism and Vanderpump Rules, for instance. How do you think the scope of the project will evolve over time?
The scope will evolve as I do, hopefully. I’ve already found that I work best in a “one for them, one for me” pattern with one educational Cocteau deep dive and one slightly broader cultural deep dive per month (like the Vanderpump/Surrealism piece). It’s always anchored and rooted in Cocteau, which is great, because there really is no limit to subject matter there. But I also hope to connect dots elsewhere when it comes to Cocteau and the meeting point between whatever you want to call it—high and low culture, academia and pop. I’m really excited about a piece I’m working on about K-Pop, Blackpink and how they are the latest example of a practice originating from Louis XIV and his cultivation of soft power via French arts and culture.

What was it like being surrounded by Jean Cocteau’s work throughout your life? I understand you even grew up around objects that were originally in his film La Belle et la Bête.
It was, more than everything, a privilege to grow up in this environment. Not a day goes by where I don’t think about how stupidly lucky I am to have had the experience and childhood I had.

Did your grandfather ever express how any of Jean Cocteau’s works made him feel?
He didn’t really speak to me about the emotion of it, but I think that there certainly was an element of pride to it. He was surrounded by a collection he worked extremely hard to be able to afford and acquire. He really lived and breathed and immersed himself in it, and anyone in his orbit had no option but to share in that environment as well. Pride and love.

Is there a particular work of Jean Cocteau’s that you continue to find something new in over time?
I always find something new and interesting in La Belle et La Bête. It’s an extremely kinky, layered piece of cinema history, and because it’s a great entry point for people unfamiliar with Cocteau, I find myself watching it a lot. I’ve yet to tire of it. I’ve also been revisiting Cocteau’s erotic novel Le Livre Blanc, which was so scandalous that he originally published it anonymously, as well as Le Testament d’Orphée, which was his final film and a sort of self-written eulogy. If you’re a die-hard fan of David Bowie, which I am, Le Testament d’Orphée was without doubt the blueprint for Blackstar.

What is next for you and SACRED MONSTER?
I have a lot coming. In a lot of ways, SACRED MONSTER is a central place for me to collect all of my work around Cocteau that’s accessible from anywhere in the world, because a lot of what I do involves in-person speaking and lecturing—and I’ll go anywhere that will have me, so don’t hesitate to reach out! I dream of taking SACRED MONSTER global and speaking in places that are new to me, like Japan, South Korea, Brazil, Mexico, truly anywhere. Have passport, will travel. I also have plans for exhibitions and projects that extend past my current essay format.

When it comes to SACRED MONSTER and Jean Cocteau, I guarantee that there is something to interest everyone. You’ll really just have to subscribe and follow along. I promise that if you do, you’ll end up a little bit smarter, which can’t hurt—unless you’re into that kind of thing, in which case, I’m always happy to oblige.

Agnes Obel - Interview

.aesthetic talk
Agnes Obel
The Power and Poise

written Chidozie Obasi

Denmark-born, Berlin-hailed multi-hyphenate artist Agnes Obel has an ability to walk a fine line creating records that are both emotive and raw. But the beauty of her work is that her entrancing, soul-laden voice also has the prowess to leap from alt-pop to indie, connecting the dots with emotional power.

“As a songwriter, I think the stuff I aim towards journey across a conscious level, turning into a quite subconscious state,” she details, with no signs of peacocking braggadocio on display. “So when I’m writing,” she explains, “I can see a pattern that isn’t planned: It’s sort of happens with a natural frequency, which ignites the longing of the most intimate emotions that run through my music.”

The singer’s impressive depth shines through the polarity of her practice—fear, love and grief are all in the picture, a canvas she meticulously curates by writing, recording and producing on her own terms—but it’s always by the sheer soulfulness and powerful ingenuity of the music, and the way Obel sings even the darkest lyrics with rhythmic and melodic daring. “I really like how language, when working metaphorically, can make the mind jump to different places,” she says, adding how “sometimes people wonder if my lyrics are truly about anything, but it's just how my imagination works.” Pure, gloomy and impactful, her vocals sit in the passenger seat of our consciousness, wrapping us in a comforting blanket of melodic thrills and poignant lyricism.

Agnes Obel
seen by Christopher Puttins

blazer MARKE
dress AVENIR

total look WILLIAM FAN

“I think the stuff I aim towards when making music journey on an unconscious level, quite subconscious dare I say. So when writing, I can see a pattern, but not a planned one: It’s sort of what is happening on a naturally-driven flow, which makes longing the biggest emotion that runs through my music, and again it’s not done on purpose.”

Agnes Obel speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

seen CHRISTOPHER PUTTINS
styled CHIDOZIE OBASI
hair + make up KATJA MAASSEN
coordination DENNIS CAPPABIANCA
photo assistant MORITZ HILKER
talent AGNES OBEL

special thanks to Chateau Royal Berlin
LE MILE shot Agnes Obel in the Apartment of Chateau Royal Berlin

Chidozie Obasi
I'd love to begin by taking a trip down memory lane. What's your earliest memory of music?
Agnes Obel
Well, you know what? I truly can't recall a particular memory or moment that made me fall in love with music, but I guess there’s a few. I don't even know what my first memory is [Laughs]. I started playing piano really early, and my piano teacher was a cellist, who also played the instrument. She quickly discovered that I loved a particular repertoire, and the one I was really into was that of Impressionist pianists. I was 10 at the time, and I bought a compact disc with a DVD that played Debussy’s Clair de Lune: I don’t exactly remember the version, but I still have the CD somewhere at home and every time I listen to it, it provides me this out-of-body musical experience. I somewhat realised this piece was the start of a journey.

Could you agree that growing up in Denmark has impacted your sound in a way?
Undoubtedly so. We are all a product of where we grew up, and I feel like my parents truly influenced me in many ways. Also, the media I was exposed to rendered my experience of music and the repertoire I liked as a kid. But I guess a lot of the music my parents played back in Denmark was a of a simple kind. If they played classical music, it was more instrumental, but when they played jazz, it was more of an upbeat kind. I feel like I got my candour and simplicity from them.

A large fraction of your repertoire sounds lyrically cathartic and poignant, with a somewhat mystic layer that punches right into the soul. What exactly are the emotions that you wish to express in your music?
I think the stuff I aim towards when making music journey on an unconscious level, quite subconscious dare I say. So when writing, I can see a pattern, but not a planned one: It’s sort of what is happening on a naturally-driven flow, which makes longing the biggest emotion that runs through my music, and again it’s not done on purpose.

Do you think that, aside from longing, loss is another component of your repertoire? Because there’s a blend of love and melancholy in Riverside, for example, which stretches to Familiar, and I trust there’s someone or something subconsciously hidden you’re referring to.
It’s fun to personify things that echo on in your mind, and I really like how language, when working metaphorically, can make the mind jump to different places. Here in Germany, there's a strong tradition for one-to-one lyrics. And that's when I made Familiar: I was working in a studio next to German pop songwriters, and I realised that everything I wrote was a metaphor. I'm completely aware it doesn't always work, and sometimes people wonder if my lyrics are truly about anything. But it's just how my imagination works.

Starting from the soft and honest lyricism of Philharmonics (your 2011 album), and then walking through the highways of the Aventine (your 2013 album), you round up with Myopia, creating an extraordinary sonic journey that blends emotion and execution. How do you keep feeding your sound?
I think all humans process the world through storytelling, and when stuff happens to us, we make stories about them in different ways. I’ve found my way of making stories. I try as hard as I can because I write on my own, and I develop avenues I have maybe traveled to or I try to avoid. So here's so many things I can do and try to repeat. In my studio, I have settings for each single song. On technical terms, I have a setting for various voices. So I can, of course, go down the same sound route if I want to. Sometimes I try, as I use literature a lot, to feed my mind with words and ideas by finding a way of expressing what I feel. For example, now I have kids I feel like being pregnant was really crazy. It's like you have this cycle of biology happening inside of you and you have no control. I thought it was very inspiring and also a little scary. And now this feeling I have from becoming a parent I believe is one that relates to universalism, where you kind of feel love for everything except yourself. I never really had anything like that before. It's a very strange thing, a weird phenomenon that happens to your brain. I tried to become familiar with that through literature.


What does the familiar mean to you? There’s so many ambiences in your songs, like the river, the curse, the Aventine. There’s also a wealth of emotional and physical places that are very familiar to you, which are recurrent in your pieces.
I feel like I can only sort of make music from a very calm place. There's an element of irritation. I think that in Familiar, there was some irritation, but it was a sort of fear. I was annoyed at that sort of this fearfulness of the transformation and of what that could be. In this case, it was love. It's like the idea of a love or a thing that could exist, but there's this fear of what the outside world would think.

“We are all a product of where we grew up, and I feel like my parents truly influenced me in many ways. Also, the media I was exposed to rendered my experience of music and the repertoire I liked as a kid. But I guess a lot of the music my parents played back in Denmark was of a simple kind. If they played classical music, it was more instrumental, but when they played jazz, it was more of an upbeat kind. I feel like I got my candour and simplicity from them.”

Agnes Obel speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

total look BOBKOVA

And was there a particular moment that you found lost in your music and went through a state of myopia that made you refrain from writing?
Absolutely. When I made Myopia, that's the only time I really had a hard time making an album. And I can also tell now when I listen to it: My father died in 2014, and I'm not able to process it yet. However, I said to myself that I’d just keep going and continue whatever I'm doing. And then I think grief and sorrow really hit me when I made Myopia. I was making music alone sitting in a little box by myself, and when you’re zoned out in your loneliness it hits you very hard, particularly when it’s someone so close that you’ll never going to see again. Even though this loss made the whole writing process difficult, it was also inspiring: I was trying to work by pitching down my voice again, like I've done with Familiar, to represent this feeling of an undercurrent of voices, people, spirits and characters who are part of our lives, but fade at some point. You can feel their presence in a way, and I was trying to represent that sound-wise and lyrically, endlessly experimenting with both.

What have you learned about your music over the years?
Well, I've realised there's a power in being able to do it on your own. So, of course, you never do anything really alone, which is also an illusion, but this thing of working intuitively with the process and not splitting it too much up into parts is something I learned a lot. I think has been working for me and makes it interesting for me to go back to it as kind of my own technique of making music.

And then in terms of next projects, you said you're working on new music, right?
Yes, I’m working on a new album and it’s feeling incredibly cathartic, yet again. And I’ll tell you: there’s something about the brain that believes that you've finished the process, but there’s a punchy beat that keeps pulsating inside, so now I'm like [pauses momentarily…] well, maybe I shouldn't give away too much.

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discover online www.agnesobel.com

all images (c) Christopher Puttins

Enzo Lefort - Interview

.aesthetic talk
Enzo Lefort
Fancing Frontier

written Sarah Arendts

With a blend of skill and style, Enzo Lefort invites us into the intricate realm of his sport, where athleticism meets artistry in a symphony of movement. Lefort's journey to the forefront of fencing is a testament to dedication and innovation.

With each fluid motion, he challenges the status quo and pushes the boundaries of athletic expression. Engage with Enzo Lefort as he shares insights on its evolution, the fusion of athleticism and fashion, and his unwavering commitment to inspiring future generations of athletes. Learn all on the arena where passion ignites performance, and witness the extraordinary through the lens of a true visionary.

Enzo Lefort
seen by Jojo Harper

“Being able to compete at the Olympics at home is a once-in-a-lifetime chance! […] My goal is to make everyone who is going to watch me proud.”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

Sarah Arendts
Enzo, as a fencer who has reached the pinnacle of your sport, how do you balance the intense focus required in competition with relaxation and leisure in your personal life?
Enzo Lefort
Professional sport can be really challenging on a daily basis, as failure has a constant place in our journey. I personally try to always have side projects outside of fencing. These projects help me keep my head fresh and always be fulfilled. It is important as I need to put this mental energy into my competitions.

Your collaborations with Louis Vuitton and Nike merge the worlds of elite sport and high fashion. How do you see these partnerships influencing the perception of fencing within the fashion industry and among its followers?
Fencing is kind of a "niche" sport with a really poor representation on TV. I feel that being able to work with these two leaders in their industries proves that visibility isn’t everything. Nowadays, people often think about your number of followers and your reach. I personally think you can be more legitimate by being true to yourself, having a great image, and doing beautiful and useful things outside your sport.

During a match, athletes often describe entering a ‘zone’ or a state of flow that feels like a trance. Can you share an experience when you were completely absorbed in the moment? How does this mental state contribute to your performance?
This is a state of mind where your body moves by itself. You’re so in phase and in the present moment that you’re not thinking anymore. By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! I’m lucky enough to have felt this feeling in the Olympic Games finals in Tokyo 2021 team event!

With the Paris 2024 Olympics on the horizon, what does competing in your home country mean to you personally and professionally? How are you preparing for this monumental event in your career?
Being able to compete at the Olympics at home is a once-in-a-lifetime chance! I like to think I train harder than ever to give my very best on the day of the competition! My goal is to make everyone who is going to watch me proud. I’m thinking about my wife, my daughter, my parents, my sister, my friends, and the whole French people! I’m also aware of the spotlight that will be pointed at the athletes during these months. And I try to use them to shed light on my personal projects such as my charity or my documentary about fencing in Guadeloupe that I wrote.

Fencing is a sport with deep historical roots. How do you think modern technology and training methods are changing the game, and where do you see the sport going in the next decade?
Modern technology and training methods help fencing become more spectacular, in a physical way and in terms of visual show for the spectators. I can see the sport evolving even further in these two directions during the next decade.

Working with brands like Louis Vuitton and Nike, how do you ensure that sponsorships align with your personal values and the essence of fencing? What do you look for in a partnership?
Fencing being an amateur sport, I need these sponsorships in order to make a living from it. But not at any cost. I am really paying attention to the brand I work with, matching my image in terms of values and positioning. I always make sure the brand I’m working with will help me with my side projects such as photography, my podcast, or my charity. Also, I pay attention to the brand being subtle when it communicates, especially using my image.

As a prominent figure in fencing, you have a unique platform. How do you hope to use your influence to impact the sport and inspire the next generation of athletes?
I always make sure that I share the values of sport such as hard work, resilience, fair play... I also try to show that we can be more than athletes, that there are other things we are good at. I reached a moment in my life and my career where I can give back to the younger ones and the ones in need. At my very own level, I try to help those in need, and if everyone is doing the same, things can change.

With your keen eye for fashion, how do you integrate style and functionality in your training and competition wear? How important is personal style in expressing yourself within the sport?
When it comes to fashion in training and competition, I am very functional. I tend to wear mostly black outfits, but I pay attention to the materials and the fit of my clothes. I personalize my outfit with my "jewelry," a thing that other fencers mostly don’t do. Fencing is a very normative sport, and the uniform is very codified. I like to keep my freedom wearing my personal jewels, in order to keep my personality.

“By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! ”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

The mental aspect of sport is often as challenging as the physical. How do you maintain mental health and resilience during the highs and lows of your career?
My different projects outside of fencing help me to always be curious, to always learn new things. Doing this, my mind isn’t filled 100% of my time with fencing. Because when you win, everything is perfect, but when you lose, you see yourself as someone not capable. Doing other things outside my sport really helps me to relativize this.

Looking towards the future, what legacy do you hope to leave in the world of fencing and beyond? How do you want to be remembered both as an athlete and as a person?
In my sport, I would like to be remembered as an athlete who always played by the rules, who never cheated, and who respected every single one of his opponents. And then, I would like to be remembered as someone who marked the history of his sport. And then I will do my best effort to help and empower the next generation of athletes in sport.

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all images (c) Jojo Harper