In conversation with .. 6!


Welcome to our new digital issue: IN CONVERSATION WITH – Part 6, 140 pages fashion, art and illustrations! Out 07.12.2020 – featuring in conversation with Cakes Da Killa, Lous and the Yakuza, cozcon, Wayne Snow, James Indigo and many more. Contributors are Nolan Parker, Ebry Yildlz, Kennedy Silver, Laura Marie Cleplik, Johanna Urbancik, Magic Owen ...

We live in a scary world today. It’s different than before, no more hugs and kissing. Our happiness has gone away like never before. The fear of the unknown has arrived. 2020 what a year. Looking back on the months gone by, as a new year starts and an old one ends, we contemplate what brought us joy. Thanks to our artists and readers for being one of the reasons we’ll have a Happy New Year! See you all in 2021!


In conversation with Cakes Da Killa, Lous and the Yakuza , cozcon, Wayne Snow, James Indigo and many more ...




Meet The Team

@marcel_schlutt @naikee_simoneau @nicphilf




Fashion Editor

Art Director

Art Editor

Music Editor

Fashion Editors

Marcel Schlutt

Naikee Simoneau

Nicola Phillips

Nico Sutor

Karl Slater

We live in a scary world today. It’s

different than before, no more hugs and

kissing. Our happiness gone away like

never before. The fear of the unknown

has arrived. 2020 what a year. Looking

back on the months gone by, as a new

year starts and an old one ends, we

contemplate what brought us joy.

Thanks to our artists and readers for

being one of the reasons we’ll have a

Happy New Year! See you all in 2021!



Nolan Parker, Ebry Yildlz, Kennedy Silver, Laura Marie Cleplik, Johanna Urbancik, Magic Owen

Proofreading by Amy Phillips, Nicola Phillips and Bénédicte Lelong

On The Cover

@K.r.l.i.n, @odiseorojo, @gabx_patacon,,

@roc_lilith & Maha photographed by Tomás Eyzaguirre


More page > p.36

All Copyright at KALTBLUT @kaltblut_magazine


All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images.

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

Cakes da Killa > p.6 cozcon > p.26

Lous and the Yakuza > p.46 Wayne Snow > p.78

MarcelDune > p.98 James Indigo > p.124


Let Them Eat Cakes:

Spilling T With

Cakes Da Killa

Interview by Nolan Parker @saltcvlt

Cakes da Killa, an artist I’ve had a full crush on since I heard his massive single “I Run This Club” in 2013, has been on

the scene for coming up on a decade and has worked with some of the biggest names in New York’s Queer underground:

Mykki Blanco, Rye Rye, Peaches, ANOHNI, Honey Dijon... the list is literally 69 miles long. Initially coming on the scene

in 2011, Cakes was one of the hottest MCs of the Queer Hip-Hop explosion of the early 2010s; mixing street smarts, Queer

slang, and his Black experience to come up with lyrics so intensely witty that 3 or 4 listens are required to catch even half

the references and by that point, his tracks are fully stuck in your head for the next several weeks. Without question, Cakes

Da Killa was baptized in the traditions of New York’s Ballroom scene. His razor sharpe wit and flow chizzled into 120 BPM

tracks is what set him apart from other Black, Queer rappers and made his bops a favorite at Ballroom Competitions and

kikis the world over.

Cakes released a slew of banger singles in the early 2010s that set him apart and finally, in 2016, released his debut full

length, Hedonism. And album so thoroughly Black, so thoroughly Queer that New York (and the world) couldn’t handle the

energy coursing through this massive introduction. Dance floors from LA to Berlin struggled to keep up, begging DJs to

keep pumping his beats.

Since his debut album four years ago, Cakes has been sharing bits and pieces, dropping big singles to keep us wet for

his unabashedly singular style but he’s finally ready to give us another, bigger taste. He’s back with an EP he’s calling

Muvaland, and it’s a fresh-baked Cakes. He’s serving up a huge house music feel that sacrifices none of his signature

wit or cutting flow but adds a production and musical depth that we haven’t heard from him before. “Don Dada”, the

unfuckwithable first single from Muvaland is a sweaty floor filler that brings a big Brooklyn aggression that forces a boogie.

A boogie that makes you forget that we’re stuck at home and chatting with that cutie on an app that you won’t be able to

grind on for another year. The infectious beats and urgent sirens demand serotonin that you forgot your body is capable of.

Cakes was sweet enough to carve out some time on Zoom to spill the T about Muvaland, “Don Dada”, and all the goodie

goodies he’s been cookin.

I feel like I have to ask: How is

everything? How’s quarantine been for


I’ve just been maintaining. I think the

main thing that’s been affecting me is the

fact that my travel has been limited and

has affected my money flow a little bit.

But I’ve just been staying optimistic and


Nice. Where are you right now? I heard

that you were in Atlanta for a second but

that you’re now back in New York.

Yeah, I was down in Atlanta for a minute

but it was like a sabbatical. I’m back now.


[laughs] Cute. Also, happy birthday! What did you do to celebrate

your new decade?

Thank you! I had an intimate, socially distanced rooftop party with a

couple of friends that came over. I turnt 30 so I had to do something… I

mean, I haaad to.

It’s a big deal and anything to get a little escape from everything

that’s been going on! So with your new EP, Muvaland, you bring this

big housy mood that we haven’t heard from you before. What’re the

big influences on the EP and why the switch to a more house feel?

Well me writing my music, a lot of the times I was not giving the full

picture of artists and styles that were informing me. I was trying to

make something that I thought would be more palatable to certain

people where now, with Muvaland, I’m reverting back to my first

mixtape where I don’t give a fuck anymore. So it’s not really tapping

anything different, it’s just giving a more full picture of me as an artist.


Photos by Ebru Yildiz @ebruyildiz

Clothes by Landeros New York @landerosnewyork

Styling by Andre Landeros Michel @andrelanderosmichel


“... shade is only cute

a place of intelligence

when it’s rooted in

So you’re still going to hear the same

hip-hop lyricism and flow but sonically

more of a Deee-Lite type sound and

a different type of producers like

Cashmere and The Basement Boys.

Things that I listen to more on the dayto-day.

To me, Muvaland is giving y’all

my taste in a more full picture.

Totally. But why make that switch


I think after I filmed that reality show,

[Netflix’s] Rhythm + Flow, I realized

that, even though I’ve always been

myself, there have been things in my

career that I was putting through a filter

for certain people. After the show, I

realized that those certain people just

aren’t going to like what I do. So why try

and market it and make it something

that people can consume? It’s best to

just do what you want because that’s

how I came in, just doing what I want.

I just have to be true to myself, you


We all really just need to be ourselves

these days or mass media and

consumer culture are going to swallow

up true creativity. So what’s the idea

behind Muvaland?

The EP started as a one-off I was going

to drop with Proper Villains. I decided

to put out an entire body of work since

what we did sounded so good. The

pandemic was just starting and I wanted

to put out something that documented

what I was dealing with at the time in

my own way. That was months ago and a

lot has transpired since then. I still love

the music! I believe releasing it now is

even more essential considering how

chaotic the times have become. We all

need a little escapism.

Fully agreed! You’ve mentioned Funeral Parade of Roses as being

an influence on past work. What were the major influences for the

“Don Dada” video? What’s the concept/message? How was it filming

during the pandemic?

Some of the major influences were a few different films like Mahogany

starring Diana Ross, blaxploitation films like Cleopatra Jones and

Catwalk, a documentary starring Christy Turlington and other 90s

supermodels. The song as a track was more about me reestablishing

myself and my confidence as a lyricist. Hyping myself up as I

reintroduce myself to the music scene. With the visual, I wanted to

expand that to include all black people, specifically dark skin black

women who face a lot of negative drama based on colorism. Filming

was very simple considering I have a roof. It was really, really hot! The

hottest day of the summer it felt like.

Well you looked great in that tennis skirt. I’ve also really been feeling

your homemade “Don Dada” videos on IG. What’s the story behind

those? Are you just giving your fans what they want or are you

trying to say something more? Are you trying to emulate your live


I’m just trying to give the gays exactly what they want. It’s all about the


Do you feel that you’ve lyrically changed with Muvaland? Did you

spice it up or spice it down?

I don’t think so. I think as a writer I’ve evolved because I’m not the

same person I was when I was 21. Granted, I still rap about blowjobs,

it’s just in a more sophisticated way. And I think with me developing as

an artist I’ve experienced more things so I have more to write about.

I also feel that I get better with time. It’s not anything I’m trying to do

strategically, you know? This is where I’m at very genuinely.

Speaking of you as a writer, you’ve got a volume of short stories

coming out?

Right! I’ve fucking working on this shit since I was like 16! I wanted to

have 100 pages done by my 30th birthday and I completely missed that

deadline. But I’m still staying optimistic about it because all the gays

are putting out all their books and I think it’s great. When I was

coming up there wasn’t a ton of Queer, Black reads. Especially

if you wanted a more modern voice. People would always

reference older generations, which I still think you need,

but I think we need that modern take on the Gay and

Queer expierence. So stay tuned, my shit is coming

out too.


when it comes from

or wit. It’s never cute



What would you say to the Queer kids

coming up right now in the Queer hiphop

scene that might have it a bit easier

than you did growing up without the

(deserved) exposure of Queer hip-hop

and Queer culture in general?

Firstly, the new Queer kids coming up

need to have a better appreciation and

understanding of Queer history. I had to

literally dig through books at the library

and stumble on old docs to get a clearer

picture of myself. You have it so easy,

it’s right at your fingertips and you’re

clueless and think you’re so innovative.

Do your research. I don’t get that. Also,

shade is only cute when it comes from a

place of intelligence or wit. It’s never cute

when it’s rooted in insecurity. Lastly, stop

fighting at every function I’m trying to

enjoy a cocktail while I still can.

What’re you gonna do the second you

can unquarantine?

I’m definitely quitting my

job and getting on a

plane to Berlin. Like I

can’t, it’s too much. I

will be on an EasyJet

flight to Berlin,


Check out

Cakes’ new EP,

Muvaland, out

now on Classic

Music Company.





is just a


Creative Direction + Photography Karl Slater @slaterkarl

Styling Kennedy Silver

Model Kyle Nathan @_kyle.nathan

Clothing has always been synonymous with gender, weather

it be a light weigh fabric or a heavy tweed we almost

instinctively know what gender is attached to that fabric and

or garment… or is that what we have been lead to believe.

Fashion is a human construct and humans placed a gender

to the items we wear. Once pink was a colour for boys and

though 80s advertising it became connected to girls though

mass market toys sales, Barbie and Disney princesses.

Growing a generation thinking that pink is only for girls. As

we look into the past that thinking set can be seen for gender

too.. It’s time to re-define gender for the future, because in the

end gender is just a label. Slater explores using women wear

attempting to redefine what masculinity and femininity are

within the realms of editorial fashion.


Maxi Dress & Necklace- ASOS DESIGN

Earrings- Topshop



Maxi Dress & Necklace - ASOS DESIGN

Statement Earring - Sacred Hawk

Bodysuit & Necklace - ASOS DESIGN



Maxi Dress & Necklace- ASOS DESIGN

Earrings- Topshop

Maxi Dress & Necklace - ASOS DESIGN

Statement Earring - Sacred Hawk



Sequin Cami - Miss Selfridge

Statement Earring - Sacred Hawk

Bodysuit & Necklace - ASOS DESIGN

Sunglasses - Jeepers Peepers



Maxi Dress & Necklace - ASOS DESIGN

Statement Earring - Sacred Hawk

Maxi Skirt - Lace & Beads

Statement Earring - Sacred Hawk


Jumpsuit - ASOS DESIGN

Necklace - Pieces

Sunglasses - Vero Moda


Maxi Dress & Necklace - ASOS DESIGN

Statement Earring - Sacred Hawk



Jumpsuit - ASOS DESIGN

Necklace - Pieces


Loud and Proud:

cozcon’s artwork

is eye-opening

Interview by Naikee Simoneau @naikee_simoneau

Cozcon’s work is pro-femme, pro-black, pro-brown, pro-fat, pro-hoe, pro-queer, pro-trans,

pro-sex workers, and we’re so here for it. Every time one of their artworks pops up in my

timeline, it gives me power and strength. With an overt sense of fashion, cozcon’characters

are always ultra stylish. Not only is their art pretty, it also has something to say. And in these

difficult times what better weapons than some pencils and a piece of paper?!

Tell us about your creative background

– when did you first start illustrating/

what really pushed you to do so?

I’ve been drawing since I was little; like

probably around 5 years old. Like a lot of

kids, I got the crayons and the coloring

books but once I got started I never


What medium/tools do you feel most

comfortable with when creating your


Pen and paper all day, everyday. When

I’m working in pen, the baseline is

control with the option to bring in

chaos. I love that. Crisp. Bold. Sure.

All the things I want to be.

Your sketchbooks look incredible. On

your Insta you encourage people to get

a notebook and draw everyday for at

least a few minutes. What comes first

in your case, words or shapes?

I think the warmups that work the

best for me are things like doing detail

work which basically entails adding

things like patterns to illustrations. I’ve

always liked the idea of writing out the

alphabet as a warmup, too. In a way,

drawing just means writing out letters

in strange ways. Almost like when you

say a word enough times that starts

to sounds like nonsense. Drawing is

creative nonsense.

Your illustrations refers to politics, genders,

race.. do you think that as an

artist it’s a duty to be engaged?

I think this year definitely made me feel a

duty to spell out what previously was always

up for interpretation. I think being Black in

this country means that anything you do is

a political act in one way or another. Being

a Black artist is an *incredibly* political act.

But in general, before this year, I’ve always

been focused on the multidimensionality of

women and femmes. It’s been at the heart of

everything I do, even when I was a kid.

I wish more people were like you

empowering women and femmes especially

in our community. How come this fight was

always so close to your heart?

It matters to me because femmes built my

world. Femininity has always been what I’ve

modeled my inspirations from. Women in film

and cartoons and female musicians, women

and femmes in my life-- they’ve informed my

posture and language. It’s all I know. When I

create work that upholds women and femmes,

it’s basically upholding my heroes and role


Fashion is also really strong in your work -

where did your references come from?

Fashion is *everything* to me. It’s my grand

obsession. Simply put: it’s a cross section of all

that has ever been synthesized to speak on all

that can be. What is more inspiring than that?







“When I create work

that upholds women and

femmes, it’s basically

upholding my heroes

and role models.”



You’re based in the US, and sadly I really

think that your situation as a

QTIBIPOC is way harder there than here

in Europe (even tho its far from being

perfect). How are you right now?

I’m here.

Do you feel any way to hope - changes


I don’t know if hope is the right word. I

think younger generations, including mine,

are seeing just how deep the gaslighting

and intricate nature of antiblackness truly

goes. Our aches and pains are more

validated than ever. We’re laying down

because we’re allowing ourselves to be

tired. We’re crying because we’re allowing

ourselves to be wounded. We’re screaming

because we’re allowing ourselves to feel

wronged. I hope we can find new ways

to heal ourselves within the

community. If I have hope,

it’s a verb.

Where can we buy your amazing work?

First of all, thank you! You can purchase my work by heading over to etsy

or messaging me directly on Instagram.

What is the message you want to get across to viewers of your work?

Women and femmes make the world go ‘round!

Have you found any other work/artists to be really inspiring currently?

1. the paintings of Brittney Leeanne Williams

2. the song “Along The Coast” by Azealia Banks (it’s not new but it’s not

getting old)

3. the Spring/Summer 2017 Céline collection

4. Pedro Almodóvar movies.

What is your ultimate goal?

To make work that makes me happy and makes people feel good... and a

beautiful apartment with high ceilings with lots of plants and sunlight.






The Rise of the


The Queerdos Calendar 2021 - behind the scenes

Text by Naikee Simoneau @naikee_simoneau

Same but different. After last year’s success of our charity calendar project, we decided to do it again this year. And

we will probably do it next year too. Raising money for an organisation that is in need is the goal of the project.

After our first edition collecting funds for GALDT e.V, this year we are choosing to raise awareness and money for

Trans*Sexworks. The calendar was made in the Creative Berlin Space, who let us use their photo studio for the

charity project. All the benefits of the calendar will be donated to Trans*Sexworks.

Trans*Sexworks is a network and community support project run by trans sex workers for trans sex workers. The

focus is the support of our migrant, street-based colleagues working on the Frobenstraße in Berlin. They aren’t social

workers, working within a hierarchical structure with a clear set of rules, but more like a friends circle helping

wherever help is needed and support can be given. They hand out condoms at night, bring food and drinks, help

people buy groceries and hygiene products, lend money, translate documents, help people find shelter, acompany to

appointments (doctors, Police, counseling...) and support our trans siblings in many other ways. Not only do they

offer practical support, but they also raise their voices together to fight stigma and to help improve the working

conditions of trans sex workers. This project is volunteer-run and only receives minimal funding from the city. To

go into some more details about the work Trans*Sexworks is doing, we asked Caspar Tate, who is a member of the

group, a few questions.




When did Trans*Sexworks

start and why?

The Project was started 6 Years

ago by EmyFem and KAy Garnellen,

because there was no

Organisation or Project focused

on helping trans sex workers or

even giving them a safe space.

Could you tell us about the

Frobenstraße history ?

Street-based sex work has been

taking place around the Bülow-

Kiez since 1885. The Frobenstraße

is where trans women

work and sadly there is not a

lot of recorded history on that

street and the trans women that

used to work there, unlike the

area where the cis women work.

We do know though that the

street used to be divided in Preand

Post-OP haha But now the

trans Women that have had genital

surgery often go work on the

street where the cis women are.

In the last four years, less and

less clients have been coming to

this area and even before corona

business was bad. Five, ten

years ago women could make

hundreds of Euros a night. Since

the 90s its been mostly migrant

women from eastern european

countries working the streets.

On the Frobenstraße in the last

few years mostly türkish-bulgarian

women have been working


sex work and sex work organisations aren’t talking about the disproportionate

number of trans colleagues. Trans sex workers are subject to transphobia/

transmisogyny and whorephobia.

What are the best ways to help?

Keep reminding people of the issues that trans sex workers face. Donate your

time and money to projects like ours.

How did Covid-19 affect your work as volunteers and the work of the streetbased

sex workers?

In our project we can no longer use the rooms from an other organisation that

we used to use for the “Trans Dinner” and now we have to do everything outside

on the street.

For street-based sex workers the financial impact of covid-19 is extremely devastating.

Many are unhoused and in debt.

Is the state / city helping in any way?

For trans sex workers not so much. Our project is funded a little bit by the Anti-discrimination

Office (LADS) but we have no paid staff, no office and we are

not allowed to buy food or drinks with the funds. There is some support for cis

women and cis men but it’s not enough.

Instagram @caspar_tate


Order your copy on

What do you do there?

We hand out food, drinks, condoms,

lube and masks now

during corona. Isabelle and I are

like community organisers and

friends. People come to us when

they have an issue or a crisis. We

help people access emergency

housing and doctors’ visits.

I often help navigate the counseling

sector and help make

appointments, remind people

of these and even accompany

them if they wish. We also do a

lot of work with the press, other

organisations and politicians to

try and get help to come.

Why is such an organisation so


No one seems to care about

trans sex workers. Trans organisations

aren’t talking about






The Rise of the Aphrodites - The Queerdos

Calendar 2021 is a non-profit project. All of the

benefits made will be donated to Trans*Sexworks.

Trans*Sexworks is a network and community

support project ran by trans* sex workers for

trans* sex workers.

Photography Tomás Eyzaguirre @tomeyza

Styled Esteban Pomar @esteban_pomar

Production & Graphic Desing Naikee Simoneau @naikee_simoneau

Photography assistant Fiona Castiñeira @viking_a

Styling assisstant Nane Meyer @nanemeyerr

Set Design Alin Bosnoyan @alinbosnoyan

Hair & Make -up

Sarah Hartgens @sarahhartgens using @fentybeauty

Felix Stößer @felixstoesser @basicsberlin using @fentybeauty


With loving and helping hands @j.f.k.cut.color.curls

Models @purrja, @kalil_dance, @steve_katona, @isshehungry,

@sele.minga, @esteban_pomar, @yourhypebitch, @cuadrado97,

@leon.ution, @lanegrot, @thebishopblack3000, @K.r.l.i.n,

@odiseorojo, @gabx_patacon,, @roc_lilith

& Maha

Special thanks to Creative Berlin Space,

Rolf Scheider and Kai Sistemich




and the


Interview by Marcel Schlutt @marcel_schlutt

Photography by Laura Marie Cieplik @lauramariecieplik

The songwriter, singer, and rapper Lous and the Yakuza has fled

one war and lived through the aftermath of another. Now, bridging

continents, she tells an autobiographical story with her outstanding

debut album. The genre-fluid artist blends sultry hip-hop with

harsh trap beats to create tracks that are both a declaration of her

resilience and an exploration of Generation Z concerns, including

race, loneliness and despair.

What is behind your mysterious stage name - and who are the


Lous is an anagram for soul, I’ve inverted the L and the S to make

it Lous. This is a direct reference to my strong attachment to

spirituality. The Yakuza are the beautiful people that are part of

my team, because I’m not alone in this project, we’re all Yakuza,

all part of the team. Yakuza actually means ‘loser’ in Japanese, but

in a positive way, like ‘being out of the box’. I believe the people

surrounding me are all very special in their own way.

What elements from your culture can we hear on your debut

album? And how important is your origin for your current


I think it’s the percussion, some ad-libs, the way I sing actually

because I’m African so whatever I do is always gonna sound African.

It could be neo-African, like very new wave, new vibe. Because the

fact that I’m African makes everything Africanized. In songs like

“Amigo” or “Solo”, I think the percussion is very Africanized.

Your debut album is entitled “Gore”. What do you want to tell

your listeners with the title?

I named my album “Gore” because ”Gore” is a genre of horror

movies. It is one of the subgenres. It says that, that kind of way to

film is so violent, brutal and bloody that it becomes absurd and

funny. I think at some point my personal life was so hardcore and

very difficult that it became absurd. Absurdity can have a funny

aspect. When I see my life I’m like it’s better to laugh than cry

about it. Because there is always hope. My whole experience has

been very hard for a couple years but at the same time I had a laugh

about myself. In a nice way, not to mock myself or to be negative.

I had a laugh at seeing the better side of it. To be joyful instead of

crying and being desperate. That’s why I chose the word “Gore”.

Life can be very dark sometimes and this album is very much a

testimony of my strength. That’s why I said there is always hope.


“If we wanna

have a change

we need to

change what’s

happening in

actual real life

so we don’t

have to sing

about racism





In your songs you sing about topics like everyday racism, homophobia, misogyny

and the fight for an open, tolerant society. How important is it to attach political

messages in your work?

Even though it is not the only goal of my album, my music is political and carries a

political message. I really want to fight for a lot of different causes, and music allows me

to do that. In this album, there are songs about rape, prostitution, poverty, differences

… It allows me to highlight some themes that aren’t displayed otherwise to all kinds of


As a natural multilinguist, is there a reason why you picked French as the exclusive

language used on “Gore”?

“Gore” is an autobiographical album, it’s been my life for the past few years. French

being my mother tongue, it seemed to me to be the only language I could tell my story

in all honesty and authenticity.

What does the creative process look like when you produce new songs?

I write my own songs. Everything in the album comes from my personal experience,

which is how I create. As for the more technical part, the album was produced by El

Guincho who helped me with putting an order in my thoughts. With discipline and

regularity, we managed to go where we wanted and create the sound that corresponds

to my vision.

What was it like for you to suddenly be a kind of figurehead in the BLM-movement?

And why is it important for you to use your platform as a voice for Black womanhood?

I want to use my platform as a voice for Black womanhood because I’m one myself.

I think I have a responsibility for my little sisters, for strangers, for everyone really.

I think we are all responsible for something, You can be responsible for anything. I

feel responsible for others and not only Black people and Black females, but mostly

people. I wanna be a good example of everything. I’m a human, I make tons of mistakes

and I hope people would forgive me like I would forgive them. But in the meantime,

I have this responsibility to give a good representation because we are lacking in

representation. We don’t have no Black female singers in Europe. We have maybe 3 or 5

that we can name but the rest have no visibility. There are tons of super talented Back

women but we don’t see them because they never get a chance or anything.

It’s very hard to get to the place I am today. And I think that’s why I wanna talk about it.

People suffer and I’m either not sensitive to it and I don’t say anything or I’m sensitive

and I talk about it. Because talking about Black people it’s really about talking about

myself, my sister’s experience, my brother’s experiences. In a nutshell, I am giving

a voice to a problem that is not well received yet in Europe. I think the conversation

is very open in the US because they have been talking about it, they have been vocal

about it. I think in Europe we are very much at the beginning and I think as an artist

it’s important to talk about things that happen outside. And as I always say, the reason

why I talk about it in my music is because it happens in real life.

If we wanna have a change we need to change what’s happening in actual real life so

we don’t have to sing about racism anymore. We all wish we didn’t have to talk about it

because as I always say being Black is only to have more melanin. So it’s very stupid to

just talk about melanin. But the problem is that the same beautiful melanin has gotten

us into a lot of issues that we have no control on and created this system that I wish

never existed. Because it does not allow people to be free.

All I want is for people to be free and be whoever you are, whatever your skin colour is.

I just want you to be free and do what you wanna do, mind your business and be happy.

In addition to music, you also use fashion as a form of expression and have just been

seen in campaigns for Louis Vuitton and Chloé. How important is fashion to you in

your videos?

In my everyday life, I dress according to my state of mind of the day. Sometimes I feel

like a warrior and I’ll dress in a “hip-hop” and a “masculine” way, other days I’ll feel

very confident and I’ll dress like a diva! I like to play with my look, it expresses different

faces of my personality.


As for the videos, the artistic director

and myself really think a lot about

it for all the looks to be coherent

and mean something Whether it

is a reference to a painting or a

metaphor for a concept.

Which artists in 2020 inspire you

the most?

On the international scene James

Blake is definitely one of the most

influential artists to me. Towards the

French-speaking rap scene, Damso,

who is also a friend, is someone I can

relate to on a professional, personal

and musical level.

What’s the biggest lesson you’ve

learned on your journey so far?

The biggest lesson is… I can never

be perfect, I will make mistakes,

and I will have to forgive myself to

move forward. I always wanted

to be perfect and beat my

imperfections, which was a

big problem because you

can never be perfect. I

will never be perfect and

I had to learn that along

the way and understand

that I had to forgive myself

to move forward. ‘Cos if I hate

myself I can’t do shit. So I think

forgiving myself has been one of

the greatest gifts I gave myself.

Instagram @lousandtheyakuza


Wanna be in our gang?


AND ...

Photographer Ashish Chawla


Photography Assistants Nishant Gautam




Stylist Gaurav Bhatia


Talent Bidhuri


Raj Dobriyal


Talent Agency Inega, India

Hair & Makeup Ank Chikara


Retouching Arun Keswal


Wardrobe Partner QUOD, New York


























The COVID-19 pandemic has meant a rise in precarization for many people, among

them, the situation of sex workers (both trans* and cis) in Latin America has been

particularly perjudicial. Many cannot work and are persecuted by the police; the

absence of an income source has left many sex workers without a home and without

basic resourcers for their survival or deprived of incarcerated.

As a group of sex workers and allies who live in Berlin we are fully conscious of

this situation adn we want to help our siblings and colleagues from Latin America.

We are in contact with collectives from Chile and Argentina which assist a

great number of sex workers in in each country.

We need your support to help them through this emergency situation and these

times of scarcity, uncertainty and difficulty, in which sex workers are one of the

most affected sectors.

With your donation you’ll be helping the following collectives and a lot people

with them:

- Catxs & Las amigas de Sandra (Argentina)

- Amanda Jofré (Chile)

- Haciendo Calle (Mexico)

Donate here


Searching for

balance in our

chaotic world:

In conversation

with Wayne


Interview by Johanna Urbancik @johannaurbancik

Photographer Antonio Pedro @topedros

Art Direction & Styling Megan Courtis @meganjcourtis

Wardrobe Nina Zimmermann @am.i.pinky

Nigerian born, Berlin-based artist, Wayne Snow, draws inspiration from curiosity and

emotional rawness. Together with French producer, Darius, the duo has yet again released two

dream-like tracks that have Darius signature sharp beats graced with Wayne’s angelic, soothing

voice and thought-provoking lyrics. ‘Equilibrium’, a colourful, groovy track was the

duo’s first single followed by ‘Apology’, which was Wayne’s response to

this year’s Black Lives Matter protests.

We (virtually) caught up with Wayne to discuss his

need for challenging himself, his collaborations

with Darius and his diverse influences.




How are you doing?

I’m good. I’m good.

What’s the weather like in Berlin? I’ve heard it’s very, very cold now.

Cold, yes. I went boxing this morning. It was very grey and bleak. Sad,

you know, it’s very sad weather. (laughs)

Moving on to happier things, can you tell me a little bit about your

latest single?

So ‘Apology’, what should I say? Let’s say, it’s the other phase of

‘Equilibrium’. ‘Equilibrium’ is shiny and sunny while ‘Apology’ is

slightly darker. Not in the sense that it’s evil, it is just a bit more grey

and the tone is more serious.

The idea behind it was to have this conversation about mostly race.

Because you had the Black Lives Matter movement, and I thought it

would be a good way to express this concern. That’s why we added

it to ‘Equilibrium’. And so the idea in ‘Apology’ was a way to amend,

a way to try to find some kind of a conversation, a positive, calm

conversation, and to move along. It’s to recognise that these things we

all deal with and carry with us are not solved yet, and we have to talk

about them, and then move forward.

I’ve read that the track was written and pretty much produced in

one studio session. How does the collaboration or process work,

especially when it’s done in only one session?

This generally happens with most tracks that I do. When you hit the

right key, everything just comes out as something logical that just

makes sense. When working with Darius, however, we sometimes have

some difficulties trying to find the right thing to do to a track. That’s

why we now just put it aside and continue at a later time.

And so when this track [‘Apology’] came, it just came like something

logical. I usually start with the general vibe as well as general universal

emotion in a track and then I try to find the underlying theme, such

as politics, or something like that. And I’ve always believed that as a

singer, you’re supposed to say something meaningful about the music,

which is completely abstract, you know? Darius is always trying to

find the right topic for me and that’s how we work together. Once we

have the topic or the general vibe, a session could be around an hour,

or two, until we finish a track.

That’s cool. And how would you say your creative process has

changed from your first releases to now?

I think my problem is that I will never find the same thing and that’s

why I don’t consider myself as a producer. I don’t have my own home

studio section, where I do everything. And the reason behind that is

just that I constantly need to be challenged, to be challenged when

I’m in the studio, and there is music going on, and I feel that I have to

deliver immediately. When I go to someone’s place, the fact that I’m

somewhere else means that I’m there to deliver so we have to work

and get something done. I constantly move and shift from one place

to another. I think you can tell by the way I sound in most of my tracks

that the emotion is always different. I get this feeling and I try to just

do what I feel at that moment.

I would say I never did the same thing twice. Whenever I release a

track, and then another one and another one, that just means that

there’s something wrong inside of me that I am dealing with.

You mentioned before that you always challenge yourself. Is the way

you challenge yourself that you go to different places, or do you have

many different ways of challenging yourself?




“I tried to express this

notion of Yin and Yang at

this moment where you

wake up, look at the world

and it’s in total chaos”

Well, one of the ways of challenging myself

is to go into someone’s house. House in the

sense of a studio, or creative space. And of

course, knowing this person very little, but

for this person to then share a fragile part

of themselves with me is how I challenge

myself. I generally feel like each track is

just trying to capture this very private,

intimate moment of myself and the people

I’m working with.

I watched the video to ‘Equilibrium’ and

it’s very powerful and colourful. Do you

get involved with the direction on where

the video goes?

Not that much anymore. Alice Kong, who

directed the video, is an acquaintance of a

friend, and she understood our initial idea

for the video. We were looking for someone

who would be able to express this idea of

different people coming together, as well

as adding this surreal madness, crazy

touch. That’s another way I enjoy working

with people by giving them a tiny general

hint and then see what they come up with.

And Alice felt the music and did her own

little thing with the video. The only thing

I would’ve loved to add were Darius and I

showing how much we’re into the music

because I felt like we just gave you guys like

just this tiny moment in the end that then

quickly disappeared.

When you have the singer, the person,

the voice and you see people just vibing

listening to your song, it makes you feel a

little bit like Michael Jackson.

And from what I understood from both

the track, your other recent releases and

the video, your work seems to be a big

collaboration process. How does that

process work? Is it the same input by

everyone, or do you have a general mood

board of what you want it to look like, and

then everyone just pitches in?

The way I work with people is so strange. That was, and is, something

where I’m still trying to improve myself. I tend to set the tone without

being bossy and commanding people to do as I say, but because I know

the music and the set way of expression.

And the other thing I have with Darius is that we talk a lot. I always try to

express the underlying poetical themes, just like in the track ‘Lost In The

Moment’. I always try to explain what the theme really means to me. Same

happened with ‘Equilibrium’, where I tried to express this notion of Yin

and Yang at this moment where you wake up, look at the world and it’s in

total chaos. All those horrible things you see in the news at the moment,

such as Corona, and it puts you in this kind-of serene, super calm state.

There’s so much beauty in that state and that sort of balance is what

‘Equilibrium’ means to me.

You’ve already briefly mentioned the pandemic. How does not being

able to play affect your creativity, and has it somehow changed your

approach to music?

It makes me moody. I have bumping emotions, ups and downs because

I feel like I’m not able to release this fixed gridded dish that is inside

and needs to speak out and exist. And that’s been a bit difficult at times.

I mean I went boxing today with friends just ‘cause we’re trying to get

through this together. (laughs)

I mean, for some artists this crisis has had a big financial impact and I

think if you’ve been doing what you’re doing for ages and now you just

can’t. There’s a lot to say about the current situation. It’s awkward and

we’re trying to deal with it because that’s what life is.

And how do you think the music industry is gonna look like in a year?

Let’s say the vaccine is here and everything is slowly starting to reopen.

Do you think we’re going to go straight back to what we’ve been like,

2019? Or do you think there’ll be a completely new music scene/industry?

The streaming and distribution part of the industry is doing pretty

well. Even before the second lockdown in Berlin, I heard that loads of

Vinyls have been sold. People see quality music because maybe they’re

starting to understand how shitty some sounds are and they would like

to invest into more quality. It has also pressed the pause button for some

businesses, so when things will become normal, many organisations will

stay closed, such as so many festivals and clubs.

One other thing is those good musicians, genuinely talented people will

be a lot more visible after this pandemic.



“I am from Nigeria,

and what I carry as a

Nigerian is this capacity

to just explore and

check out things, I’m

curious about everything.

And that huge curiosity

is that African

gift I have, not giving

a shit as long as it’s

groovy, you feel your

head banging and

there’s emotion there.”




Because now we’re being forced to take a break. Before

we didn’t really care about the person playing next to us,

because there was so much noise. But now, as soon as

things get back to normal when you see someone on stage,

you want to see some people who hit the right key.

And my impression in Berlin is that I’ve been connected

to some very talented musicians, who have this jazzbackground.

Whereas before the pandemic, it was more

about producers who weren’t musicians, but music lovers.

When it comes to your own influences or inspirations,

what artists would you describe as your main influences

that have shaped your sound?

I have so many. So yesterday, I was listening to Voodoo

by D’Angelo and I won’t lie, it’s amazing how you can

capture something from the time back then that sounds

still relevant. Then, of course, Marvin Gaye’s nice oldschool

coolness. And then, even though I rarely mention

it, I listen to a lot of 70s, like Paul Rodgers, Jim Morrison

and sometimes even crazier stuff like King Crimson. I

don’t really mention those influences, though, ‘cause I feel

they’re quite obvious.

I am from Nigeria, and what I carry as a Nigerian is this

capacity to just explore and check out things, I’m curious

about everything. And that huge curiosity is that African

gift I have, not giving a shit as long as it’s groovy, you feel

your head banging and there’s emotion there.





Photography Nata Mitereva @natamiterev

Model Yura Puscasu @yutamir_ DT MODEL Management

Styling Anjelica Vlasova @ajelishka

Brands Haskel, Anjelica Vlasova & Natalia Sergacova









From jazz

to hard

techno -

Meet the




Interview by Johanna Urbancik @johannaurbancik

Photographer Florian Herzing @helly_shoots

Designer Pernilla Weinholz @yourbestpennycillin


Her music is a colourful fusion of hypnotic

nostalgia, fast-paced beats and colourful

patterns that sparks a big influence of

urban underground culture. MarcelDune

grew up in Greece and has just recently

moved from Athens to London, where she’s

exploring the city’s diverse and raw street

style culture. Drawing inspiration not only

from her surroundings, she also avidly

combines modular synthesizers with analog

and digital sounds in addition to field

recordings, which are heavily influenced by

jazz studies and opera singing. Her latest

EP ‘Preternatural’, which was released on

23rd October via REPITCH, is a collection of

seven fast-paced techno tracks.

KALTBLUT caught up with MarcelDune

to talk about ‘Preternatural’, her recent

relocation to London and her creative process.

How would you describe your music in

three words?

Euphoric, hard, melodic

Walk me through how you produce your

music. What’s your creative progress and

how did you find your own sound?

Lately I have changed my creative process

a lot, I made it more convenient and easy.

Meaning that I sold a lot of my gear and

began focusing more on software and


For me, producing a track or making music

in general is a way to escape from these

difficult times that we are all facing, and

the pandemic is not the only problem that

we have to solve as humanity. Racism,

sexism and the patriarchy are also ways

of oppression that we have to fight for

example! So, I decided to make my workflow

more convenient in order to spend more

and more time lost in the sounds. I can sit

for more than twelve hours just listening to

samples or trying to figure out the right kick

or the right sound effect. I am not sure if I

have found my sound because I really want

to experiment and improvise constantly,

creating new ways of expression.

Your latest EP Preternatural is a collection

of euphoric, hard bangers. How has this

EP evolved since you first began making


When I first began producing music

my sound was more into experimental

electronic sound with many elements

borrowed from Jazz, which I then translated

into my own world of understanding. Back

then I studied Jazz so I was really into this

particular sound and aesthetic. Jazz gives

you the opportunity to freely improvise and

create your own path under a very certain

form of track. As a result my sound has


“Jazz gives you the

opportunity to freely

improvise and create your

own path under a very

certain form of track.”

evolved a lot throughout the years but again all

of my tracks have this little conversation from

hard-hitting improvised parts to solo euphoric

voices and back to the original form.

Who and what have been the main influences

that helped you shape your sound?

Like I’ve mentioned in the past, my main

inspiration that has shaped my sound is life

in the city, the raw street and underground

culture as well as how people face oppression

of any form in their day to day lives.

What’s it like to release an EP into a


Releasing an EP during a global pandemic

is not an easy process because it is very sad

that you lose many opportunities for gigs and

communicating with other people around or

receiving feedback for your work. You don’t

really get the chance to see the impact your

music might have on a crowd which is quite

the misfortune, but I try to keep a positive


You’ve recently said that your music is

inspired by life in the city. Could you tell me

what you meant by that and how it reflects in

your music?

I like observing life in the city as a third

person, it interests me how people act in

certain circumstances and how each person

is actually different from the other however

similar they may seem, and the way they

struggle with their problems is so powerful

and unique that I try to output this experience

through my music. Hard stomping kicks can

represent the roughness of the city concrete,

and trancey melodic leads can represent the

euphoric escapism of individuals.




You’ve relocated from Athens to London. How has the city impacted your creativity?

I am new in London so I have no idea yet but I believe that I will find my way, since

expressing myself through art is vital for me. Also a new environment always gives you a

lot of information to take in and this is what I am currently looking for.

What are the biggest differences between Athens’ and London’s underground

nightlife scenes?

I haven’t really had the chance to explore London’s underground nightlife but I’m

sure there will be similarities as well as differences. Athens’ underground nightlife

is currently going through a revival with many illegal raves and parties going on. The

electronic music scene in Athens is small compared to other cities such as London, but

at the same time has a unique approach to it. The scene is very DIY-centric since there

is no form of support from the government or any external organisations etc. So the

musicians, DJ’s and artists in general are left by themselves without any form of support.

This has built a strong community and a DIY mindset. I’m sure I will find something

similar in the London underground scene as well and I can’t wait to dive deep into it.




Photography Maximilian Mouson


Hair and Make up Patricia Hoos using Davines,

Fenty Beauty and Charlotte Tilbury


Styling by Nico Sutor


Assistent Marco Herse Foti


Models are Jennifer Farwer


and Katharina D.


by M4 Models




Coat - Charlotte Strindberg

Skirt - Tim Ryan Knit

Shoes - Premiata


Blazer - Arkadiusz Swieton

Top - Kristine Boström

Chain - Nico Sutor

Skirt - Tim Ryan Knit

Shoes - Suicoke



Coat - Charlotte Strindberg

Skirt - Tim Ryan Knit

Shoes - Premiata


Blazer - Arkadiusz Swieton

Top - Kristine Boström

Chain - Nico Sutor

Skirt - Tim Ryan Knit

Shoes - Suicoke




Coat - Charlotte Strindberg

Skirt - Tim Ryan Knit

Shoes - Premiata


Blazer - Arkadiusz Swieton

Top - Kristine Boström

Chain - Nico Sutor

Skirt - Tim Ryan Knit

Shoes - Suicoke





Dress - Lærke Dramshøj

Turtleneck - Nico Sutor

Belt - Perlensau

Tights - Falke

Shoes - United Nude

Chain - Denis Goec

Hair Clipper - Jasmin Erb


Dress - Lærke Dramshøj

Turtleneck - Nico Sutor

Shirt - Hugo Boss

Belt - Perlensau

Tights - Falke

Shoes - Suicoke

Gloves - Charlotte Strindberg




Dress - Lærke Dramshøj

Turtleneck - Nico Sutor

Belt - Perlensau

Tights - Falke

Shoes - United Nude

Chain - Denis Goec

Hair Clipper - Jasmin Erb


Dress - Lærke Dramshøj

Turtleneck - Nico Sutor

Shirt - Hugo Boss

Belt - Perlensau

Tights - Falke

Shoes - Suicoke

Gloves - Charlotte Strindberg



Shirt - Phillip Lim

Dress and Top - Kristine Boström

Shoes - United Nude

Chain - Arkadiusz Swieton


Shirt - Charlotte Strindberg

Sleeves - Lotte Schönfeld

Top - Elin Meijer

Earrings and Pants - Lea Maria Kahl

Shoes - United Nude




Blazer and Gloves - Nastassia Volkus

Shirt - Lærke Dramshøj

Pants - Charlotte Strindberg

Bag - Lotte Schönfeld

Chains - Denis Goec




Trench and Overall - Lea Maria Kahl

Dress and Shoes - Elin Meijer


Trench - Elin Arvidsson

Top and Gloves - Anastasia Bull

Blouse and Pants - Lea Maria Kahl

Shoes - United Nude




Body and Shoes - Charlotte Strindberg

Blouse - Jasmin Erb

Skirt - Rebecca Pohl


Overall - Charlotte Strindberg

Blazer and Gloves - Rebecca Pohl



Blouse - Charlotte Strindberg

Dress - Alice Grunvander

Shoes - Doc Martnes


From latex to

loving yourself-

Meet James Indigo,

the queer rap artist

starting a rap


Interview by Lewis RobertCameron @lrcfashionstylist

Pictures by Sam Jordannes @samjordannephotography

Digital artwork by David Oldenburg @oldenburgdavid

KALTBLUT chats exclusively to Birmingham-born rap artist, and rising future queer icon, James

Indigo on his inspiring debut EP Married To The Game, giving rap a refreshingly queer

makeover spitting lyrical gems, serving sex, swag and cleverly infectious hiphop

bops. Also, he loves latex, Kylie made him gay and he enjoys dancing

in his underwear. Total husband material, (*Googles human cloning


Hi James, it’s an absolute pleasure to chat to

you. How’s 2020 been treating you?

Thank you for interviewing me. 2020 has

been a roller-coaster of emotions. Overall I

would say it has been a real eye-opener and

I have been really content and productive. I

take each day as it comes.

Congrats on your debut EP Married

to the Game, how are you feeling now

you’ve released it for the world to hear?

I feel ecstatic! I have been working on

this project for a while now. I feel like I

have just given birth and I’m watching

my baby grow.

You certainly came to slay. I feel

like I’m in the ballroom version of

a rap battle complete with sequin

mic drops mixed with death drops in

abundance. How did you find your

sound and when did you know this

was the direction you wanted to go in



Thanks, that’s a great description. I want to go

to a ballroom now haha. I have always loved

different genres of music. I can go from one

extreme to another. One day I’m listening to

hyper pop and the next I’m listening to classical


I wanted to make a project that embodied all my

favourite sounds. So the direction and creative

process was pretty easy.

Tell me about the idea behind the cover art.

Your head is separated from your body. What

does it all mean and how’s your head?

When I sat down to create my EP I was

thinking about my journey thus far and

how far I’ve come as a person. When I was

younger I always felt like I didn’t belong.

I felt like a broken doll. I was never the

popular kid and I was bullied. But the

love I have for music helped me. I’m

married to my art. So straight away I

had this idea of being a broken doll

with a veil over my head. I stuck with

it as the overall theme. And I haven’t

had any complaints ;)

I’m obsessed with Latex. Such a

bop. How do you come with these

lyrical moments?

Thank you, I love Latex. I wanted

to make a song called Latex for a

while because I’m obsessed with

latex and the way it makes me

feel. This lyric came to my mind “

Latex, I like a late text” So I booked

in studio time with my producer,

and I started to write to the beat. I

remember wanting to talk freaky

but also talk about me being

proud. I say “I’m the black sheep

and I’m fucking proud to be”

Where do you find yourself the

most inspired when it comes to

writing and creating?

It can be really random. I have

woken up in the middle of the

night before with a hook in my

head or I randomly get a lyric

in my head and I’m rushing

to type it into my notes.

When I wrote Dick Print I

was dancing in my room

with my briefs on and it

just came to me. When I

sit down to write it’s

always pretty early.

So I would say


after a coffee.


Thank you for that awesome visual, we now know you are a briefs guy.

Lol ;p. As a queer person of colour, authenticity is obviously a huge part

to who you are as an artist, what helps you stay true to yourself when

making music?

Coming into the industry I didn’t want to act “cool” or be something

I’m not. I’m happy with the person I have become. I wake up every day

blessed and I count my blessings. So staying humble and true to myself is

pretty easy.

I love that your music is extremely honest and raw but with a playful,

humorous undertone. How important is it for you to enjoy doing what

you do when it comes to your music?

Extremely important. I eat, breathe, and sleep music. I listen to music

every day and I write almost every day. It’s Cathartic. I’m also a really fun,

happy guy and I don’t take myself and life too seriously. Life is short. I

want to spend every day loving it. I love putting that energy into my art.

You are definitely a rarity in the UK music industry. How has it been for

you being openly gay as a rapper and starting your career?

It’s been amazing. The love and support I have received overwhelms me.

I get a lot of messages from people saying they’ve never seen a gay rapper

before or that I inspire them to live their truth. You do get the odd person

saying shit but I don’t pay any notice.

Haters gonna hate. It’s refreshing to see, and more importantly hear,

you do you so unapologetically. What made you decide to be open with

your sexuality and include it so expressively in your music?

When I was writing my first single Cxntour I knew I didn’t want to hold

back. It’s all or nothing. Being open and showing the world who you are

isn’t a bad thing. I wanted to come into the game 100 percent me and 100

percent unapologetic. All guns blazing.

Pow pow. Your previous singles have always touched on elements of

diversity and breaking down stereotypes within society and the queer

community, whats the main message of MTTG?

The main message from this project is an overall message. I am black.

I’m an openly gay man, I’m in the music industry, I grew up with nothing,

I own who I am and I am proud. This EP

embodies sexuality, confidence, and oozes

excitement. The message is showing that

you can come from any background or

sexuality and win. Hard work pays off. This

EP is a reflection of all of that.

Your songs are also pretty damn sexy.

Daddy’s Coming Home made me a little

bit pregnant. How has being comfortable

with your sexuality allowed you to be/feel

liberated sexually?

That’s my job done then haha. When you

don’t give a fuck about the opinions of

others and you follow your heart and learn

to love yourself, Everything falls into place.

Writing music is the way I express myself. So

openly talking about my sexuality empowers


You are also very experimental when it

comes to playing with queer references

in your videos. What inspires you when it

comes to your visuals and the lewks you

bring to the table?

Ji; It’s many different things. When I write, I

99 percent envision the visual. I see fabrics,

colours, and lights in my head. My mind

is pretty crazy. I then forward all my crazy

ideas to my team. Then we go back and forth

with ideas and themes to fine tune them.

In your honest opinion, do you think

rap and hip hop is changing its view on

sexuality at all?

I would say it’s 50/50 we have definitely

come a long way. We have big artists killing it

like Tyler The Creator and Lil Nas. However,

we still live in a homophobic world and a

lot of people are stuck in their ways. We still

have a lot of work to do.

What advice would you give to other young

rappers who may struggle to open up about

their sexuality in the future?

I would start by saying that remember you

are not alone. It’s easy to feel isolated and

feeling like you don’t belong. There’s plenty

of us out there and there’s plenty of people

who love and accept you for who you are.

Don’t be scared to speak your truth. Your

future is bright.

Finally, what can we expect from James

Indigo in 2021?

You can expect loads of visuals, you can

expect great performances, and loads more

dark, heavy music.

Conclusion, ten, ten, tens across the board.

James Indigo’s debut EP, Married To The

Game, is available to stream now.

Instagram @jamesindigo






Art Direction & Styling

Magic Owen


Model and Make-Up

Amy at Oxygen Models

Location Gloucester Prison


Neck Piece - Patrick Ian Hartley

Vinyl Bodysuit - Pretty Little Suit

Black Vinyl Long Gloves - Gucci

Thigh High boots - Pleaser


Red Bodysuit - House Of Namaste

Black Hood - Sweet’n’Twisted Studio

Thigh High boots - Pleaser


Neck Piece - Patrick Ian Hartley

Vinyl Bodysuit - Pretty Little Suit

Black Vinyl Long Gloves - Gucci

Thigh High boots - Pleaser


Sheer Vinyl Coat - Boohoo

Black Hood - Sweet’n’Twisted Studio

Medical Headpiece & Silicone Bra - House Of Namaste

Clear lace up Neck collar - Syban

Black Corset Belt - Anita Nemkyova

Black Vinyl Gloves - Gucci

Clear Perspex Tie Leg Heels - ASOS



Medical Headdress - Syban

White PVC Dress - Boohoo

Medical Corset and arm brace - Syban

Clear Perspex Tie Leg Heels - ASOS


White Faux Leather Dress - Zara

Crystal Boobs - House Of Namaste

Clear Perspex Tie Leg Heels - ASOS

Black Hood - Sweet’n’Twisted Studio

Shield - Vikullsi

Black Vinyl Gloves - Gucci


Blue Rings Jacket - House Of Namaste

Latex Corset and underwear - Dark Virtue Designs

Black Rays Gloves - T Label

Black Hood - Sweet’n’Twisted Studio

Clear Perspex Tie Leg Heels - ASOS







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