In conversation with .. 8!

Aka Kelzz
Jaume Miró
José Rojas
Olli Hull
Wooly and the Uke
Ford Kelly

“I dare to dream of a world where people
can dress, speak, and behave how
they want, free from mockery, derision,
judgment, harassment, and danger.
This is what I want. Who’s with me?”
Meet The Team
Editor-in-Chief
Fashion Editor
Marcel Schlutt @marcel_schlutt mschlutt@kaltblut-magazine.com
Juno Dawson
Art Director
Art Editor
Music Editors
Fashion Editors
Naikee Simoneau @naikee_simoneau nsimoneau@kaltblut-magazine.com
Nicola Phillips @nicphilf nphillips@kaltblut-magazine.com
Johanna Urbancik @Johannaurbancik JohannaUrbancik@kaltblut-magazine.com
Nico Sutor @nico_sutor_ nsutor@kaltblut-magazine.com
Karl Slater @slatekarl kslater@kaltblut-magazine.com
Contributors
Lewis Robert Cameron, Johannes Brauner, Arabella Romen, Rianon Vran, Joseph Sy, Arron Dunworth, Alis, McGuire Brown
On The Cover
Kayinoluwa Ibidapo photographed by Abby Lorenzini
Hat - Yohji Yamamoto Pour Homme
Dress - Prada
Bolero - Raf Simmons
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Full story > p.38
All Copyright at KALTBLUT www.kaltblut-magazine.com @kaltblut_magazine
KALTBLUT MAGAZINE IS PUBLISHED BY MARCEL SCHLUTT AND NAIKEE SIMONEAU
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.

Aka Kelzz > p.6 Normalization > p.16
Jaume Miró > p.28 José Rojas > p.48
Red Pill > p.60 Ford Kelly > p.102
5

Finding strength
in accepting your
struggles
In conversation
with Aka Kelzz
Interview Johanna Urbancik @johannaurbancik
Photography Joanna Legid @joannalegid
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Berlin-based musician Aka Kelzz has a
presence, unlike many others. Their soft,
soulful voice paired with meaningful
lyrics resembles a warm blanket and a
hot cup of tea on a winter’s night. With
thought-provoking personal lyrics, Kelly
wants to share their experiences and
allow the listener to feel that life doesn’t
always have to be positive and perfect.
Their music has seemingly appeared out
of nowhere last year with Kelly having
taught themselves how to produce and
distribute music. We can consider
ourselves incredibly lucky, as Kelly’s music
is something that’s desperately needed in
our day and age: They’re different, daring
and are challenging our views on mental
health in a way that’s both genuine and
supportive.
KALTBLUT caught up with Kelly to
discuss their musical background, their
role as an educator and the stigma of the
“strong black woman” narrative they want
to break
You moved to Berlin four years ago, why
did you leave Birmingham?
I came here for a holiday in 2016 on my
own. I made a bunch of friends. When I
went back to the UK, I called my friend,
and I told her I’m in bed at home, and
she said that if you’re going to work a
shitty job in Birmingham, you can also
work a shitty job in Berlin. So, I moved
two months later. I didn’t have much
going on in the UK, I was just working,
hanging out with my friends, I wanted
more, something different. I came here
with no real plan, just to work and see
what happens. I haven’t lived in another
country long-term before, so Berlin just
made sense. It’s so different from the
rest of Germany, which I didn’t know at
the time.
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Were you already pursuing music in England, or is that something you started in
Berlin?
I’ve been singing since I was a kid. My whole family is really musical, my dad used to
be a DJ and singer, my mum could sing, my dad and my sister could sing, and there
was also me. From a young age, I was really into music. I tried to be in a band in the
UK, but it didn’t work out, so I gave up. In school, my teachers said to me that I wasn’t
a good singer, which put my confidence down. I didn’t listen, but it’s still in the back
of my mind even now, and I’m questioning if I’m doing the right thing.
Then I moved to Berlin, I settled and from 2018 to 2019, I kept trying loads of bands,
but it didn’t work out. We had a couple of shows or rehearsals, but we never clicked.
Then during the pandemic, at the beginning of March last year, I said to myself that
I’m going to try and learn to produce my own music.
I always thought about making music, but because I don’t play any instruments, I
always had to rely on other people to make something for me. Then I tried it myself
and started using this music production website called BandLab. It’s really easy, and
I just started playing around with it and created some tracks. It pretty much started
there, I’m still not an amazing producer, but I’m a much better singer-songwriter
now.
From that, I started playing with Bandlab, which then created my first two singles
“Take Me Back” and “Fucks Us Up!”. I’ve been doing that for most of the year, and then
in October 2020, I found a producer. His name’s Rafael Prado, and he is a student
at SAE. He told me that they were looking for people to record, and then they’d give
them two mixed and mastered songs. So, I did that. When I was in the studio, they
said that I have to release this music. I was a bit unsure, but Rafael and Vitor both said
that I needed to put this music out there. So I said, why not? From that, I got a huge
boost, and I thought, maybe I should do it. Rafael and I became really good friends,
and now he’s my producer. We’ve released four songs together now, and we’ve got
plenty more to come.
That’s really cool! I have two questions now. Berlin is all about electronic music.
Did you find it harder to pursue a non-electronic genre, such as R&B, here? And
the second question is about your songs, when Rafael told you to release your
music, did you self-release them?
I wouldn’t say it’s harder, but I didn’t know many artists that were doing Pop, R&B,
Soul. I didn’t know that many at the time when I first started. I wouldn’t say it’s
difficult, but obviously, Berlin is known for Techno, so you have to find the right
events, the right people to follow on social media and connect and the people who
are making different music to Techno. From my experience, it took some time to
find all the artists making music somewhat similar to mine, or different to Techno.
If I wanted to, I could easily try and produce Techno music, but then it’s the same as
everybody else.
And to answer your second question; everything I released was self-released. I use
distrokid, and everything that I’ve done in the last year I just learned as I went along. I
didn’t know how to release music, I didn’t know how you’d get onto Spotify, and then I
was researching all about distribution, and I thought shit, there’s so much stuff I need
to know about! Then figuring out how to get people to listen to my music, and it’s all
just so complicated. I just wanted to put my music out there and have people listen to
it. There are so many layers to it because, for one, I am a fat dark skin femme. There’s
already that barrier.
It turns music into a real business.
100%! That’s what I’m trying to say. The way that I look and the way that I sound is
very different in Berlin. I don’t know many people that look like me that are doing
music. There’s that part which is really cool, it’s a slight niche almost. Releasing
music or gathering the information to learn how to release music is something you
have to try to figure out as you go along. I’m still doing it. I’m hoping that people
listen to my music, and it gets shared. Let’s see how it goes because not many people
know me now. This is the perfect time to figure out how to do all this music stuff.
8

“I don’t want to change for
anyone. I’ve worked too hard to
battle with my demons to get
where I am now in such short
space of time.”
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Exactly. I think it’s always a learning
procedure. For so many artists, labels
make life a lot easier because they’ll take
care of the admin stuff, but I think when
you’re self-releasing music, you have so
many more opportunities to do what you
want to do and have no one above you. It
sounds as if self-releasing makes hard
work a bit more paid off.
For sure. The one thing I really love about
self-releasing is the fact that it’s my music
and I’m working with other people that
understand and respect my vision and
ideas. A huge part of my music is sharing
my experiences in a very honest way.
My first release “Take Me Back” is about
summer and being in love, it’s a happy
song.
Then “Fucks Us Up!”, which is like an
anthem to me. It was a turning point for
me because when I wrote it, it was about
the pandemic at first, but when I went
to the studio, it turned into some sort of
anthem for me where I’m not taking any
shit anymore, I’m doing what’s best for me.
Every time I sing this song, it gives me so
much energy.
Then “purple” is about my love for
my friends. I want to maintain this
transparency, this honesty that people
are drawn to when they see me perform
and when they see things that I post on
social media. I like the fact that I can have
lots of freedom at the moment. It’s also
about finding the people to work with
that wouldn’t try to change me. That’s
something I would not be doing. I don’t
want to change for anyone. I’ve worked too
hard to battle with my demons to get where
I am now in such a short space of time. It’s
been a year since I started recording and
releasing. It all happened pretty quickly.
Quote: “After shows, people come up to me
and tell me that this was so good and they
felt every word that I was saying. It makes
my heart so full, to know that they listen
to and enjoy my music and that they can
understand what I’m saying.”
10

Your lyrics are very personal, with some being about
your mental health struggles. Did you always want to
use your music as a medium to give advice about such
personal things, or do you feel that you have a duty to
give people listen to something that they identify with
and understand?
Yeah, it’s a bit of both. When I write, I write about what
I’m feeling. I write down my thoughts, I’ll come back
to the words, and then I’ll pick out how I’m feeling that
day and then write a song that way. It’s a combination of
both. I can’t sit down and write a whole song in one go, I
need time to slowly reflect and come back to it.
I want to be a person that looks different, and sounds
not how you think I’m going to sound when you first
see me. I have this feeling when people see me they
think I’m going to have this really loud powerful voice,
which I do somewhat, but not really. My voice is really
soulful, but I feel it’s different when you hear the words,
something clicks. It’s something you’re not expecting
when you hear the words.
When I’m performing, I talk about the songs. I enjoy the
fact that I’m sharing about my mental health because
for so long, I never did with anybody. With music, I can
just sing the words and hear people say “Oh, I feel very
similar”, or “I’ve had these feelings as well”. It makes
me feel that this is something I should be sharing,
especially with black and brown queer people.
This is my experience and I want to be relatable. People
feel the words I’m saying and that’s the most important
thing to me, to be honest. After shows, people come up
to me and tell me that this was so good and they felt
every word that I was saying. It makes my heart so full,
to know that they listen to and enjoy my music and that
they can understand what I’m saying.
It’s almost a little bit like a personal therapy session
that everyone has while listening to your music.
Another thing that you’ve already briefly touched on,
I’ve read that you want to kind of break the strong
black woman narrative, can you tell me a little bit
about that?
I identify as non-binary. I’m a non-binary person,
which has been a recent “thing”. For so long in my life,
when people read me, they read me as a CIS black
woman. I never had the opportunity to think of myself
outside of that, because of everything that goes on in
the world, especially when it comes to black women.
I want to be vulnerable. I want people to see that I’m
not strong. I don’t want that word attached to me. I
want people to see me as something else, rather than
a strong black person that can take on the shit. No, I
cry a lot. I get depressed a lot. This is something that I
want people to see. That’s something I put across very
well, my struggles, different ways of learning. If I was
in love and friendships, relationships, relationship with
myself, which is important because I didn’t know a lot
about myself really. I didn’t question a lot of things.
Also, politically, I didn’t question a lot of things and I’m
undoing the work now.
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“I like to share, but
also I want other
people to see me and
understand that I’m an
open book and letting
you into this vulnerable
side. I want to take
people on a journey
whenever I perform.
I want them to see
the bad side and
that it’s okay
to have fun.”

Picture by @annd_____
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Do you sometimes get sick of having to be an educator in
that sense?
It’s tiring, for sure. Because me being in a space is already
enough. Only when I’m in spaces with black and brown people
do I feel more relaxed. I don’t have to do the work. When I’m in
a space with white people, I have to talk a lot more. Normally,
my music says everything and other black and brown people
will understand it. They’ve been through similar things. I think
when it comes to education, it’s mainly for white people. That’s
when the conversation normally where I have to talk about and
explain how you deal with depression comes up.
It’s very unreflective because mental health struggles affect
everyone no matter what skin colour or background you
have.
It’s a constant thing for me because I started therapy again,
which has been a great thing, and I’m a huge advocate for
doing things that make you feel good. Find your support
system and if you have access to therapy, go! In Germany, it’s
very difficult to access certain things, specifically therapy. I
love to talk about black and brown people because these are
people that can understand the things I’ve been through.
I like to share, but also I want other people to see me and
understand that I’m an open book and letting you into this
vulnerable side. I want to take people on a journey whenever I
perform. I want them to see the bad side and that it’s okay to
have fun. It’s not just this positive music, it is a real journey I
want to take people on to show them that being on this stage
took a lot of work. Writing this song took a lot of work for
people to enjoy.
I really like that! Do you have any music coming up soon?
I have a bunch of releases that are coming out. We’re still
deciding on the order in which they are going to come out.
But, I have two songs coming out this year. One is called
“Blank Space”, which is about mental health and the other
one is “Timestamp”. “Timestamp” is me talking about my
experience of people trying to make me feel small and put
me in a box. My EP will be coming out next year and that is
something I am super excited about!
Follow Aka Kelzz @akakelzzmusic
@akakelzz
15

Normalization
Photography Joseph Sy @josephest
Styling & Art direction Yujin Lee @yujinfcs
Hair Kiara Scorzelli @kiarascorzelli
Models Krisna Agraan @hxntxx Naji Basma @najibasma Alice Jauncey @alicejauncey
Two piece - Gerry Weber
Black hat - stylist’s own
Earrings - Ece
Rings - Moulting Press
Boots - Dunlop
Two piece - Elvi
Green hat - Kangol
Shoes - Sacha
Rings - Moulting Press
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Hoodie & Dress - Asos
Boots - Dunlop
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Two pieces - Avavav
Shoes - Twins Design Studio

Furry Hat - M&S
Earrings - Arkadiuszwieton
Black top - Meiyu Song
White Hat & Top - Alina Ispas
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Blue two piece - Meiyu Song
Bag - Valentino
Umbrella hat - OMUKY
Shoes - Meiyu Song
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Brown two piece - Viyella
Dress and Ivory long socks - Alina Ispas
Shoes - Hush Puppies
Red body suit - Alina Ispas
Leg warmer - Alina Ispas
White heels - stylist’s own
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Photography Arron Dunworth @arron.dunworth
Model Misty @mistythebrandofficial
Make up Tamara Tott @tamaratott_makeup using Illamasqua
22Misty
Hair Ross Kwan using Bumble & Bumble @rosskwan

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Editorial
All outfits - Jaume Miró
Shoes - Yeezy

One To Watch:
Jaume Miró
Photography Alis @alisbyalisofficial
Stylist & all fashion Jaume Miró @jaumevmiro
Models Martí Many signed at Uno Models @martimany_
Aleks Zaharenkov signed at Blow Models @ginger.aleks
Make up Aitana Wallace @aitanawallace
Hair Joan Callau @joancallau
Styling assistants Carles Lopez and Aitorito @carleslopezz @aitor.rito
Introducing Barcelona
based fashion designer
Jaume Miró presenting
his latest collection:
PROMETEO!
„I have always doubted that life is
something totally real: too good to be
true and too cruel to be finite.
With this philosophy in mind from
an early age and having television,
tamagotchi and VHS’s as best friends;
The concept of constantly comparing
my life and what happens in it with
fictional films and characters or
believing that everything is a virtual
reality does not seem crazy to me.
Something similar to the “Truman
Show” but without an attentive audience
behind the screen or a dreamlike being
writing my destiny and determining my
good or bad karma.
This is the concept that ``PROMETEO
‘’ wants to show: a collection of
conceptual and avant-garde fashion
in which I compare post-traumatic
stress and Eating Disorders with retrofuturistic
aesthetics and science fiction,
mixing elements such as the tailoring
and shirting with sportswear and
street-style to mix the idea of finding
comfort in discomfort and explore
through volumes the canons of current
beauty and the antithesis of these and
not set limits between what is real or
unreal.“
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The Facets
Of A Personality
Creative Direction & Styling
McGuire Brown @mcguire.brown
Photographer & Editor Abby Lorenzini @abilorenzini
Lighting Assistance Joe DaJour @joedajour
Assistance Jane Handorff @jhandorff & Samantha Del
Rosal @samanthadelrosal
Model Kayinoluwa Ibidapo @kayinoluwa
Makeup Tania Mallah @tatimallah
Production Orientation NYC @orientationyc
Hat - Yohji Yamamoto
Pour Homme
Dress - Prada
Bolero - Raf Simmons
Jacket - Balenciaga
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Dress - Paco Rabanne
Hat -CDG Homme Plus
Jacket -Maison Margiela
Shoes - Givenchy
Undergarments - Skims
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Ruffled Dress - Alexander McQueen

Dress - Jean Paul Gaultier
Harness -Comme Des Garçons
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Hat - Yohji Yamamoto PourHomme
Dress - Prada
Bolero - Raf Simmons
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Hat - Yohji Yamamoto PourHomme
Dress - Prada
Bolero - Raf Simmons
Jacket - Balenciaga
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Hat - Yohji Yamamoto PourHomme
Dress - Prada
Bolero - Raf Simmons
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48

Queers,
Sex & Lolz
Introducing
José Rojas
Interview Naikee Simoneau @naikee_simoneau
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As an interdisciplinary artist José Rojas has been working in the intersection of storytelling,
photography, video, music and design; but the one thing that has always been there since he was a
kid is illustration. From an early age Rojas’s had an urge to release all that happens in his head, and
drawing was always the medium that felt most natural. Over the years it has become a way for him to
communicate ideas and to enrich other creative processes he works on. José especially enjoy it when
drawing serves as a meditative act.
What medium/tools do you feel most comfortable with when creating your work?
The iPad has turned out to be the tool I use the most. Even though it will never replace the
experience of holding a brush, having paint under your nails or smelling the materials, I am thrilled
with the endless possibilities technology offers within so little space. In a time when art and design
are shifting more and more to a digital space, using the iPad feels more native. Some may be sceptic
about this change. For me, it means that I can combine a lot of techniques and mediums despite
lacking the space at home or a studio. Instead I can work anywhere — from the comfort of my desk,
the subway or even in bed (most of the times haha). This tool has allowed me to broaden my set of
visual languages in a very short time and in ways that otherwise would not have been possible.
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Your illustrations are so exquisite and very unique, what are your inspirations?
My approach is to combine the world of fine art with the world of pop culture and spice
it up with queerness, sexiness and humor. My use of color and choice of shapes and
composition come from the interest I developed in art history during high school, and
are especially inspired by modern art.
I present my characters in quite a staged and theatrical way. For this I draw a lot of
influence from film and fashion photography, such as the work of Pedro Almodovar,
Wes Andersson, Tim Burton, Nadia Lee Cohen and Tim Walker. There is something so
magical about the way all these artists master the craft of portrayal.
The shows and cartoons I watched as a kid, as well as the depiction of pop culture
in media are a great inspiration, too. Especially queer icons, bold colors and lots of
hairspray and drama. Humor is a key ingredient in my creative work. I believe that
adding irony and quirkiness to my illustrations helps them feel more real, relatable, and
accessible.
Last, but not least, I put a lot of myself in my work as a way of portraying my various
inner personalities in each illustration, resulting in pseudo self-portraits quite often.
Your work is very stylish. How does fashion influence you?
My grandmother was a very elegant and stylish person. I remember thinking as a kid
there wasn’t anyone more fashionable than my grandma. I always wanted to believe I
inherited some of that and loved to dress up, put make-up on and create characters.
But it wasn’t until I came out that I dared to dive deeper into the world of fashion. My
relationship with fashion as an artist surged as a result of observation and from the need
to create relatable and convincing characters. It’s this part of every project that I love
the most, whether I’m working on a music video, a short film, or on my next painting.
Clothes, hair and make-up allow me to bring to life the characters I have in mind.
Fashion opens a new dimension in any story. It literally adds layers to each character to
the point where a simple portrait or an illustration can tell a multidimensional story.
Your illustrations refer to politics, gender, race… do you think that as an artist it’s
your duty to be engaged?
Yes, but first as a person and citizen and then as an artists. If I’m engaged in these topics
in my personal life, that naturally impacts both the content and the process of my work.
The issues that concern me become my narrative. But of course the answer is yes. As an
artist, I know that I hold the know-how of visual storytelling.
A way of communication that in this digital era and and in the world of social media has
proven to be very powerful. I believe in the urgency of shifting narratives, unlearning old
recurring patterns and values and creating new visions and prospects of a life without
oppression, discrimination and toxic behaviors. As an artist and storyteller it’s important
to understand the potential for the viewer to identify with known and recurring
narratives, but especially to create new ones which are more inclusive, intersectional
and that depict a vision of the world we want to live in.
What is the message you want to get across to viewers of your work?
My illustrations aim to be snapshots of many queer fantasies—from vanilla to kinky.
I want to make people feel warm and jolly, make them laugh, feel nostalgic, dreamy
or naughty. I want to invite the viewer to reflect on their own identity or just have fun
exploring the beauty and intensity of queer fantasies and queer characters.
You’re from Mexico but based in Berlin, Germany. How does both countries influence
your work?
Before moving to Berlin I didn’t know I was gay. I was a 22-year-old guy who moved to
Berlin thinking he was moving to the first world, leaving worse opportunities behind,
despite the immense privilege I enjoyed there. Being in Berlin hit the reset button.
Today I don’t recognize that person anymore. Not only did I get in touch with myself and
my queerness. Being here also allowed me to have a new perspective on my Mexican
heritage, a part of my identity I had blocked for years. I could recognize classist, racist
and homophobic behaviors that had been part of my upbringing in Mexican society and
started a process of unlearning and healing.
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I believe that all these learning experiences have impacted my work tremendously. Now I see and allow
the influence of Mexican folklore in my work and love how it works within queer narratives. Something I
wasn’t able to experience in Mexico, and I wish I had.
What other work/artist do you find really inspiring right now?
This is a hard question since there are so many incredible artists and activists out there and the amount
of inspiring work is almost overwhelming.
I find the work of the Berlin scene extremely touching. The storytelling of Hengameh Yaghoobifarah, the
wise words of Emilia Roig, the fierceness of the Berlin drag queens, the bright colors of Navot Miller’s
paintings, the magic in the photographic series Nachtzimmer of my friends Bela Lehrnickel and Dennis
Ruf. Lastly, the bold aesthetic in the work of my sister Andrea Rojas, with whom I have the privilege of
collaborating regularly.
What is your ultimate goal?
Looking at the world we live in, I sometimes feel like my art is a waste of time and get the urge to invest
my privilege and resources into something more radical with a more direct and stronger impact.
But then I remind myself that there is this huge potential to achieve change through art, design and
storytelling. Especially if we work together and see ourselves as part of a bigger picture.
I’m invested in reaching a point where I feel that I am making a difference with my work while at the
same time enjoying the creative process and fulfilling my artistic needs.
I’ve been working a lot on finding ways to speak up and become a more political person. I’m looking
forward to putting myself out there more and draw attention to the causes I fight for through my art.
My goal is to collaborate with more people who also seek the change and could use some visual
storytelling in their own cause.
Follow José Rojas @jose_illustration
joserojasstudio.com
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Red Pill
Photography + Art Direction Karl Slater @slaterkarl
Styling Lewis Robert Cameron @lrcfashionstylist
MUA Martina Derosa using M.A.C Cosmetics @martinaderosa_mua
Hair Marco Coluccio using Schwarzkopf Got2big
Model Jacob Lyttle at PRM @jacob.lyttle @prm_agency
Choker - H.O.N
Top & Trousers - FCLX
Boots - Acne Studios
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Shirt Dress - ELZINGA
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Earring - HUANZHI
Suit - Alvaro Mars
Gloves - Honour
Boots - Acne Studios
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Shirt Dress - ELZINGA
Trousers - Fiorucci
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Earring - Raf Simons
Top - House of Holland by Henry Holland
Belt - Maharishi
Trousers - Karl Lagerfeld
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Suit Jacket - Matilda Aberg
Harness belt - B Dodi
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Earring - Raf Simons
Top - House of Holland by Henry Holland
Belt - Maharishi
Trousers - Karl Lagerfeld

Choker - H.O.N
Top & Trousers - FCLX
Boots - Acne Studios
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BIRTH OF
Creative Direction, Design
Arabella Romen @arabellaromen
Photography and Postproduction
Rianon Vran @rianonvran
Videography and Video Direction
Toto Stoffels @miss_toto_rodgers
Sound Design Anton Filatov @antoonfilatov
Styling Assistant, Hair and Make-Up
Nadine Sahm @nads.studio
Model is Kat Grube
signed at Vivamodels @katjagru_
via @vivamodelsberlin
3D Design Hany Braisch and
Hatice Keya @______hany @keyaha_
Red Flower Textile Print Collaboration
3D Design 11v151131_m06
@11v151131_m06
Sculptural Artwork Base with
Stefanie Grau &
Arabella Romen
@arabellaromen
@stefanie_grau
Jewellery Lacuna
by Annabelle Baldero Lacuna
@lacuna__paris
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VENUS
“What
are society’s beauty
standards and how can one free
oneself from them?
Leather - Blazer Arabella Romen
Trousers - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Other Stories
Even before humanity was hit by
the COVID-19 pandemic, there
was a trend of people increasingly
escaping into virtual worlds and
alienating themselves from reality.
Much like various other trends,
social media is also reinforcing
this escapism and the creation
of virtual realities and false
personalities.
Arabella Romen is a Berlin-based
fashion designer who graduated
2021 from Akademie Mode &
Design (AMD) in Berlin. Fashion
has always been one of her biggest
inspirations.
In a time when everything seems
possible, it is even more important
to ask what fashion actually still
stands for. It is the reason why she
often deals with socially difficult
topics in her work in order to
create added value.
In her final collection “Birth of
Venus”, the liberation from social
stigmatisation is shown. She takes
up escapism in fake realities and
plays with sexuality in her own
unique way.
The birth of Venus serves as
a stage to celebrate the new
beginning of a visual release
of stigmas. In the collection
itself, sexuality is explained in
a different way through various
transmitters such as the optics of
a birth through slippery designed
prints and sexually represented
flowers. The idea is to combine
human needs and virtual
dimensions to create a mental
safe-space.”
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Leather - Blazer Arabella Romen
Trousers - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela

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Coat - Blazer Arabella Romen
Trousers - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela

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Coat - Blazer Arabella Romen
Trousers - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela

Vest - Arabella Romen
Dress - Arabella Romen
Jewellery - Annabelle B. Lacuna
Shoes - Maison Margiela

Dress - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela
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Vest - Arabella Romen
Dress - Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela
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Blouse- Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela

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Fake Fur Coat - Arabella Romen
Blouse- Arabella Romen
Jewellery - Lacuna Paris
Shoes - Maison Margiela

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Being different
in a world that
doesn’t want
you to be
different
In conversation
with Wooly
and the Uke
Interview Johanna Urbancik @johannaurbancik
Photography Kanella Petropoulou
Wooly and the Uke is an audiovisual artist and writer from
South Asia, previously based in Berlin. Born in Lahore, Pakistan,
the artist’s socio-political backdrop has profusely influenced her
artistic expression, with an ever-growing appetite for creative
freedom. Her musical- and visual narratives are seemingly
subconsciously placed within distant imaginaries around human
fragility and perception and her sound can only be described as
genre-fluid. Having recently released her single “Home”, Wooly and
the Uke has shared her take on the question what and where is home?
KALTBLUT caught up with Wooly and the Uke via Zoom and
talked about her experiences in Pakistan, being different and
how she incorporates all those experiences and emotions into her
music.
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Where are you right now?
I am in my hometown Lahore right now!
Pakistan is hot around this time – Berlin
could need it a little!
I can imagine! I really like your single
“Home”.
I am glad it resonates with you. Home is the
intro to the EP These Days, actually!
Oh nice, when is the EP coming out?
When the producers are done with it!
(laughs) At the moment, I am drafting
the audio narrative along with some
visual storylines. I believe this project
must communicate the dialogue and plea
clutched within – that is the only way it will
encourage thought or a faint change where
it is needed.
Do you think your music is more
influenced by western music or do you try
to encompass South East Asian elements
as well?
I believe I am the embodiment of the
sound I birth and nurture. In a colonial
atmosphere of geographical restraint
and questioned identities, I have found
the influence selective and collective, yet
fleeting - be the influence from South Asia,
South East Asia, or the West.
In South Asian society, especially Pakistan,
most individuals, from a young age, are
subconsciously ejecting themselves from
their immediate context. The longing to
escape often stems from societal policing.
I have found personally that to have affected
my levels of responsiveness, or appeal,
towards those contextual elements you
might be discussing. The art, however
separate, becomes readily jumbled within
the fight or flight.
In the crucial time of my musical growth,
the West had been more dominant in
the narrative. In the naïve, black and
white, and emotional mind of a young
musician, what was less understood
here felt easily communicated in the
overtly “open” culture outside – the
details seemed far less important
than the freedom the outside world
exhibited. Southeast Asia, too
well like South Asia, seemed too
close on the mental map – the
colonial projection and consumption
concealed much of the influence from
elsewhere, which revealed as I grew outside
that bubble.
I want to embrace more.
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Nice! Coming back to your single,
you’ve said that the dark setting is
there to do justice to what’s going on
in Pakistan. Can you tell me a little bit
about that?
There is violence. Then, there is
desensitization. Then, there is an
eerie yet familiar atmosphere of “but
this isn’t new!” as if waiting to say,
“well, isn’t this new!” The dark setting
becomes almost dark comedy in such a
turn of events. What is urgent in other
societies is stacked lower than the lowest
subcategory of human rights in countries
where poverty overshadows and often
excuses inflicted tyranny.
In such a setting, commenting or
revolutionizing through art can also
effortlessly be measured in competition.
“Of course, it is easier to show your
nation’s flaws than to show the beauty of
our mountains and rivers! Propaganda!”
No. This is real. We need a mirror, just
as much as the play of illusions. There is
no one being entertained by becoming
entertainment.
I’m really sorry to hear that, and as you
said, it’s really hard to imagine that, as
we’re so privileged here. There are no
words.
Why I like sound – it is an instrument
that follows its rhythm of communication
and is relentless in its travel – the
language spoken, your background or
privilege are additional embellishments
that give it color.
For me, I am communicating my
message to you through frequencies,
which I can only hope you receive and
understand.
The message is universal.
Do you see Pakistan as your home or
Berlin?
I am learning, slowly yet surely, I am
home.
In Pakistan, the class disparity makes
some see others as aliens. In a foreign
land, you are an alien. The difference
between an alien and a fellow is that of
conformity.
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That seems to be the case when it
comes to immigrants and refugees in
Western countries. You see all those
articles praising refugees who came
here from Syria for example who
learned German within one second
and are juggling eight different jobs
to prove that they’re “worthy” of
being here. It’s horrible. Tell me a
little bit about the video for “Home”.
It’s a very dark video, too.
Home is an ode, as much as it is a plea
– to accept those less understood, less
accepted, the unlucky to be deemed
otherly. There are countless lives
taken, shaken, or gently pushed under
a veil. The cloth is grief turned shelter
from inflictions and labels – outlander,
suggestive, too less, too much, too
strange, too sexual, too damn different.
I want all of us to look around, to
recognise the burden each carries
in secrecy – the guilt, like shackles,
heavy with each secret. We carry many
homes away from home – homes
within people, places afar, and within
the clouds where we feel safer than
reality.
How would you compare the
Pakistani music industry to the
German?
The local music industry of Pakistan
squeezes more personal resources
out of the musicians. There is art,
there are artists, but also dwindling
infrastructure to support music
production and distribution. The
previously popular record labels
have exited, fundings make a rare
appearance and piracy triumphs.
However, globalisation has bridged
the newer artists with the vision of
musical achievements elsewhere. They
are connected with the image of what
could be and should be their future,
too. This has stimulated a spike in
creating those platforms that lack.
In Berlin, music facilitation
revolutionised as a long-held priority.
In Pakistan, the industry is reinventing
itself, and is adamant to get what it
deserves.
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“Being different can be like the arcade
game where a mole pops up randomly,
and someone has to whack them.
If you’re lucky, you are noticed but go
unscathed back underground.”
If someone strikes, there might be
applause and a reward on your fall.
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And would you say that
Pakistani musicians are
singing in their native
language, or is it still very
Anglo-centric?
The naïve or more
intellectually colonized
bubble is bursting. I have
observed it to become
increasingly “sexy” to take
ownership of your origins.
There is an atmosphere of
fusion, and to use language
as symbolism.
I find that interesting,
because European
musicians are slowly
embracing their native
languages and are
embracing their cultures
again, such as the South-
East Asian collective
Daytimers in the UK for
example.
I find that inspiring!
Isn’t being “different” very
dangerous?
The “differences” are
treated in distinctive
ways depending on if
underground or screaming
overground. There are
preferences laid in concrete.
However, most individuals
are increasingly adapting
to creating safer personas,
channeling energy into
finding loopholes.
How can you pursue your music,
which is quite personal, in a
climate like that?
In such conditions, the juggling of
façades and play of words can be a
smokescreen. This act can be called
performance art supplementary to
the art created!
It can be frightening to dance in
the face of danger, be it turned
away from the monster or looking
it in the eye. You can migrate or
choose to express while staying
– either case is still a reminder of
the contextual presence. However,
knowing that resilience and
collectivity exist between you and
what is ahead can be of consolation.
I aspire to find a free voice.
It’s awful, I have no words. You’ve
mentioned your EP earlier, will the
whole EP deal with those issues?
The E.P. These Days hopes to instill
curiosity and questioning while
also putting tales of lost love and
hopes of rejoicing on the table – a
tale familiar to many regardless of
borders.
Follow
Wooly and the Uke
@woolyandtheuke
Being different can be like
the arcade game where a
mole pops up randomly,
and someone has to whack
them. If you’re lucky, you are
noticed but go unscathed
back underground. If
someone strikes, there
might be applause and a
reward on your fall.
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Marcos
Photography Johannes Brauner @johannes.brauner
Model Marcos Acheampong signed at
Spin Modelmanagement @marcosacheampong
@spinmodelmanagement
Styling Marcella Verweyen
@marcellaverweyen
@agency_bigoudi @ligawest_melanie_klein
Hair & Make up
Marco Alecci @marcoalecci_hh
@ballsaal_artist_mgmt
Assistent Ibrahim Cavas@ibrahimcvs
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Shirt - Klaesi Holdener
Trousers - Klaesi Holdener
Jacket - Hugo
Shoes - Arket
Necklace - Ariane Ernst
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Shirt - Hugo
Pullover - Iris von Arnim
Trousers - Hugo
Shoes - Prada
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Suit - MFPN
Scarf - Susumu Ai
Shoes - P

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Jacket - Henrik Vibskov
Pullover - Iris von Arnim
Cashmere Jogging Pants- Iris von Arnim
Boots - Arket

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Suit - Magliano
Necklace - Ariane Ernst

Cardigan - Closed
Trousers - Klaesi Holdener
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Shirt - Klaesi Holdener
Trousers - Hugo
Necklace - Ariane Ernst
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Let’s celebrate
the spiritual
and mystical,
the non human,
alien and cyborg
In conversation
with Ford Kelly
Interview Naikee Simoneau @naikee_simoneau
Ford Kelly is an Artist using mixed media to express rage, pain, joy and feelings
experienced blackness as a Black Trans queer Alien living in this world. Using an
Afrofuturism frame for their digital collages, Ford Kelly is sharing a Blackness reality
wrote and made by Black people and reclaiming the basic right to just be.
Hi Ford, tell us a little about your creative background, when did you first start doing
collages and how did you come to it?
As long as I can remember I have been into art and making things. Some Children
found their worlds in books and I found mine in Art and designing. I liked the idea of
a being able to see the creative things I imagined come to life whether it was through
drawing, making clothes or craft work. I was fascinated with how things were made. It
has been the easiest way for me to express myself, find myself within, or merely getting
lost inside. Art was the most natural path I felt to take when deciding what to study. I
studied Fine Art and then went on to doing visual effects work,... However a few years
ago I got into more consistently working with Digital Collages within an Afrofuturist
frame.
What medium/tools do you feel most comfortable with when creating your work?
You could say that I’m drawn strongly to everything DIY. I don’t feel like I’m bound to
one medium or one project, or even one area. I’m fascinated with many aspects of art
and design and want to explore as many areas and mediums as I feel like. But currently
for the collages the digital world suits me.
Your illustrations refer to politics, gender, race… Do you think that as an artist it’s
your duty to be engaged?
I’m not sure it’s possible to create art as a Black (Trans Queer) Alien without this
coming up in the work in someway or another. I don’t have the luxury of being able to
pick and choose when or how I’m seen by the outside world so these identities become
quite present in my day to day life. Sometimes my rage fuels me to keep engaged
sometimes my hope does the same.
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I think often as Black artists we are looked
on to create work that gives room to the
personal and political. Art seems to be an
acceptable platform in which we can be as
candid and confrontational without being
deemed too much.
My art is the vessel in which I use to
narrate or start a dialogue and exchange.
I find it very cathartic to illustrate these
worlds in my head without having to
heavily theorize them.
What does Afrofuturism mean to you
and how is this reflecting on your work?
I work within Afrofuturism as a way of
visualizing the endless possibilities in
which we as Black people can reimagine
our histories and stories that led to the
Now. Afrofuturism for me is a dreamscape
and a form of resistance. It can portray a
side of the past, present and future that is
not only filled with hope but is also about
devastation. A way to give space to both
the optimistic and pessimistic narratives.
Afrofuturism is still an artform that
centres and belongs to us as Black People.
It’s about linking the diaspora beyond the
usual US, dominant narrative, bringing
elements of the Caribbean and beyond
into focus. It’s about the celebration of the
spiritual and mystical, the non human,
alien and cyborg. There is space within
Afrofuturism to look into gender variant,
queer and Dark skin Black representation.
To look into narratives beyond the Black
Kingdoms and Wealth as excellence. But
also how we can just exist.
How is your creative process, could you
take us in the different steps when you
start a new piece?
It starts and moves into late night
musings…
What is the message you want to get
across to viewers of your work?
That there is no one form a path of
Blackness!
You just released your second Coloring
Book – The Afrofuturist Coloring Book:
The Dreamscape Edition. How did
you come up with the idea to create a
coloring Book.
I used to work as an Early Childhood
Educator and would create my own
worksheets and coloring pages for the
kids. It was important for me to have
material that was gender fluid and
racially diverse. One thing I noticed
back then was that most of the material
available for kids were very normative
even when trying to show a life outside of
the box.
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I don’t have the luxury
of being able to pick and
choose when or how I’m
seen by the outside world
so these identities become
quite present in my day to
day life. Sometimes my rage
fuels me to keep engaged
sometimes my hope
does the same.
Then last year I set myself a project of
creating a coloring book for a friend which
led me to thinking again about what kind
of Coloring books were available for Black
Kids and Adults and what kind of book I
would have appreciated when growing up.
The past few years there is a lot of new
conversation hitting the mainstream,
Black lives matters, colorism, … As a
dark skin person living in Berlin, did you
feel, see any evolution arounds you?
I think it’s mainly going in cycles
and trends. Somehow there are now
more events and discussions around
AntiBlackness, Rest, Rage and Colorism
from groups and Organistations who had
never touched on the topic. It’s almost
like they are catching up with the Black
people who have been doing this work
for a longtime. I like that Blackness and
its nuances are framed in the center
and there isn’t room for Blackness to
be a second thought. I love that we see
Blackness in its darkest hues represented more and more here in
Berlin.
What do you wish for the future?
I wish for rest as a means of Black reparations
What other work/artist do you find really inspiring right now?
Iki Yos Piña @ParchitaPower
N.K Jemisin
Nalo Hopkinson
Paul Lewin
Peng Black Girls - Enny feat Amia Brave
Dj Bone Black @dj.bone.black
What is your ultimate goal?
To have a space for Black Queer and Trans people to come together and
rest, dream and create.
Follow
Ford Kelly
@SoyFordKelly
@ theafrofuturistcoloringbook
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Olli Hull
Act Normal
Words Lewis Robert Cameron @lrcfashionstylist
Fashion by Olli Hull @ollihull
Photography Todd Oliver @todimusic_
Models BJ Mcneill @beejmcneill
Konstantin Zemskovas @knstntn_222
Amaan Zabir @amaanzabir
Patryk Kostrzewa @edgabe95
Fresh from his introspective exhibit of his own experiences as a young, queer, British
designer, artist Olli Hull talks to KALTBLUT about his recent installation Act Normal
and what it means to be a queer creative in a world filled with constant conflict, fear and
isolation.
Hi Olli, first of all congrats on
the exhibition and thank you
for inviting Kaltblut to come
along. We loved it. How have
you found the response?
It was a bit overwhelming! I
don’t think I had fully prepared
myself for how it would feel
to have all of my insecurities,
thoughts and feelings on
display for everyone to see
like that. There was a funny
moment on the day I was
setting up, my parents walked
into the exhibition whilst I was
trying to hang a naked portrait
of myself with the words “I
can’t say how I feel but I can
send nudes to strangers online”
written across it in big pink
writing… The whole thing made
me feel super vulnerable but I
was really moved by some of
the conversations I had with
people who had related to some
of the themes in my work, and
that made it all worth it.
What made you create the Act
Normal exhibition and how
did it come about?
‘Act Normal’ was about
deconstructing and challenging
the concept of ‘Normality’. As
someone who grew up thinking
that I wasn’t ‘normal’, and who was bullied for
being different, I really wanted to turn the question
around and ask everyone else “well what is ‘normal’
anyway?”. I wanted to reveal some of the hypocrisy
in the things that our society has accepted as normal
and rejected as not.
Let’s go back further and talk about when you
realised you wanted to become an artist/designer.
Was there a light bulb moment for you and what
was it like?
I’ve wanted to make art since I was a child, but
around 2 years ago whilst I was working as a
hairstylist I made the decision to pursue a career
as an artist full time. I’d been reading this book and
there was a chapter that basically said that any career
you choose to pursue inevitably comes with a shit
sandwich. For example, you could be working in a
really well-paid office job and the perks might be
amazing but the shit sandwich you have to eat every
day is that you really wanted to be a writer. However,
the shit sandwich you’d have to eat if you chose to
be a writer would be that statistically you would
probably never write a best-seller, and you might be
consistently broke, but on the flip side you’d get to do
the thing you loved… so which shit sandwich would
you rather eat? I know it sounds a bit whack and
maybe obvious to a lot of people, but it was a pretty
big lightbulb moment for me. I quit my hairdressing
job that week.
OK. All I can think of right now is Ross from
Friends and ‘’MY SANDWICH’. I’m glad it has
worked out for you as it can be a huge risk.. Where
is your safe space as an artist?
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My safe space is when I’m alone in my studio,
I’m disconnected from social media, my
phone is on airplane mode, and I’m playing
my ‘Safe Place’ playlist which is full of my
favourite John Martyn and Joni Mitchel songs.
Oh, and if it’s raining outside then even
better!
Sounds like a dream. Can you tell me what
queerness mean to you?
Queerness for me is making decisions that
aren’t influenced by what other people think.
It’s looking in the mirror and not saying to
myself ‘Is this acceptable? Does this make
me worthy of love?’. It’s setting my own
boundaries and making my own rules about
my life, relationships, career and sex. Rules
that are based on my own judgment of love
and kindness, in line with my truth and not
what society has told me to be true.
What inspires you as a designer and as an
artist?
Inspiration comes at me from everywhere.
I can be listening to a song, or in a session
with my therapist, or watching The Real
Housewives and I’ll think ‘I need to paint
that’. I absorb lots of pop culture, podcasts,
internet memes, and the news, mix that all
together with my own inner chaos, chew it
up and I spit out a wedding dress covered in
graffiti.
We love a graffiti moment. Speaking of
moments, how has the last year impacted or
influenced your creative process?
I was fortunate enough to have a roof over
my head and a space to create, so I decided
I would spend isolation improving my craft
and making the most of this time without
distractions. I tried to go back to basics with
my creative process and focused on making
art that was just for me and not influenced by
the approval of others. I also tried to let go of
the idea that my work had to be ‘perfect’ or
’finished’ which helped me to fall back in love
with the process of making art rather than
always focusing on the outcome.
The current climate is pretty challenging,
how have you been able to evolve and adapt
in your work?
My art is my coping mechanism. When
the world is on fire and those who are
supposed to be doing something about
it aren’t doing so, that’s when I get my
paintbrush out and take all of that anger and
frustration out on the canvas. Or if there’s
something challenging happening that I don’t
understand or can’t process, I’ll scribble
down ideas and doodles into my sketchbook.
It helps me to create meaning from the chaos
of life.
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Your work is super expressive and
adaptive in that it can translate across
a multitude of formats. Do you have
any plans to expand? The sofas looked
amazing. We need an Olli Hull sofa at
Kaltblut HQ.
Absolutely! I’d love to create more
furniture and household objects as well
as my clothing. I love the idea that art
doesn’t need to be on a white wall or in
a posh gallery. In fact, I think right now
with everything going on in the world,
that is one of the last places art needs
to be. We need to be wearing art, sitting
on it, eating off it! I believe art has so
much power to open up conversations
and influence positive change.
Your designs have featured heavily
in music videos, most recently the
wonderful James Indigo’s video ‘Van
Gogh’ wearing the Annulment Dress.
Who would be your all time dream
collab with any musician dead or alive
and why?
Dolly Parton! That woman is a saint
sent from queer heaven. I have so much
love and respect for pop artists who
manage to stay grounded, humble and
remain a positive force in the world
that goes beyond their music.
A Dolly stan we love to see it. Tell
me more about how you incorporate
the themes of consumerism and the
impacts of fast fashion and social
media within your work?
I like to use lots of pop culture
references and symbolic imagery such
as iPhones, masks, crowns, demonic
faces and exaggeratedly proportioned
bodies. I use these in an attempt to
form a visual language that represents
our societies decaying human nature,
that is masked by the spectacle of
consumerism, fashion, beauty, reality
TV, and social media. There’s a lot of
text in my work too, which I use as a
way to parody the ‘shadow self’; the
part of us that’s trapped inside an
egotistical bubble of materialism, greed
and entitlement.
up in landfill. There is so much fabric and
clothing that already exists that could be reused
or recycled. There really is no need to keep
producing new things other than to satisfy the
unhealthy need to consume. I want to try and
help to change that and normalise wearing upcycled,
vintage and second hand.
As a designer you are big on wearable art, how
do you find the balance between creativity and
commerciality as a brand?
I’m constantly re-balancing. As much as I like
to create work that is totally from the heart
and not influenced by the approval of other
people, it’s obviously really rewarding when
people want to buy my work, and ultimately,
it’s people buying and wearing my work that is
going to get my message out into the world. I’ve
found that listening to my audience has helped
to influence and push my work in ways I may
not have considered, and if anything, this has
contributed to my creative process. I have to
pull myself back every now and again and ask
myself ‘what message am I communicating and
is this in line with my values?’.
Finally, what can we expect to see from Olli
Hull in 2022 and beyond?
I feel as though ‘Act Normal’ was both the
end and the beginning of a stage in my career
and my life. It was my first collective body
of work, and when I stood in that room and
looked around I could see so much progress
and so many different avenues for me to
explore further. I’ve also got some exciting
collaborations coming up over the next few
months so I can’t wait to take everything I’ve
learned from my exhibition and apply it to
these new projects. I can’t wait to share it with
you all!
We can’t wait for you to share it with us and
we will be holding out for that Dolly Parton
collab.
ollihull.com
How are you working sustainably?
I really try to keep sustainability at the
core of my brand. Everything I sell is
up-cycled or reworked from second
hand pieces and scrap fabric. All my
wedding dresses came from eBay or
Depop, and I love raiding charity shops!
It’s estimated that 92 million tonnes of
textile waste are created every single
year globally, and 85% of that ends
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