Bullyache - Interview

.aesthetic talk
BULLYACHE
*Grit and Glamour

written + interview ALBAN E. SMAJLI

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

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

Bullyache
seen by Will Hazel at Abbey Road Studios

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

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

(c) Will Hazel

(c) Will Hazel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Suicide and femcels, Luke Belmar, English cuckoldry.

---

also read
.aesthetic talk BASTIEN DAUSSE *Choreographing New Realities

(c) Will Hazel

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

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

Bastien Dausse - Interview

.aesthetic talk
BASTIEN DAUSSE
*Choreographing New Realities

written + interview SARAH ARENDTS

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

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

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

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

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

(c) Marc Lahore

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

---

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

Table et chaises, Bastien Dausse
seen by Marc Lahore

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

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

Sofia Lai - Interview

.aesthetic talk
SOFIA LAI
*Out of Body

written + interview Hannah Rose Prendergast

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

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

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

Sofia Lai

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

How has sculpting made you appreciate your body?

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

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

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

What next for you, Sofia?

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

---

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

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

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

Kyshan Wilson - Interview

.aesthetic talk
The Multifaceted Prism of
KYSHAN WILSON

written + interview Chidozie Obasi

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

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

total look LOUIS VUITTON

TEAM CREDITS

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

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

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

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

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

total look LORO PIANA

total look PRADA

watch film

filmed VALENTINA GILARDONI

film assistant LUCA ZITO

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

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

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

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

jacket FENDI
shirt BLAZE MILANO
skirt FERRAGAMO
necklace ILENIA CORTI

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

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

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

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

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

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

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

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

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

total look SPORTMAX

dress VERSACE

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

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

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

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

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

Borgial - Interview

.aesthetic talk
BORGIAL
*Ancestral Echoes

written + interview Amanda Mortenson

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

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

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

Borgial by Kaj Lehner

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

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

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

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

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

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

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

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


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

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

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

all images seen by
KAJ LEHNER

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

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

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

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

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

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

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

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

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

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

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

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

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

---

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

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

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

Viviane Sassen - Interview

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

written + interview Alban E. Smajli

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

credit header image

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

Itzan Escamilla - Interview

.aesthetic talk
ITZAN ESCAMILLA
*Breaking the Script

written + interview Juan Martí

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

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

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

full look MAISON MARGIELA
pants KENZO

coat + pants KENZO
shoes CAMPERLAB

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

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

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

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

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

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

Who is the other actor you share the role with?

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

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

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

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

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

Huppert. I love The Pianist.

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

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

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

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

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

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

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

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

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

total look BALENCIAGA

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

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

It’s a fantastic role.

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

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

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

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

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

What did you learn during your Élite days?

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

What were you like as a teenager?

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

Do you remember your graduation trip?

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

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

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

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

coat JUNYA WATANABLE
socks + shoes MM6

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

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

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

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

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

Yes, I got over it (laughs).

Has your twenties been more chill?

Not really, because I starred in Élite.

When did you realize the impact of Élite?

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

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

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

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

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

Have you ever had a supernatural experience?

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

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

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

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

What was it like shooting Midnight Family in Mexico?

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

Maybe they were alien bacteria.

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

Has this experience helped you to be more spontaneous?

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

team credits

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

Saxon Brice - Interview

.aesthetic talk
SAXON BRICE
*From Renaissance to Reality

written + interview Jonathan Bergström

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

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

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

Saxon Brice
Madonna and Selfie, 2023
charcoal on paper

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

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Saxon Brice speaks with Jonathan Bergström
for LE MILE .Digital

Lolita Eno - Interview

.aesthetic talk
LOLITA ENO
*Soy un Escorpión

written + interview Grace Powell

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

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

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

(c) Lolita Eno

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

(c) Lolita Eno

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

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

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

(c) Lolita Eno

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

(c) Lolita Eno
for Alexander Wang

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

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

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

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

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

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

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

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

What is the craziest thing you ever did for love?

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

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


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

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


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

(c) Lolita Eno
Talent TOCCORORO
Bag EVADE HOUSE

(c) Lolita Eno

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

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

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

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


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

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


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

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

Do you believe in destiny?


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

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

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

credit for header image
(c) Lolita Eno

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

Carlo Lucidi - Interview

.aesthetic talk
Carlo Lucidi
*Artistic Narratives

written + interview Amanda Mortenson

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

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

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

crown
Hanna Katarina Alexandra

necklace
Mercedes Castro Corbat

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

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

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

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

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

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

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

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

Carlo Lucidi
wearing brooch Anu Kirkinen

brooch
Anu Kirkinen

necklace
Slawa Tchorzewska

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

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

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

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

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

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

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

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

Charlie Rowe - Interview

.aesthetic talk
CHARLIE ROWE
*Quiet Rhythms, Unexpected Directions

written + interview Alban E. Smajli

Charlie Rowe is a study in understated charisma. At just 27, he’s amassed a body of work that spans two decades, quietly orbiting around some of Hollywood’s heaviest hitters while carving out a space that’s distinctly his own.

“It brings a palpable energy to the set,” he says of working alongside Noah Baumbach, George Clooney, and Adam Sandler. “There’s certainly an anticipation. But they are three lovely people who are fantastic at what they do. I just tried to observe and soak in as much as possible. I was tremendously lucky to be there.”

full look ALEXANDER McQUEEN

TEAM CREDITS

seen + art direction ANTONIO EUGENIO
styled IGNACIO DE TIEDRA
talent CHARLIE ROWE via PINNEACLE PR UK
grooming TERRI CAPON
photo assistant MITCHELL KEMP

“Argyle knits and sweaters. Scottish Highland, Folk-core style. But also perhaps a bag. I’m yet to find my perfect man bag. I’d like to co-create that. I’m sick of rucksacks.”

Charlie Rowe speaks with Alban E. Smajli
for LE MILE .Digital

full look JOSS ROWE

For Rowe, luck might play a part, but there’s also a certain rhythm—both to his choices and the roles that choose him. “A bit of both,” he admits when asked if he’s drawn to characters or if it’s all about timing. “I audition for parts that have a rhythm that interests me or at least the project, as a whole, has a rhythm that speaks to me. Whether I get them or not… now that is up to the universe aligning.”

It’s clear that this rhythm extends beyond film. Fashion weaves into his identity, not just as an actor, but as someone who’s grappled with—and grown from—some youthful experiments. “I had a hat phase at an oddly young age,” he says. “I was watching a lot of Mad Men and wearing fedoras and trilbys. I had a bald head at the time, so it was mainly to cover it, and it was not my greatest look.”

These days, Rowe’s relationship with fashion feels more intentional. “Argyle knits and sweaters. Scottish Highland, Folk-core style,” he says when asked about a potential fashion collaboration. “But also perhaps a bag. I’m yet to find my perfect man bag. I’d like to co-create that. I’m sick of rucksacks.”

On set, Rowe relishes the unexpected. “This is the job; searching for something unexpected,” he reflects. “Directors and good direction are essential as sometimes an actor can overcomplicate the search for something surprising. Most of my unexpected choices have come from simple notes and relaxation.”

full look DOLCE & GABBANA

full look FERRAGAMO

“I love improv. A good script never feels too restrictive. I actually like the repetition of film as you can keep finding more and more, if everyone is on board.”

Charlie Rowe speaks with Alban E. Smajli
for LE MILE .Digital

full look DOLCE & GABBANA

shirt + trousers ALEC BIZBY
shoes DOLCE & GABBANA

Even the structure of film, often seen as rigid, is something Rowe navigates with ease. “I love improv, though I’m not particularly well-versed in the craft of it. I would love to do more. But a good script never feels too restrictive. I actually like the repetition of film as you can keep finding more and more, if everyone is on board.”

As he steps further into the spotlight, Charlie Rowe’s evolution feels less like a meteoric rise and more like the steady heartbeat of someone who’s always known exactly where they’re headed—searching, always listening, and quietly redefining what it means to lead.

Seth Howe - Interview

.aesthetic talk
SETH HOWE
*Instruments of Seeing

written + interview Kate Hoag

Seth Howe is a New York-based artist and architect whose multidisciplinary practice includes sculpture, works on paper, photography, video, and installation—all focused on exploring light, space, and perception.

Howe’s Stackworks series exemplifies these explorations, featuring alternating pieces of metal or wood that form minimalistic layered sculptures. Described by Howe as "instruments for seeing," these pieces invite viewers to move around them and reconsider how they experience the world.

In this conversation with LE MILE Magazine, Howe offers a closer look into his artistic practice, reflecting on his architectural influences, the evolution of his Stackworks series, and his ongoing exploration of perception and the act of seeing.

Seth Howe
Diamond Rotation Series

“My three-dimensional works are meant to act as 'lenses' or 'seeing devices' to look through, not as coded objects to look at.”

Seth Howe speaks with Kate Hoag
for LE MILE .Digital

Seth Howe
The Mechanism of Seeing, in Picturing Light at FIT
Photo courtesy of the artist

Seth Howe
seen by Peter Murdock

Kate Hoag
Your work spans a range of media, from sculpture to video to photography. Do these each act as a different form of expression?

Seth Howe
Everything starts in three dimensions, and my Stack structures are the source inspiration for all of my other work, including works on paper, photography, and video. The main focus of my art concerns perception and the human body in space, and how it is that we can understand and navigate through the material world. My three-dimensional work establishes a physical relationship with the body of the viewer, in real space and time, in an effort to highlight the ordinary experience of seeing. The two-dimensional work acts as an imprint or record of perceived moments over time, either as a sort of snapshot of the physical experience, or as simulations of that experience. I explore perception and the act of seeing in all of the different mediums, toggling back and forth to inform and strengthen my overall conceptual ideas.

You are also an architect. Could you tell us about your personal relationship with architecture versus fine art? Do you feel your architectural training influences the way you approach form and structure in your sculptural work?

My architectural training most definitely informs my artwork. I was trained in the modernist tradition as postmodernism began to infiltrate architectural design and the culture at large. It was an interesting time, as my upbringing and education embraced technological and scientific progress as a way to improve society, but of course underneath this rational worldview things were slowly being dissected and dismantled. I was always hyper-aware of my own physical presence and the relationship of my body to the environment. I think that’s why I was always fascinated with space and architecture. Through my architectural practice I came to question the systems and paradigms that make up the construct of our reality, and I turned to artmaking as a more facile way to investigate these matters. Despite this, I still use modernist materials and strategies in my artwork because those are the forms, materials, and notions of space that are intrinsic to how I see and know the world. They are the tools and materials that I’m comfortable working with, and ultimately the goal of my work in the physical realm is meant to point to a more metaphysical space, one that is not based in the physicality of art or architecture.

You often work in iterations. Could you walk us through your process of revisiting your work?

Everything originates from the Stackworks, using the conceptual notion of constructing a three-dimensional structure in the most efficient way possible, in this case an alternating stacked structure using identical repetitive parts. The original Stack structure was conceived about ten years ago, and it has continued to inform me about perception and the process of seeing. It’s a sort of unfolding that reveals new ideas and sharpens my focus. The work ties in perfectly with things I have been thinking about for a very long time, such as phenomenology and nonduality.

I started fabricating my structures with four sides and have since expanded this to six sides. Part of this came from the requirements of creating stability in larger works, as well as expanding my own presumptions about what the form can do in terms of the perceptual experience. I imagine in the future I might change the number of sides or alter the form, materials, colors, etc., but any iterations will conform to the original stacking concept.

How does each iteration build upon or diverge from the previous?

All iterations emanate from the source structure, a four-sided stacked tower of twenty alternating raw aluminum parts. I was experimenting with scrap material when I first conceived of the work. At the time I wasn’t quite sure of what it was, but I liked the simplicity and elegance of the form, along with the solid/void patterns created by the assembled parts and the shadows that were produced in certain lighting. I played with the shadows initially, shooting light through the structure and photographing the resulting forms. I then moved on to figure/ground works, my Diamond Series prints, which captured and flattened the patterns of solids and voids as if rotating around them. I added color and reflective surfaces to the structures, and played a lot with scale and the number of parts. I placed the works on a turntable, which acted as a stand-in for our movement through space, and started photographing them with long exposures, creating blurry and fragmented images. All of the work is related and references the original theme, one that I will continue to pursue and build upon.

Minimalism has often been considered a hyper-masculine movement, yet your approach feels more inclusive and personal. Do you see your work navigating or perhaps redefining space within Minimalist tradition?

I think all Western movements of art through to the 1990s can be considered to be hyper-masculine, as mainstream culture mainly celebrated the white male artist. There were some female minimalist artists of course (Anne Truitt, Nancy Holt, to name a few whom I admire) so I don’t think the conceptual nature or hard edge materials of minimalism is inherently masculine. I am using materials and methodologies that can certainly be associated with minimalism, and some of my concerns are quite similar. Since I am working in this specific culture and moment in time, I cannot ignore the current cultural climate we’re living in. I use minimalist materials in an effort to address the raw nature of seeing, which I think ultimately goes to the root of so many issues plaguing our society at large: how we see dictates how we act, our values, and our capacity to have empathy and understand one another.

The recent exhibition Picturing Light at the Fashion Institute of Technology, where you exhibited a large-scale installation, questions some of our basic assumptions about how we experience light and illumination. Do you see your work in the exhibition likewise challenging viewers to think about their assumptions regarding light and vision?

My goal is to challenge viewers to have an awareness of the sensation of seeing. I believe it’s not what we see as much as it is that we can see at all. Light brings forth our visual perception of the world, and I use the qualities of light in my work with reflection, color, etc., but I am not interested in light as a subject matter. I’m interested in raw seeing, as if we removed all thinking and feeling, including memories of the past and all projections into the future—what is that pure experience like? Light is one of the ways in which we understand and bring meaning to the material world, but the subject of my work is not light, it is the viewer themselves, seeing in a new and unfamiliar way.

Are there specific reactions you hope to evoke in your work?

I’d like viewers to bring themselves to the work, whomever they might be. I see the work as more universal—the majority of humans are sighted and have the ability to perceive physical matter and to navigate space. I want the viewer to actively participate with the work, not be a passive observer. Although most people rely on prescribed conventions of seeing to understand the world, I think everyone has the capacity to see anew and this can happen in a small way. I will not dictate how or what a viewer sees or thinks, I prefer to nudge them out of their preconditioned state just a little bit, enough to make them aware that they are seeing, to have an awareness of being aware.

Seth Howe
SPIN Series A, No.4 (1_3), 2022
Photograph on cotton rag
51”x41”x3”

Seth Howe
SPIN Series A, No.5 (1_3), 2022
Photograph on cotton rag
51”x41”x3”

“I am interested in raw seeing, as if we removed all thinking and feeling, including memories of the past and all projections into the future—what is that pure experience like?”

Seth Howe speaks with Kate Hoag
for LE MILE .Digital

Many of your pieces have been described as “instruments for seeing.” Can you elaborate on what you mean by this and how this intention shapes your creative process?

My three-dimensional works are meant to act as “lenses” or “seeing devices” to look through, not as coded objects to look at. I hesitate to call them sculpture because that implies an object and form that has referential meaning or signifies something else. These works exist in real space and time, no different than a human body, and I would like them to be experienced in that way. That they happen to use industrial materials and take certain geometric forms is less consequential to me, it’s their function that is important. And their function is to convey a new way of understanding the world, not as a fixed conventional reality, but as a reality that is always in flux, everchanging, and malleable.

How do you define “functional art” within the context of your practice? Do you see your works as having a function beyond their aesthetic?

My functional work is conceptually the same as my artwork, but as an architect and a “user” of space I am always drawn to making something functional, such as a table or a seat. I see these works as fine art but something that is a bit more approachable. They are physical things that people can interact with on a daily basis. In this way they are closer to being like the objects we already have around us. It’s really interesting to me to think about the boundary between something that is useful in a physical way and something that exists as an entity for sensory experience…the line can sometimes be a bit blurry.

Who or what continues to inspire you, whether in art, architecture, or other fields?

I am continually inspired by New York City, how one navigates through the streets, as if we are perceptual seeing machines, constantly taking in data and experiencing fragments of architecture, light, color, and reflections. The physical sensation of movement through space is heightened in an urban environment. This will forever be fascinating to me, the moment by moment experience of seeing as if for the first time. The city has taught me how to see, and has encouraged me to step out of my own conventional ways of seeing. I am inspired by work that brings forth some of these same attributes, whether in music, fine art, film, or architecture.

How would you describe your artistic philosophy? Is there a central idea or feeling that guides your approach across different projects?

My main conceptual thesis is about the experiential sensation of seeing, and this has been a developing theme throughout my life. We can only know the world through our senses; everything that exists comes through our sensory experience. I’ve always been drawn to the visual world as my contact point to reality. I read a lot of French existentialism when I was young which opened me up to questioning the nature of society and my existence within it. I then discovered the ideas of phenomenology in the works of Merleau-Ponty, Bergson, and others, which expanded my perspective of the different ways of examining reality. I explored the systems of language, linguistic and visual signs, social and power structures, and ultimately the ways in which reality is a type of construction itself, built piece by piece through the development of complex fabricated systems of language and knowledge. I’ve recently been exploring non-duality, which posits that everything in the world emanates from pure awareness, that all of culture, science, thinking, and feeling are subsets of consciousness itself. My work is both a tool for me to use in my exploration, as well as a device to communicate what I see with others. The point is not to create objects that end in some sort of didactic explanation, but to create things in the physical realm that provoke questions and wonder about the world we inhabit.

Looking ahead, are there any new directions or materials you’re excited to explore in your work?

After many years of investigating, thinking, and making art, I have just begun to show my work in public and I am excited about moving into that arena. There are no new directions per se, but I think the act of being in the public realm will certainly influence my work. I do like working on site-specific installations, such as the FIT show, and I am excited about fabricating larger works for exterior spaces out of stainless steel. I also use digital technologies as tools for exploration, including 3D printing for study models, and digital renderings of large works. But my output will always remain in the physical realm, a place where we all reside, in this present moment.

Seth Howe
Diamond Rotation Series A, No 4, 2021
Archival pigment print in wood shadowbox
28.75x21.75x2in (framed 28.75x21.75in)

Seth Howe
Stackwork 6
Aluminum, 12x6x6in

“We can only know the world through our senses; everything that exists comes through our sensory experience.”

Seth Howe speaks with Kate Hoag
for LE MILE .Digital

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

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

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

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.