Issue 21 – In Conversation with .. 10!

ISSUE 21 - 04.2024 

Daniel Zillmann - YuYu - ALLIE X 

Joseph W. Ohlert - Kid Simius - Emilio 

Branko Popovic - Tariq Alsaadi - BEC 

Dennis Grigorev -Hümeyra Demircioğlu 

BKLAVA - Antia Vieiro - SISSY MISFIT 

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U8 USER:IN 

U8 USER:IN 

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HAND I 

GEGEN 

RASSIS 

PRO ASYL 

DER EINZELFALL ZÄHLT. 

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N HAND 

DEN 

MUS 

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Meet the 

Team 

Editor-in-Chief 

Fashion Editor 

Art Direction 

Marcel Schlutt @marcel_schlutt 

mschlutt@kaltblut-magazine.com 

Culture Editor 

Johanna Urbancik @johannaurbancik 

johannaurbancik@kaltblut-magazine.com 

Music Editor 

Nicola Phillips @nicphilf 

nphillips@kaltblut-magazine.com 

Fashion Editors 

Nico Sutor @nico_sutor_ 

nsutor@kaltblut-magazine.com 

Marcel Schlutt @marcel_schlutt 

mschlutt@kaltblut-magazine.com 

Contributors 

Nik Pate 

Linda Ambrosius 

Anastasia Scheel 

Terence Whitaker 

Emil Levy 

Labros TyrlisI 

Federica Loria 

Weic Lin 

Verena Knemeyer 

Natascha Zivadinovic 

Angelique Waltenberg 

Andrea Klarin 

Zander Opperman 

Katharina Bollgöhn 

Alma Leandra 

Keiko Gui 

Alejandra Comellas Pons 

Carmelo Donato 

Nawid Qureischi 

Steven Kohlstock 

Jasmijn van Buytene 

Corta Cabeza Creative Team 

Follow us 

www.kaltblut-magazine.com 

Instagram @kaltblut_magazine 

Twitter @KALTBLUTMAG 

Facebook @kaltblut.magazine 

Spotify 

Youtube 

Embracing Tomorrow: Issue 21 

In our latest digital odyssey, Issue 21, we beckon our 

cherished readers to step into the luminous future that 

awaits. Embark on an exploration of the brilliant minds 

in music, fashion, and art who are charting the journey 

into 2024. 

Plunge into the pages of Issue 21 and immerse yourself 

in the future's rich tapestry of colours, melodies, and 

textures. Celebrate the pioneers poised to sculpt an 

unparalleled annum—a canvas filled with the artistry 

of those who conceive a world aglow. Welcome to the 

convergence of creativity and aspiration. 

Welcome to Issue 21. In Love your KALTBLUT. Team 

On the 

Cover 

Starring Daniel Zillmann 

Photography by 

Joseph Wolfgang Ohlert 

taken from the upcoming book "BIGGER" 

All Copyright at KALTBLUT. 2024 

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. 

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P. 020 Kid Simius 

P. 046 BEC 

P. 064 YuYu 

P. 104 Joseph W. Ohlert 

P. 132 Emilio Sakraya 

P. 168 Tariq Alsaadi 

P. 190 Daniel Zillmann 

P. 270 ALLIE X 

P. 278 Branko Popovic 

P. 388 SISSY MISFIT 

KALTBLUT MAGAZINE is published by Marcel Schlutt 

KALTBLUT MAGAZINE I Danzigerstr. 162 I 10407 Berlin I Germany 

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THE VISITOR 

Photography/Edit/Concept by Nik Pate @nikpatestudio 

Model is Hamidou Banor @hamidoubanor 

Beauty by Rosie McGinn using Colourwow & Glossier @rosiemcginnmakeup 

Styling by Thomas Ashton - All pieces stylists own @justbyne 

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KID 

SIMIUS 

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Photography by Linda Ambrosius 

www.lindaambrosius.com @lindaambrosius 

Talent is Kid Simius @kidsimius 

Styling by Anastasia Scheel @anastasia.she 

Make up by Kristin Røs www.kristinroes.com @kristinroes 

Creative Producer: Chris Berndt greensubmarine.com 

Head of Video Production is David Fürst 

Videography by I am Johannes 

www.iamjohannes.com @i.am.johannes 

Making Of Photography: Marina Balboa @marina__balboa 

“PEOPLE TELL ME 

WHAT MY MUSIC 

MEANS TO THEM, 

WHICH IS WHAT 

KEEPS ME DOING 

MUSIC” 

Born in Granada and now based in 

Berlin, Kid Simus defies genre 

boundaries, embracing a fusion of 

styles. From electronic to Italo, House 

to Balearic, and Disco, he prioritises 

positive energy and human connection 

over genre labels. With successful 

releases on labels like Permanent 

Vacation, Running Back, and Studio 

Barnhus, as well as his own label 

'Jirafa Records', Kid Simius is renowned 

for his versatility. He's graced legendary 

stages at festivals like Melt!, 

Tomorrowland, and Fusion, supporting 

artists such as WhoMadeWho and 

Bonobo. 

INTERVIEW BY JOHANNA URBANCIK 

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Suit: Casablanca 

Hat: The Bucks Hat x Girls and Pearls

It seems the "younger generation" doesn’t 

listen to albums any more. Does that affect 

you in any way when working on one? 

There are still some young people who are 

going to enjoy an album, I think. There 

was also a time in history in the '50s when 

musicians were releasing singles only. And 

then, they started releasing long players 

again. It's romantic, but I think that if you 

make things with love, someone is going to 

appreciate it. I mainly listen to singles, solo 

tracks, or just a snippet. But I believe there 

are still kids out there who want to listen 

to a record from the beginning to the end. 

The art comes first, and then the audience. 

I just want to make a record, no matter 

how many people listen to it. 

I feel the gap between the audience and 

artist has become much smaller, which 

means it’s easier to receive feedback. 

Does this feedback have any effect on your 

creative vision? 

It would be nice not to listen to this 

feedback. I would love to come to my 

studio with a completely free mind. When 

I make music, I'm trying to forget about 

this because if you make one track 

everyone loves, you then try to make a 

second one that sounds similar to get the 

same reactions. Therefore, I try to go 

against it and create something completely 

different. 

Scarf: Yuima Nakazato 

Sunglasses: Gucci 

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How do you clear your mind? 

I've got this book, “The 

Artist's Way”. It's supposed 

to help yourself get creative 

in the form of a plan. One 

of the things it has taught me 

is triggering my creativity by 

writing the morning pages. 

You have to write three 

pages every day without 

thinking. 

Those pages you never have 

to read again, which means 

you can write any kind of 

nonsense and free your 

brain. We are creators, but 

we are also judgmental of 

what we’re doing, which 

hinders creativity. 

Do you see a change in your 

approach and output since 

you started following the 

book’s plans? 

A lot. There is a wall between 

what you think and what you 

do, which is crucial for the 

survival of us as humans. But 

when you're being creative, 

it shouldn’t be like that. 

A disgusting analogy for this 

is throwing up. As a creative, 

you throw up everything, 

have a look and then pick 

out the best pieces. There 

is one problem, though. 

If you’re in the studio, for 

example, and you feel like 

throwing up, your instinct 

is obviously to go to the 

toilet or get a towel to get 

cleaned up. But instead, 

you need to let yourself go 

and just keep going. When 

you’re not thinking about 

everything, your creativity is 

finally free, and you’re in the 

zone to create and produce 

something special. 

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Left 

Coat: Prada 

Pants: Bonsai 

Right 


Jewelry: Swarovski 

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Top: Prada 

Pants: Bottega Veneta 

Shoes: Prada 

Hat: Giuseppe Tella 

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When you listen back to tracks 

before you started following this 

routine, do you hear a difference? 

No, not really. 

How long have you been working on 

this album? 

A little less than a year. Something like 

this. In January or February last year, 

I put all the tracks together. I usually 

create a selection of tracks I feel are 

representing myself, and I’m proud of. 

There’s no theme; it's random – a little 

like the morning pages. 

You’ve worked with so many other 

producers in your artistic career so far. 

How does your approach change when 

you’re working for yourself? 

Working with myself is much harder 

than working with other artists because 

I have to make the decisions. When 

you’re working for someone else, 

they’re the ones making a decision in 

the end, and they decide if they like 

it or not. When working with others, 

I’d say I probably feel more liberated. 

Working with myself feels more of a 

therapy session with yourself. 

Do you feel more vulnerable sharing 

your own music? It’s a lot more 

personal, in the end. 

I feel naked and vulnerable. On “José”, 

for example, I wrote the lyrics, and I’m 

also singing. When my agent listened to 

the album, he told me which songs he 

liked and this one wasn’t part of it, even 

though for me, it’s the song I’m most 

proud of. I don't see myself as a singer, 

but with this track, it just happened. 

I was writing about a beautiful 

experience, and a friend from Spain 

helped me refine the lyrics. The whole 

process was probably more enjoyable 

than it comes across in the track for the 

listener. 

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Follow @dragracegermany / @paramountplusde

Pullunder: Marni 

Jewelry: Girls and Pearls 

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Jewelry: Swarovski 

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That enjoyment still comes across, I find. You’re 

playing live sets and DJ sets. Do you feel that the 

crowd still appreciates a live set as you’d like them 

to? 

I don't want to impose anything on people when 

I'm playing. Everyone has to take it as they want. 

Back in the days when I was playing a show and 

everyone was going nuts, I thought I played a 

fantastic show. Then, when people were not going 

nuts like hands up, I thought I played a bad show. 

When I go to shows, I don't go nuts sometimes and 

scream either, but I still enjoy the music. Obviously, 

I'm happy if the crowd is dancing, and I can see 

they are having a good time, but If they want to 

look at the sky, who am I to tell them not to do 

that? Everyone can express themselves as they want 

during my shows. 

I don't want to push people. I'm going to play 

knowing that if you make something with love, care 

and energy, the crowd is going to give back to you 

and give me a natural reaction. 

There are a couple of collaborations on the album 

again. How do these come about? 

Just meeting up with friends, creating something 

together, and then you end up putting it on the 

album. I feel lucky that a lot of my friends are 

incredibly talented. Nowadays, everyone is busy, 

and sometimes it takes a lot to meet new people and 

get them to come to the studio to collaborate. With 

him, we can meet in the studio and simply make 

music. 

What does a day in the studio look like 

for you? 

When I’m with Bonaparte, for example, we talk 

a lot about music and show each other tracks. He 

has so much gear – some of it old school – so he 

just plugs it in, and we start experimenting. Usually, 

he’s late for a session anyway so I start working on 

something and as soon as he arrives, we take it from 

there. That’s how a lot of the successful tracks were 

created. We have done so many tracks together, 

so we always find new ways of working together. 

We’ve got an interesting routine now. 

For this album, I was also able 

to work with Philipp Gropper, a 

well-known Saxophonist, for “ 

Relaja tu Cuerpo (Relax your 

Body)”. It was great to figure 

out how I'm going to record him 

playing while he's like doing takes. 

I also have this feature with Chico 

Blanco, an amazing producer, DJ, 

singer from my hometown 

Granada in Spain.To make music 

at the end is an incredible, long 

process. 

It's not like you know how to do 

something, and then you feel the 

same forever. You should change 

and grow, just like the music 

industry itself. It’s inspiring for me 

to keep on making music because 

at the end I want to come here and 

have fun. I'm making my living out 

of a hobby, which is cool. People 

tell me what my music means to 

them, which is what keeps me doing 

music. 

Follow @kidsimius on Instagram to 

keep up with his upcoming album 

release and shows 

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THE 

HYPER 

REALISM 

OF THE 

FUTURE 

CLUB 

Photography by Terence Whitaker 

terencewhitaker.com @terry.w.whitaker 

Designs by Emrah Polywka 

@thefutureclub_berlin 

Production: Zoey Lee transnormalcy.com 

@transnormalcyfilms 

Models: Braulio Banderia @deepneue 

Nancy Nutter @nancynutter_ 

Zoey Lee @transnormalcy 

Hair and Makeup by Carolina Lazo @lazo_makeup 

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Emrah Polywka 

In a world where labels are abundant, 

and expectations bind our choices, Emrah 

Polywka brings a gust of fresh air with his 

latest editorial featuring some new designs 

as part of his rebranding journey. 

Emrah, the solo designer behind the 

fashion brand formerly known as Adrian 

Weiss is coming into 2024 on fire and with 

a fresh new name: “The Future Club.” 

Wearing a piece from “The Future Club”, 

you could be dancing beneath the neon 

lights one moment and raising a toast at 

a soirée the next. This versatility isn't just 

about adaptability; it's about celebrating 

our multifaceted identities. 

Relating to his own queer journey where 

he has evolved over multiple phases of 

transitioning and dared to embark on an 

exploration of his identity, it makes sense 

also for his ever changing clothes to have 

a new perspective in this new world. 

As Emrah’s story is one of not fitting into 

the norms, he has then turned it into an 

inspiration for his work. His journey to 

becoming himself is also what gives him 

the sensitivity to be able to understand 

that ultimately we all wanna feel 

comfortable and wear something that 

represents who we are. 

FASHION 

FOR ALL 

MOMENTS 

& ALL PEOPLE 

If we’re not comfortable in our skin, 

sometimes clothing can help us to feel 

better and create (gender) euphoria. 

Therefore, Emrah’s clothes are for 

everyone and he designs in a way that 

caters to as many different body types as 

possible as his main goal is to make the 

person who is wearing his clothes feel truly 

special, confident and powerful. 

"It's for me, for you, for them. It is for 

everybody." This isn't just a tagline; it's 

the heartbeat of the collection. From diverse 

body types to varied fashion sensibilities, 

Emrah’s designs welcome all with open 

arms. He understands that fashion isn't 

about exclusion or elite clubs. It's about 

expression, empowerment, and everyone. 

This isn't just a collection of clothes, it's 

a manifesto of inclusivity. Let us all join this 

movement. Let us celebrate every moment, 

every occasion, and every person with 

Emrah’s vision leading the way. For in this 

hyper-real world, fashion truly is for 

everybody." 

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@KALTBLUT_MAGAZINE 

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BEC 

boundless 

Embracing the philosophy of minimalism in 

an industry driven by excess, Berlin's UK 

techno luminary BEC introduces EMBARGO, 

her innovative record label. BEC's musical 

journey thus far has imprinted on the electronic 

scene, and now she's poised to redefine the 

space with this latest venture. 

"Embargo is all about escape from constraints, 

mirroring my own experiences and the 

universal battle for authenticity," explains 

BEC. The label's name encapsulates themes 

of liberation encountered in life's various 

battlegrounds, where one is often encumbered 

by imposed limitations. 

BEC's EMBARGO is a sanctuary for creative 

risk-takers within the electronic genre, 

fostering an environment where experimental 

sounds can flourish. Variety is key, and diversity 

and inclusion play a major role for her. 

The label kicks off with "ARTIFICIAL 

MALFUNCTION," a collaboration that exemplifies 

EMBARGO's mission of pushing boundaries through 

creative alliances, BEC herself overseeing the 

creative direction and visual language all herself. 

Together with Bulgarian producer KiNK the first 

debut release is crafted — a raw, high-energy 

odyssey marrying punchy D&B synths with pure 

techno. The inception of this track was as organic 

as it gets: a chance meeting following a gig, 

leading to a spontaneous studio session 

brimming with chemistry. 

For a deeper dive into BEC's vision and the future 

that EMBARGO promises, read our full interview 

here. Discover the drive and passion behind a label 

set to usher in an era of minimalist innovation and 

creativity. 

UNLEASHES 

EMBARGO 

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A LABEL 

MEANT TO PUSH 

BOUNDARIES 

Embargo is your new born label - what is 

it all about? 

It’s all about pushing the boundaries and doing 

something different. Quality over quantity whilst 

majorly representing the FLINTA and queer 

community. I want a home for artists to be 

themselves. 

No need or restraints to conform to one niche 

genre by opening up the spectrum of sound and 

welcoming the primarily raw techno sound to 

be heavily inspired by the likes of other genres 

and sounds too! Championing artistic freedom 

and authenticity above all else. 

Impactful and it sounds like a very 

clear direction. You also mentioned 

the importance of the visual language? 

Absolutely! The artwork and music will both 

be as important as each other as they are 

meant to complement one another, and be part 

of a bigger story. The artistic vision and visual 

identity of Embargo serve as a direct extension 

of my own creative ethos and values. 

With a background in creative direction and 

design, I personally oversee every aspect of 

the label's visual representation, ensuring that it 

all aligns seamlessly with the music and overall 

ethos of the label. The idea is that each release 

on Embargo is paired with a unique piece of 

digital art, which is an integral part to what 

makes the label so unique. 

So how does this come to life in the 

first release, “Artificial Malfunction”? 

Tell us a bit about the first track. and 

the concept you came up with to connect 

the music with the visual language. 

This collaboration with KiNK, titled “Artificial 

Malfunction” explores the correlation between 

humanity and technology, or more in particular, 

AI. I’m actually very passionate about it all myself, 

also thinking a lot about how technology has been 

exponentially changing our existence for decades. 

AI will be the biggest shift we’ve ever seen. 

Arguably even bigger than the introduction of the 

internet and computers. 

And how did you come up with the concept 

for the art work? 

KiNK and I jammed in my studio in Berlin and 

made this track, all synths and drums are pretty 

much programmed using a MIDI mapping tool in 

Ableton so it again leans back into the collaboration 

between humanity and AI, which I wanted to 

reflect in the visual language, too. It features a 3D 

bug nestled on a computer chip and then cleverly 

transforms into a representation of a software 

glitch or you could say, a malfunction. It humanises 

technology and ties it to our physical world but also 

explores the theme between nature and technology 

- which I find extremely enticing. 

With you being a queer DJ & producer 

yourself, how will Embargo reflect the bigger 

topics of diversity and inclusivity? 

As a queer woman in the industry, I am a minority 

and there have definitely been more challenging 

experiences because of this through my time. In my 

personal case I’m especially going to place 

a major focus on the queer & FLINTA community. 

I’ve been on my own personal journey when it 

comes to being fully outspoken about my sexuality. 

I’m bisexual, and had my first girlfriend at the age 

of 19. However it’s only until around two years ago 

I started to speak out openly about my sexuality and 

challenges that arise because of it. Being bisexual 

comes with so many stigmas and taboos. It’s always 

questioned – a lot of the time people don’t accept 

it as a genuine sexuality. I’d like my new label to 

really be a home and platform for queer artists 

to be able to be part of a like-minded community 

and be able to share their art, self expression and 

thoughts to the world in a supported way. 

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And this will be mainly reflected across 

collaborations through artists releasing? 

Can you share some insights into what you 

hope to promote through your label exactly? 

I am 1000% committed to providing a platform 

for underrepresented voices and marginalised 

communities to be heard. I feel that the more we 

represent, the more we grow. The label should be 

a diverse home, in which I’d like to support more 

FLINTA, more LGBTQ+, and in general a more 

inclusive roster of talented DJs and producers. 

We inspire and support each other, we are a 

community and we are able to create change. So 

I will use my platform to enhance this concept as 

much as possible. I want to see more of an even 

playground in the industry, and to also be leading 

to doing my part in changing it. 

So you want to be even more outspoken 

about your journey? 

For sure. I would like to be as outspoken as 

possible moving forwards, making up for over 

a decade that I wasn’t! Especially as I had some 

difficult experiences with it, as I’m sure many 

others from the queer community have. It can take 

years to get the courage and confidence to speak 

out, and by sharing my journey, I hope I can 

act like a role model to others and support them 

being true to themselves, and everyone around 

them. 

Amazing. Back to music, how does that affect 

the music you’d like to portray through the 

label? 

Whilst the label is rooted in raw techno, I really 

want it to be a playing ground for CREATIVITY 

at it’s core. I feel that sometimes we are all too 

focused on one small niche genre. It’s very rare 

that an artist just always creates exactly the same 

music. I find that in the past I’ve tailored and 

forced my sound into slightly different directions 

to accommodate labels. Which is why I would 

like to invite as much creativity as possible with 

open arms and for people to release what they 

authentically love. 

Of course, still focusing on quality over quantity 

and some extremely sick tracks. Got to be head 

turners - I’m particularly interested in artists and 

music who push the norms and explore new 

territories. Would be boring otherwise, wouldn’t 

it! 

Amazing. Back to music, how does 

that affect the music you’d like to portray 

through the label?? 

I’ve got a LOT of really hawwwwwt releases 

coming. I would never usually use that word haha 

but seriously i’m very very happy with them. 

Two releases I’ve got in the next few months are 

both on labels headed by some serious feminine 

energy in the industry, that’s the only clue I’ll give 

you. It’s going to be showcasing my progression 

in my sound, which I actually feel is a more 

in-tune sound that resonates with me on a very 

profound and deep level. So I couldn’t be more 

excited to finally get it out in the world. 

Photography by Emil Levy 

www.instagram.com/emil_levy 

All fashion by HUGO BLUE 

Follow : 

www.instagram.com/listentobec 

soundcloud.com/listentobec 

www.facebook.com/listentoBEC 

www.instagram.com/kink303 

soundcloud.com/kink 

www.facebook.com/kink303 

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IN THE CO 

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OF THE M 

Nastia, 13 y.o

LD LIGHT 

Photographer: Labros TyrlisI @labrostyrlis 

Make up/Hair: Zacharenia Kanataki @zacharenia.k 

Model: George Tokmetzidis @giorgostkm 

Ace Models Greece @ace_models_athens 

Photographer support team: Kostas Mandilaras @mandi_clicks 

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Y

IN CONVERSATION 

uYu 

WITH 

In the ever-evolving landscape of digital art, it is a rare spectacle to find 

an artist who not only masters the medium but transcends it, challenging 

the very fabric of traditional and contemporary artistry. YuYu, an enigmatic 

force in the digital art scene, is such an artist—playing in his own league, 

he crafts thought-provoking narratives that push the boundaries of cultural 

norms and societal expectations. 

As we unveil our latest digital issue, we're honored to present an 

exclusive interview with YuYu, the visionary who has been captivating the 

international art community with his radical reinterpretations and profound 

expressions. Join us in exploring the depths of his artistic journey, where 

each piece is a confluence of past and present, a rebellion against the status 

quo, and a beacon of inclusion and diversity. With candid revelations and 

insights into his process, YuYu invites us into his world—a world where 

blockchain technology carves out new possibilities for creators and where 

every frame pulses with the heartbeat of progress. 

Step into the vanguard of digital innovation and cultural conversation with 

YuYu, whose work not only reflects his unique identity but also illuminates 

the path for future creators. This interview is an expedition into the mind of 

a trailblazer, an invitation to witness the power of art in shaping the world 

of tomorrow. 

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YuYu, how did you initially become involved in 

the digital art scene and what drew you to the 

medium? 

My involvement began without being fully aware 

of what I was doing. As a millennial, I grew up 

surrounded by digital art. Of course digital art in 

the 90s and 00s was not the same as it is today 

but it was there. Growing up in both the real and 

virtual worlds, I feel our entire generation started 

blurring the lines between them. We were more 

inclined to welcome digitally enhanced art practices 

and explore how those tools could be beneficial to 

our practices. 

My true connection with digital art creation began 

during my architecture studies back in Taiwan. The 

foundations I built during those years helped me to 

transcend art and explore my narratives later on. 

There is a sense of complete freedom in digital art, 

explorations that were not possible a few decades 

ago. I think that was what initially attracted me to 

the scene. 

Your art often reinterprets Western cultural 

masterpieces with a contemporary twist. Can you 

share more about your process for selecting and 

deconstructing these historical works? 

It all began coincidentally. When I first moved to 

Europe back in 2014 there was a feeling of not 

belonging that I was unable to shake off. Even 

though in many aspects I felt very welcomed, the 

lack of representation in public spaces bothered 

me. I began modelling for photographers in an 

attempt to put myself out there and show the world 

the beauty of diversity, only to realize how their 

narratives were not always aligned with what 

I needed to express. 

To help me navigate feelings of confusion and 

frustration, I decided to act and create my own 

stories instead. Using a borrowed camera and 

lights, I attempted to take self-portraits in my 

living room. Having had 0 technical background 

in photography and lighting techniques, I used 

classical paintings as a guide. I have always been 

extremely passionate about classical works of the 

Western art canon. Artworks from the 

neo-classical and baroque periods had mastered 

the art of generating emotions through lighting 

and dramaturgy. In many ways I see them as 

the predecessors of photography and cinema, 

encapsulating complicated and often dark 

narratives while maintaining an unparalleled sense 

of beauty. 

Still, something wasn’t enough. Even though from 

a technical standpoint those works were undeniable 

masterpieces, the lack of diversity was extremely 

apparent. “What would happen if we switched the 

narratives? If we used established imagery of our 

past to discuss topics of our present?” 

I asked myself. This is more or less how the idea of 

‘infiltrating’ and altering the past became a practice 

I still explore today. 

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Now my process of creation is less 

about deconstructing the old and more 

about re-constructing its narrative to 

reflect contemporary issues of our 

society. Drawing inspiration from my own 

experiences as a Queer Asian navigating 

life in the West, I attempt to unravel 

unspoken social norms and values, 

challenging the very essence of Western 

definitions of culture. 

As an artist deeply involved in Web3, 

how do you believe blockchain technology 

is reshaping the art landscape, especially 

for digital creators? 

Blockchain is such a fascinating and 

multifaceted technology. The digital art 

side of it is only a tiny fraction of all the 

applications it enables. Regardless, and 

even though following the turbulence of 

2022 the on-chain art market is facing 

challenges, I am a strong admirer of 

the ethos it entails. For many creators, 

especially digital natives, the traditional 

art canon has been an exclusive and 

highly 

alienating industry. With the advent 

of Web3 and NFTs in 2020 and 2021 

we experienced, as people tend to call, 

a ‘democratization’ of the industry. 

I don’t find this term exact. Web3 

remains heavily attached to Web2 

platforms and practices. Large social 

media followings reflect good sales, 

pushing creators into an endless act 

of balancing between developing their 

visions and feeding what the algorithms 

want. It might have allowed a rise in 

direct relationships between collectors 

and creators but that is not too different 

from what social media marketing and 

influencers did to traditional marketing 

a decade ago. The ways of 

communication are changing rapidly 

and we see adjustments in almost every 

facet of society. 

Where blockchain becomes particularly 

interesting in terms of digital art, is 

that it provides the foundation for 

digital ownership, a concept that has 

long existed but was impossible to 

implement. Through encryption and 

the blockchain, digital assets provide 

a unique, verifiable, and immutable 

record of ownership, granting individuals 

unprecedented control and freedom over 

their digital possessions. 

There is a growing interest in this 

technology from large cultural institutions 

across the globe and I am sure we will 

witness big shifts in how audiences 

perceive digital art in the years to follow. 

What role do you feel race inclusion and 

gender representation play in your work, 

and why do you feel these themes are 

important to explore in today’s society? 

Representation and inclusion drove me 

to create and communicate. Their lack 

to be more exact. I used my work as 

a way to explore those terms further 

than the often tokenistic and superficial 

definitions we attribute to them. You 

see, in my eyes, representation and 

inclusion have to do with getting a seat 

on the table, being heard, and being 

able to contribute to the shaping of the 

society you are part of. My work is a 

visualization of my voice and thoughts, 

and through it, I can examine the societal 

boundaries in which I operate. 

Amidst a new era of populism, 

polarization, and capital-induced 

authoritarianism, civil liberties and 

hard-earned achievements of progress 

are being questioned. To put it simply, 

our bubble is bursting. We raise more 

walls than we tear down and that makes 

us forget all the things that bring us 

closer. The reason I began to create 

artworks has always been closely 

intertwined with my perception of the 

society I lived in, and for that reason, 

the conceptual commentary they entail 

reflects what I consider important for 

a more equitable future. 

The nude form has historically been 

both celebrated and stigmatized in art. 

How do you navigate this dichotomy in 

your pieces, and what message do you 

hope to convey? 

The nude form has indeed been 

historically such a dividing topic. It has 

also been extremely sided. The very vast 

majority of imagery created throughout 

the millennia of human existence 

has been from the perspective of the 

dominant gender –male. That has led to 

stereotypical depictions that saw men in 

the positions of warriors or heroes while 

women held passive roles as objects of 

admiration and sexual stimulation. Add 

to that the prudish teachings of religions 

across the globe and you get a very 

twisted perception of the most natural 

thing about us –our very form. 

In my work, I use the body as a vessel 

to carry a message. It is not nude for 

the sake of being nude. In most cases, 

it’s not even sexual. It is just a body, 

with any connotations that it may 

carry. It is interesting though to explore 

this dichotomy in terms of audience 

perception. 

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"WHEN I STARTED CREATING 

IT WAS A DEEPLY PERSONAL PROCEsS." 

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How significantly does the reading of an 

artwork change depending on the viewer’s 

bias? Does a simple body provoke someone 

regardless of the message of the work? 

And if yes, could this unexpected reaction 

bring more attention to the important topic it 

communicates? All those questions are part 

of the structure of my pieces, aiming to help 

me amplify the message of each piece. To 

destigmatize the binary perceptions of genders 

and to find strength within. 

Could you describe your most challenging 

project to date and what you learned from it? 

Haha, that is a tough question. Creative 

endeavours are full of challenges of all sorts. 

I honestly think the most challenging part of 

my path so far was not a particular project but 

rather the very idea of becoming a professional 

artist (I still cringe when saying it out loud). 

When I started creating it was a deeply 

personal process and was not aiming to share 

those works with anyone other than my 200 

Instagram followers. As a result, 

I could let inspiration flow at its speed and 

never had to ‘rush’ it. That of course is a very 

unsustainable business model. I might sound 

a bit too corporate using that term but a major 

realization that came to me down my path 

is that being an artist is a very demanding, 

full-time job that entails plenty of aspects 

of traditional brand building and business 

operations. 

I think the most important factor that 

distinguishes professionals from hobbyist 

artists is the ability to learn to channel your 

imagination, creativity, and motivation at any 

time, regardless of the circumstances. It’s not 

easy to do. It’s a learning curve that takes a 

lot of time and energy and needs massive 

amounts of determination and self-belief 

to achieve. That is most certainly my most 

challenging ‘project’ and I am still working on 

it. 

Queer art has faced significant erasure 

throughout history. How do you use your 

platform and blockchain technology to 

ensure queer narratives are preserved and 

celebrated in the art world? 

Love that you brought it up. It was actually 

one of the very first things that attracted me 

to blockchain –digital permanence. Apart 

from what has historically happened with 

queer art and art of other marginalized and 

misrepresented groups, we now live in 

a time where our entire portfolios are held 

in enormous server facilities owned by cloud 

service providers. Sometimes it’s hard to grasp 

how not in control we are of the content we 

produce and the brands we build using social 

media platforms. 

It could all go away in a blink of an eye. 

With algorithmic censorship being on 

the rise, blockchain and the ethos of 

decentralization offer a sustainable 

alternative where art can exist immutably. 

I think this element is extremely important 

for marginalized voices that can now 

utilize all the available tools to overcome 

the challenges of the past. 

What I am personally trying to do is to 

establish a solid brand at the intersection 

of art and technology, with the hope of 

attracting more diversity in an industry 

that a very specific group of people 

traditionally dominates. I am putting myself 

and my work out there, discussing topics 

that would otherwise be sidelined by 

conversations lacking cultural depth. 

Since your work has been exhibited 

internationally, do you feel that audiences 

react differently to your art based on their 

geographic or cultural context? 

Absolutely, yes. Europeans seem to be 

the ones who can relate faster, I assume 

due to using their cultural heritage as 

a base for most of my works. I think 

a sense of familiarity with the original 

paintings makes them more welcoming to 

re-interpretations and they tend to enjoy 

the historical and satirical twists. On the 

other hand, Americans tend to disassociate 

faster. Perhaps at first glance, it gives them 

a very self-centered perspective and they 

don’t bother digging deeper. There are 

places like China or the Arab Emirates 

where I would be asked to either censor 

my works or somehow show more ‘modest’ 

pieces. It’s a very interesting, and often 

funny thing to notice to be honest. How the 

works need to adjust for certain audiences. 

Which one of your works do you consider 

the most personal or significant to you, and 

what is the story behind it? 

Almost all my works are deeply personal 

but if I had to choose just one I would go 

with ‘Veni Vidi Vici’ (2023). 

The work consists of an amalgamation of 

two landmark paintings from 1588 and 

1847 respectively. Building upon Cornelis 

van Haarlem’s “The Fall of the Titans” and 

Alexandre Cabanel’s “The Fallen Angel”, 

my self-portrait invades an unorthodox 

intersection between Greek Mythology 

and Christian teachings. 

Positioned right at the centre of the 

turbulent composition in the guise of 

Angel Beelzebub, I assume the role of 

a character often vilified by mainstream 

society to highlight the ostracization of 

queer people from social and cultural 

narratives. 

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In this new re-interpretation, the angel is 

framed by a sea of male figures, tumbling 

straight out to the viewers through seemingly 

deep space. Depicting a moment where 

the Titans’ children defeated them, this 

conceptual juxtaposition underscores the 

transformative power of progress and the 

need for underrepresented communities to 

have a voice in shaping the future. “Veni Vidi 

Vici” is an ode to survival, perseverance, and 

empowerment. It is also a work auctioned 

with Sotheby’s, one of the largest and 

oldest auction houses, and thus a significant 

personal milestone. 

You have a growing list of influential 

collectors. How has their support impacted 

your career and visibility in the digital art 

space? 

There are a lot of different types of art 

collectors. Not all of them collect to advance 

the artist’s career. I consider myself to be 

very lucky, many of my collectors have been 

not only supportive but actively trying to help 

me land more opportunities. Collectors often 

have a vast network of collaborators, from 

art dealers and gallerists to other collectors 

or even institutions. Those connections can 

be of extreme value to an artist in the early 

stages of their career. ‘Your network is your 

net worth’ they say. Having a respected 

figure in the ecosystem to vouch for you can 

open many doors which would otherwise be 

very hard to do on your own. I am extremely 

grateful to some collectors whom I consider 

patrons and friends. 

What are your thoughts on the concept of 

digital scarcity and authenticity with regards 

to NFTs and how do they play into the value of 

digital art? 

Both digital scarcity and authenticity 

are fundamental elements of blockchain 

technology, driving the value of anything 

blockchain-related. NFTs, as a layer of the 

same technology, allow digital artists to put 

an immutable signature on their creations. As 

a digital artist myself, that is huge. You can 

trace the provenance of all my works down 

to my identity and verify their originality. 

The best thing is that all this is public and 

accessible to anyone using the Internet. 

I don’t think we have seen yet all the use 

cases of this technology and how beneficial 

it can be for the art market as a whole. Both 

authenticity and provenance of artworks have 

been under scrutiny plenty of times in the 

past. Out of the $200 billion spent worldwide 

on art every year, around $6 billion of that is 

tainted by illegal activities (forgery). 

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A blockchain-based system of tokenized certificates 

of authenticity could theoretically put an end to art 

frauds of this type. 

We are far from it of course but I do like to think of 

a more equitable art market of the future. 

How do you see the intersection of traditional art 

techniques and digital technology evolving in the 

future? 

Hopefully hand in hand. Technology is like 

flashy jewellery. It’s shiny and attracts attention. 

Historically, almost every time a new technological 

advancement disrupted old practices we discussed 

the extinction of creativity and the takeover of 

machines. It happened with photography, digital 

cameras, with editing software, and it happens again 

with artificial intelligence and machine learning. 

In my view, creativity and art don’t come from 

the techniques. Everything should be a tool in our 

creative arsenal and used according to the messages 

we try to convey. The more techniques one can 

master, the better one will be at connecting with the 

right audience. 

Lastly, what is the next frontier for YuYu? Are there 

any upcoming projects or collaborative works that 

you’re particularly excited about? 

For the past couple of months I have been exploring 

an array of new available tools. It has been fantastic 

and a vastly different direction from what people 

expect from me. I am very excited to show more. 

At the same time, I am in discussions with a few 

galleries in London, Berlin, and New York for 

upcoming shows for which unfortunately I can share 

no information at the moment. Make sure to give 

me a follow on X and Instagram for all the exciting 

updates. 

What I can say is that a sneak peek of the new body 

of works will be revealed during the Non-Fungible 

Conference, the largest gathering for Web3 Art 

in Europe, taking place on the 28 & 29 of May in 

Lisbon, Portugal. I have the honour to be one of 

the key speakers and I am preparing a special 360 

immersive show for the occasion! 

Don’t miss it if you can. 

Interview by Marcel Schlutt 

Follow YuYu via linktr.ee/cyber_yuyu 

www.instagram.com/yuliangliubln 

twitter.com/cyber_yuyu 

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79YuYu

HÜMEYRA 

DEMIRCIOĞLU 


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"LOVE LETTERS" by Hümeyra Demircioğlu is a poignant tribute to existence—a heartfelt anthology 

that captures the essence of appreciation for the simple act of living. Delving into the constant and 

varied expressions of love, the bonds that entwine us, the allure that surrounds us, and the muses 

that drive our daily lives from the mundane to the remarkable, this collection is a testament to life's 

underrated moments. Chronicled through a lens aficionado’s eyes, "LOVE LETTERS" compiles 

evocative imagery snapped across the vibrant cityscapes of Seoul, with a portion framed within 

the bustling heart of Tokyo, from 2021 to 2023. 

It is a true delight for Ümeyra to witness the transformation of her photographic journey from pixels 

to print, offering a tangible glimpse into her world of wonders. 

Hümeyra, your book “Love Letters” is an 

intriguing combination of photography and written 

reflections. What inspired you to bring these two 

forms of expression together in this project? 

I like the idea of keeping a visual diary and 

reliving moments and emotions through 

photography and writing. Photography by itself 

is a powerful medium. In combination with words, 

– impulses that are sometimes vague, other times 

more detailed – the image comes to life, you’ve 

got your actors, sounds, a plot and a backstory. 

If photography is a universal language, then 

language itself would be my narrative. I would say 

it adds another layer to the emotions I want 

to express and evoke in others. 

Could you tell us more about the 

significance of the book’s title, “Love 

Letters,” and how the concept is 

represented through your photos? 

“Love Letters” is an attempt to capture 

and celebrate the beauty of all that 

is around. As ordinary as they may 

seem, these are the things that made 

me serenely ecstatic, like seeing elderly 

couples walking hand in hand, the 

reflection of the setting sun on the river, 

synchronicities, strangers who become 

your closest friends, close friends who 

become strangers, moments that feel 

painfully nostalgic, engaging in small talk 

with strangers in a language you don’t 

speak well. 

81 photos, 54 pages 17 × 24 cm - 23 € + shipping international shipping available 

Copyright © 2024 Hümeyra Demircioğlu / All rights reserved. 

Photography, design and text by Hümeyra Demircioğlu @nighttmera 

Cover design by Alex Bosserman @eyelidmovie 

Printed in Berlin, Germany www.huemeyra.com 

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The ability to perceive beauty (and to call it 

that) around me was born from a source deep 

within me I can only describe as “love,” and 

I could feel this source of love in everything 

and everybody I encountered, alive or not. 

I wanted to remember this feeling, remind 

myself that it does indeed exist. 

And so I wrote love letters to life. Paying 

attention makes a difference, and 

photography teaches you precisely that. 

“Love Letters” explores the “manifestations 

of love, connection, and beauty.” Can you 

share an instance or a photograph from 

the book that particularly embodies this 

exploration for you? 

Well, the cover photo would be an obvious 

choice. 

Another instance that embodies the 

exploration of manifestations of love, 

connection, and beauty would be this photo 

of my friend Federico. The night this photo 

is still deeply engraved in my memory. To 

provide context, I wrote something about it in 

the book. 

“You taught me how simplicity and real 

human connection is the richest, most fulfilling 

experience one can have.” – this was his 

response. 

For those of us struggling with mental 

health issues, feeling intense happiness and 

appreciation for life strikes us like an epiphany. 

It’s new, it’s exhilarating and liberating. Sharing 

this experience and many more unforgettable 

days and nights with Fede has truly enriched my 

experience in South Korea. 

How did your background in cultural studies, 

literature, and media studies influence the way 

you approached this photography book? 

From a young age, I have been passionate 

about foreign languages and cultures, noticing 

parallels and learning from differences. 

My studies covered everything from film, 

photography, language, literature and painting 

within cultural and socio-political contexts, and 

it influences the way I perceive and interpret art 

and the world. Everything is intentional, and 

there is an underlying message and meaning 

to each element. 

As both the designer and the photographer of the 

book, how did you ensure that the layout and the 

photographs complemented each other? 

I wanted the book to have some sort of structural 

narrative: summer, fall, winter, spring. I kept 

it fairly simple: Matching colours and moods, 

contrasting images, events, what works best in 

a collage and what deserves its page. 

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Transitioning from digital photography to 

a printed book is a big step. What were some 

challenges you faced during this process and how 

did you overcome them? 

Finishing it. When you sit on a project for too long, 

you lose interest and you’re unable to make an 

objective judgments. I felt like it wasn’t worth putting 

out, I was going to scratch the whole thing. 

I wasn’t in the right headspace either. My state of 

mind didn’t reflect the messages I wanted to convey 

in “Love Letters,” it didn’t feel authentic anymore, 

and I couldn’t get myself to continue writing or 

editing. My advice: Take a break. Put it in a drawer 

and lock it away. Read books on spirituality and 

creativity. Remind yourself of its purpose. Come 

back to it when you’re ready. Except when you 

don’t feel ready because fear is getting in the way. 

Then smash the fear. 

Releasing a physical product is… scary, as are most 

things in life. But that’s a topic for another day. 

You opted to print your book in Berlin. Why was it 

important for you to produce “Love Letters” locally, 

and how do you think this choice adds to its value? 

There’s a story here. Back in Seoul, I went to this 

small independent art bookstore. 

I was browsing the photography book section when 

I found this photo book with a German title. I don’t 

recall the title, but it mentioned some southern 

German town unknown to me. I found it fascinating 

that this person went to a small German town and 

made a physical visual diary documenting 

a memorable period in their life. I’m from 

a rural small town in Germany myself, yet I never 

considered those places half as exciting and 

meaningful as the author of the book I was holding 

in my hands. We lived in similar places, but our 

perspectives and interpretations were entirely 

different. 

Long story short, that’s what inspired me to make 

a photo book/visual diary, one that I would print 

and publish in Germany. “Love Letters” is seen and 

told from a foreigner’s perspective – a perspective 

that becomes blurry and tends to go unnoticed 

when it’s part of your everyday life for as long as 

you can remember. Perhaps what gives the book 

meaning is the distance from what it depicts. 

How did collaborating with Alex Bosserman on the 

cover design influence the final look of the book? 

Alex is a dear friend of mine and I trust his artistic 

taste, especially in terms of visuals. He understood 

my vision and helped me with the selection of the 

cover photos and the design. 

We kept the cover design simple yet with a certain 

sense of nostalgic subtext. The title is in yellow 

because it reminded him of subtitles in foreign films. 

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And “Love Letters” is about our time in a foreign 

country (we met in Seoul) where language and 

meaning get lost in translation (which is our 

favourite film).

With an international audience in mind, how did 

you approach the shipping aspect for “Love Letters” 

to ensure it reaches a global readership? 

I figured it only makes sense to make international 

shipping available, considering that “Love Letters” 

consists of photos taken abroad. I have friends in 

Seoul who I know wanted a copy! Some people 

I’ve met there are now spread across the globe, 

and some of them are featured in the book as well. 

I wanted to be as accommodating as possible and 

make sure everyone got their piece of the pie. 

After capturing 81 photos for this book, what 

selection process did you use to decide which ones 

would make the final cut to appear among the 54 

pages? 

Initially, I was going to include more photos but 

in the end, I opted for a more compact version to 

make it more affordable, both in terms of product 

and shipping costs. For the final selection process, 

I prioritized photos that hold sentimental value and 

that I thought were most pleasing to the eye. I’m 

quite indecisive so I did consult friends for input, too. 

(Shoutout Yunil and Alex) 

Now that you’ve successfully published “Love 

Letters,” do you have any plans for future 

projects or books that we can look forward to? 

I recently started a digital zine with my friends 

McKenzie and Alex and I’m going to be 

working on that. It’s called FMRA Project, short 

for “ephemera,” and it covers all things art – 

literature, photography, music, film, painting, 

and more. 

The idea was to create a space and an outlet 

for creative expression and exploration. I get 

to just be free and play with whatever ideas or 

forms of art come to mind. 

My personal goal is to make videos for FMRA 

since I’m interested in filmmaking. Each month 

explores a different theme which then inspires 

the art we create or source. 

As we grow, FMRA will accept submissions by 

artists and thus become a platform for creatives 

to gain visibility. 

You can find us on Instagram: @fmra.project. 

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In 2023, Laufey captivated the music scene with 

her groundbreaking debut album "Bewitched”. 

As well as shattering records, her debut-album 

marked the biggest-ever debut for a jazz album 

on Spotify and a Grammy for the Best Traditional 

Pop Vocal Album – a category previously 

dominated by the American Jazz-icon, Tony 

Bennett. Now based in Los Angeles, but having 

grown up in Reykjavík, Laufey's multicultural 

upbringing significantly shapes her music, 

effortlessly blending classical, jazz, and pop 

elements into a unique sonic tapestry. 

“I learned classical cello and piano across China 

and Iceland, teaching me not to fear mixing 

cultures and disciplines,” Laufey told KALTBLUT. 

Her move to the US further expanded her musical 

horizons. "The U.S. is a melting pot of cultures 

and music. Moving here taught me to be more 

daring with my musical choices," she reflects. 

Embracing modern platforms, Laufey sees TikTok 

as a creative arena: "It's a fun space to test 

melodic ideas. It can provide fuel for me to finish 

a song." Laufey's music resonates with Gen-Z, 

a generation dismantling artistic boundaries, 

“because it shares a vibe rather than a strict 

genre.” 

BLENDING CULTURES, 

BREAKING BOUNDARIES 

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Drawing from both classical and jazz influences, the singer finds inspiration in 

composers like Ravel and jazz legends like Bill Evans. "Unexpected chord progressions 

fuel my soul," she added. Her success has also gained her a comparison to Taylor Swift, 

with The Telegraph having called her “Jazz’s answer to Taylor Swift”. This comparison 

honours the singer-songwriter, as she calls herself a huge Taylor Swift fan. And, who 

wouldn’t want to be compared to the biggest pop star at the moment? 

Late February, Laufey performed in Berlin at Astra Kulturhaus as part of her tour. 

The crowd was a cute mixture of Gen-Z, who either took their boyfriends or their friends 

to the show. Knowing every song off by heart, they sang along, told the singer how 

much they loved her in-between songs and screamed their hearts out when her twin sister, 

Junia, joined her on stage. The setting was romantic, just like Laufey’s music. To the 

question, what her favourite moment at the show was, she said: "One of the most iconic 

classical musicians of our time was in the audience. Meeting with an idol was such 

a privilege." 

Touring takes a toll on everybody, though, which is why maintaining a healthy lifestyle is 

crucial for Laufey. "I try to stick to a consistent diet and explore cities I visit before sound 

check to stay active." Besides staying active on tour, social media also plays a big part 

in her life and career. "Whenever I go on social media, it feels like I'm interacting with 

friends instead of fans," she said. 

With her diverse background, fearless creativity, and genuine connection to her audience, 

Laufey is not just making music – she's forging a new path in the industry. 

Follow @laufey on Instagram to keep up with her upcoming projects, releases and shows. 

All photos by @gemmadwarren 

Text by Johanna Urbancik 

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Photographer: Federica Loria @loriarsh 

Creative director & Stylist: Jyothsana Selvam @jyothsanaaa 

Muah: Giorgia Massaro @giorgiamassaro_mua 

Model: Timothy Kenny @timothy.j.k 

Agency: Hercules Models @herculesmodels 

Studio assistant: Luca Imperatrice @luca_imperatrice 

90HALO

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pants by MAGSINO 

necklace & ring by VALENTINA LAGANA ATELIER 

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jacket Vintage from PWC Milano 

skirt by ZARA 

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top with detachable sleeves by LAMAN KHANLAROVA 

pants by MAGSINO 

necklace & rings by VALENTINA LAGANA ATELIER 

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skirt and detachable pants by MAGSINO 

bracelet, necklace & prop by VALENTINA LAGANA ATELIER 

shoes thrifted from VINTED 


BIGGER 


JOSEPH 

WOLFGANG 

OHLERT 


“BIGGER” is a new photo book project and the third book release by portrait photographer Joseph Wolfgang 

Ohlert. Many men feel insecure and lack self-confidence because they do not see themselves represented in the 

media. However, as we become accustomed to images of diverse bodies, we can all feel more liberated. The book 

features around 80 portraits and various personal texts by five writers, spanning approximately 200 pages. 

Joseph Wolfgang Ohlert is a freelance artist, portrait photographer, and gallery owner in Berlin. After his high 

school graduation, he worked at various theaters in Munich as a director’s and stage designer’s assistant before 

finally moving to Berlin, where he began studying photography at the prestigious Ostkreuzschule and successfully 

graduated in 2015. He made his debut with the project “Gender as a Spectrum”—a photo book with portraits of 

a wide variety of people who do not fit into the known categories of “man and woman” and move beyond 

conventional gender norms. In September 2017, he opened his first own creative space—the P7 Gallery. In the same 

year, he published his second photo book project “DARLINGS!,” a personal diary of artfully assembled 

collages, drawings, and photographic works from his creative phase. 




What inspired you to create the “BIGGER” 

photo book, and how is it a continuation of 

your previous work? 

Being a bigger-built person has always been 

a part of my life. Since my teenage years, I have 

been dealing with body issues and suffering 

under the pressure of beauty standards, mostly 

pressure that I put on myself. It’s absurd how 

delusional our self-perception can be, especially 

while growing up but even at that point where 

you should know better as an adult, that every 

body is a beach body and happiness doesn’t 

come from looks. But self-acceptance is not 

a destination you reach and then have a 

guarantee; it has to be earned every day anew, 

a constant challenge which we can complete 

some days very well and some days not so good. 

We just go with it, and try our best. One way 

of doing so was for me to work on this new 

photobook. The lack of bigger-built bodies in 

the (social) media is enormous. All my books 

come deep from my inner desire to express 

myself, “Gender as a Spectrum” helped me to 

understand the topic of gender in general and 

also my own way of dealing with who I am. 

“Darlings!” is a photo collage diary of some of 

my Berlin years and “BIGGER” seems to me just 

like a natural development of working on myself 

and seeing the beauty in moments rather than in 

things or “looks.” 

Can you share some insights on how you 

selected the 80 portraits for the book? 

It was a journey of two years. Looking for big 

guys wasn’t as easy as I thought. A lot of guys 

were fine showing themselves on dating platforms 

or social media, but when I approached them, 

they couldn’t make the move and have the 

courage to be photographed professionally. 

In times of oversharing and over-sexualizing, 

many men live with insecurity, telling themselves 

they deserve to be seen but also giving up a bit of 

control over how their bodies are shown seems, 

for many people, impossible. Even so, I worked 

closely with each model, trying to leave them 

satisfied with the results and make them feel seen. 

How do you hope “BIGGER” will impact men’s 

perception of their bodies? 

I believe just the fact of being confronted with 

pictures of bigger bodies helps to normalize 

a more diverse body image. If we step outside, 

we see all kinds of people with different bodies, 

and nearly everyone wishes to have something 

changed, myself included. But what if we can all 

accept that loving yourself is the only thing that 

makes life worth living? There is always a way to 

improve yourself, but the first step is to understand 

that you are enough. 


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In what ways do you think the media’s 

portrayal of body image is changing? 

The constant influence to optimize yourself is the 

most toxic thing happening in the world right now. 

There is no perfect life, and we shouldn’t lose the 

ability to fail, because it backfires. Balance is the 

key. 

What role do you believe your book plays in 

the ongoing conversation about body diversity 

and acceptance? 

It’s just a tiny part of what I am doing and also 

nothing new. Beauty standards have dictated our 

society since the beginning of mankind, but still, it 

seems we don’t get any wiser, and maybe that’s 

just how it is. That doesn’t mean we can’t try to 

make the world a better place. It’s always about 

doing something. Nothing is worse than standing 

still. 

Can you tell us more about the personal texts 

included in the book and how they complement 

the portraits? 

I asked five writers from Berlin to contribute to 

the book. The results are very personal, and they 

created beautiful texts or poems that enrich this 

project tremendously. I want to create a safe place 

for the people who look through the pages and 

ideally recognize themselves. 

What was the most challenging aspect of 

bringing “BIGGER” to fruition? 

Since it’s so personal for me, I tend to selfsabotage 

my work and try to escape the mirror 

I put up for myself. That really was the hardest 

part, to just keep on going, even on days when 

I just wanted to delete everything and ignore 

everyone. Facing yourself is the hardest thing in 

the world. Working as an artist, I feel this burden 

even more. I have to keep it going and put it out 

there; otherwise, I would wither away. 

What led you to select the hosting writers for 

the personal texts, and what perspectives do they 

bring to the book? 

I rather let other people talk and let them show 

or present themselves; I am just curating. That’s 

my art, bringing people together and creating 

a platform. Their perspectives in the books are 

helping us to find voices we all have inside of us 

but were trained to ignore, voices that say we are 

not so different on the inside, and we are allowed 

to be different on the outside. 

Could you describe your experience studying 

at Ostkreuzschule and how it shaped your 

photographic style? 

I learned that a beautiful photo is not enough. 

What do you want to say? Do I want to be an 

artist or a decorator? 

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JOSEPH 

WOLFGANG 

OHLERT 

What advice would you give to aspiring 

photographers who want to tackle subjects 

like body image and gender in their work? 

Keep on going. Just do it. Get it out there. Don’t 

waste time thinking about whether it’s good or 

bad, or if it has been done already. Ambition is 

sexy, so never lose your excitement for creating. 

How do you see your photography evolving 

in the future, and are there any new themes 

you’re eager to explore? 

I am a bit old-school in the way I see and do 

photography. I didn’t invent the wheel. I still work 

mostly on film, and it is on the decline. So I can’t 

say much about the future. Probably AI is taking 

over. I am kind of curious about what happens, 

but I feel lucky to live in a time of in-between the 

old and new world of photography. What I know 

for sure is that pictures will never die. 


Follow JW Ohlert via 

@jwo_studio and @josephwolfgangohlert 

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SOUL 

Photography by Weic Lin @weic_lin_photo 

Model is Kamilla Osipova signed at MOOZA Management 

@kamilla_osipova @moozamanagement 

Styling by Blanc Yuan,Yvette Chen @blancyuan_ @yvette_fungi 

Make up and nails by Yuwei @yuweimakeup0130 

Hair by Jing Yang @jing_33333 

Hair assistants by Monica Li @monicaliig 

Retoucher by Ke @tagco1 

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EVELR

Y 

Dress by IRENSENCE 

Shoes by ZARA 


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Top by PCES 

Skirt by PCES 

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Left: Jacket by JUNEYEN 

Pants by JUNEYEN 

Shoes by ZARA 

Right: Top by UUIN 

Pants by UUIN 

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Left: Shirt by DOUCHANGLEE 

Girdle by DOUCHANGLEE 

Skirt by DOUCHANGLEE 

Shoes by Yvette 

Right: Suit by Yentity 

Pants by Yentity 

Shoes by ZARA

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Left: Jacket by JUNEYEN 

Pants by JUNEYEN 

Shoes by ZARA 

Right: Dress by JUNEYEN 

Shoes by ZARA 

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EMILIO 

SAKRAYA 

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KALTBLUT. caught up with Emilio Sakraya ahead of the release of his 

third album ‘Blessings’, a cheerful yet meditative release pondering on 

all the experiences in life – its highs and lows. In his upcoming album, 

Emilio embraces the exploration of new styles and genres, showcasing his 

evolution as an artist in these last two years. Emilio wants this album to 

serve as a companion, offering comfort and guidance amidst life's storms. 

Filled with melodies to soothe the soul and lyrics that inspire to embrace 

every twist and turn with positivity, grace and gratitude. 

It's been a minute since your last album 

release, ‘1996’. How are you feeling about 

releasing a new body of work into the world? 

I am thrilled about everything that's about to 

come with this album, and I'm excited about 

how the fans are going to react to the sound. 

Of course, I'm looking forward to playing these 

new songs on tour, too. 

Listening to the album, you can tell it's personal. 

You're opening yourself up to show the real you. 

In your songs, “Cacio e Pepe” and “Gartentor 

Freestyle”, you talk about how you're constantly 

on the run, as you are always doing so many 

things. You're not only a musician, singer, and 

songwriter, but also an actor and a dad. How do 

you balance all that? 

I enjoy everything I do. There are many things 

I love, and I refuse to give any of them up for 

another, so I do it all. Sure, it can be tough at 

times, but it's also incredibly fulfilling. I genuinely 

relish every moment of it. I play a significant 

role in organising my schedule and determining 

when to tackle each task. Therefore, I prioritise 

self-care and cherish those fleeting moments of 

peace. I always look at the big picture, and I’m 

reminded of how far I’ve come. I'm just a young 

boy living his dreams. Each year, I aim to write 

an album, followed by touring to promote the 

music. This year, we're promoting the album, 

and after, I'll be going on tour again. Then, I'll 

be filming again. I decided that I wanted this to 

be my life, and I feel happy and grateful living it 

every day. 

When did your passion for music start? 

Since I was a little kid, I was always into music. 

When I was 11, I started to play the piano. 

I was a part of a school band where I played 

the guitar. I covered many songs back then. To 

be honest, I was more into music than the film 

business in my early years. I always wanted to 

become an actor, but I didn't get jobs when I was 

young. I was a musician my whole life, though. 

I started to compose and write my songs when 

I was 19 and got signed with a music label when 

I was 20. It's been eight years since then, and 

now I’m releasing my third album. I'm living my 

dream. It's exactly the way I imagined it. 

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"I'M JUST A YOUNG BOY 

LIVING HIS DREAMS" 

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In your new album, there is a track called 

“Rote Ampel”. Your gift of storytelling 

shows. Can you tell me more about this track? 

I was driving around town with my car when 

I saw a young boy standing on the side of the 

street looking at my car. I looked at him and 

realised how crazy it was because I used to be 

a boy looking at cars. Now, I'm the driver. 

I started thinking about how much I had to go 

through and work to be the person in the car now. 

I was thinking about it all my way back and when 

I got into the studio I just needed to write a song 

about that moment and try to narrow it down to 

what it takes to become the driver and not the boy 

on the street. The process of writing that song was 

a reflection of my journey for me so far. 

At such a young age, you have two impressively 

successful careers - actor and musician. From how 

I perceive it, I would say music is more of a 

therapy for you. Is that correct? 

For me, music has always been more of a passion 

that drives you. The biggest difference is, that in 

movies, I play someone else. With my music, I can 

open my true self and tell my stories. I get to be 

all: the director, the cameraman, the editor and 

the writer. In film, I’m a part of a huge team that 

takes care of a lot of stuff. I trust them and do my 

work. As an actor, I get to tell the stories of others 

and live through different lives. 

All my life, all I wanted to do was to tell stories. 

The power of storytelling has always charmed me 

since my childhood. It's perfect for me to have that 

balance between telling someone’s stories and my 

own. With that, I’m able to find myself again in 

the songwriting process after an intensive period 

of filming. Especially for actors and actresses, it 

can be hard because you tend to lose yourself in 

the character. Music has been my way to help me 

counterbalance it and find myself again. 

In other interviews, you've openly talked about 

your mental health struggles, which I find was 

so helpful to many young people. Can you tell 

us what's your process for dealing with anxiety? 

I used to have panic attacks and, luckily, they 

have got a lot less since. About two years ago, 

I stopped drinking, which helped a lot. During 

my day-to-day life, I’m trying to maintain a healthy 

lifestyle and prioritise taking time off, spending 

quality time with my family and respecting my 

recovery time. 

I must say what helped me most was openly 

talking about it. It gave me so much relief 

because, until that point, I thought I was sick and 

was the only one experiencing those attacks. It 

can feel very lonely, and then you can end up in 

a negative loop thinking there’s something wrong 

with you. When I started speaking about it, 

I realised I'm not the only one. 

Can you tell me more about the meaning 

behind your song, “Mond” as it has such 

a touching sentiment to it? 

It's a very personal song about a friend 

who's always stuck in a very negative 

situation. We all have friends who have 

been in a dark spot for a while, it's nice to 

have something to sing along with and just 

say: “I'm there for you, I'll take care 

of you". 

Would you say your albums function as 

your diary or a form of self-reflection? 

Or is it more of an emotional release? 

Honestly, my process isn’t very intentional 

when I write. It just happens and comes out 

of me. I don’t start with a specific thought. 

Usually, my process is about just letting it 

all out of me until the point when I have 

around 30 songs. That’s when I started to 

puzzle it together - like a director. 

Can you pick out a few of your favourite 

songs on the album and tell us more about 

how they were written, and how did you 

come up with them? 

I'm a big fan of “Fuck It”. Initially, we 

only had an instrumental with a top line 

that somehow ended up sounding drunk. 

I perform the song as if I'm intoxicated, 

thinking about what topics one might 

think about or discuss while being drunk. 

Pain and love seemed fitting. Now that 

I no longer drink, I often observe how 

those around me who lose their ability to 

maintain a coherent conversation. They 

tend to switch topics abruptly. 

From that thought process, “Fuck It” 

emerged. It captures a particular state 

of mind. The song immerses you in a 

heightened emotional state and serves as 

a compelling opener for the album. 

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Can you tell us about your single, 

“Niemand”? 

“Niemand” has a unique sound. I wrote 

it a long time ago, and just recently 

decided to finish it. In the studio, we kind 

of recycled it and ended up with a sample 

out of it. It started from that and lyrically, it 

tells a story about a doomed relationship. 

Your tour is coming up. How are you 

feeling? 

Honestly, I haven't had the time to think 

about the tour yet. I'm a bit stressed about 

it because there are still a lot of things we 

have to do before it starts. Sometimes, 

I wish I could tell everyone to leave me 

alone so I can focus on the tour. Overall, 

I'm most excited about it. I consider it 

to be the best part of what I do. Seeing 

people listen to my music and witnessing 

their reactions is what I look forward to 

most. It creates this amazing atmosphere 

like nothing else. 

What's one thing you want people to 

take away from this album? 

When I was working on the album and 

recorded “Blessings”, I felt this song sums 

it up very well. The whole album takes you 

on a journey through the last two years. 

It shows a glimpse into my life and shows 

my relentless pursuit of personal growth 

and understanding of life's responsibilities. 

With that, my blessings are not just positive 

things, but also negative experiences with 

people and emotional struggles in my life. 

But, in the end, they're all blessings to me. 

Most of the negative things that happen 

turn out to be good things because you 

learn, grow, and develop by experiencing 

adversity. We don’t learn from things that 

go well, only from the things that don't 

go as planned. I understand now that 

you can't call negative things positive, but 

you can call them blessings because they 

taught you something along the way. 

video 

Bittersweet tracks, such as “Fuck it” 

and “Regen”, gradually evolve into 

a more positive outlook, starting from 

“Daydream”, guiding you through a 

journey from a high emotional ego 

mindset to a moment of release and 

realisation, ultimately understanding how 

every experience becomes a blessing. 

‘Blessings’ isn't just a title; it's a reflection 

of my profound gratitude for all my life 

experiences – the highs, the lows, and 

everything in between. I hope my album 

can uplift people, encouraging them not to 

stress too much about negative situations 

and to find moments of joy where they can 

enjoy life. 

136

Stream Emilio’s latest studio album ‘Blessings’ here and follow him 

on Instagram at @emilio_sakraya_ to keep up with upcoming releases, 

films, and other projects. 

Photos by @denisseaps 

Interview by Daria Artemova @daria.art5 

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NEON 

WAVES 

Photography by Verena Knemeyer signed at Double T Photographers 

www.verena-knemeyer.com @verenaknemeyer 

double-t-photographers.com @double_t_photographers 

Model is Adama Jobe signed at www.modelwerk.de 

@modelwerk @i_am_adamajobe 

Styling by Nicola Berger www.nicolaberger.com @nicolaberger 

Hair & Make Up by Josephin Martens signed at Liganord 

www.liganord.com @josiemartens @liganord_agency 

Creative Direction by Veruschka Glage @veruschka_glage 

Digital Operator Leon Schweer www.leonschweer.com @leonschweer 

Light Technician Darren Viret @darrenviret 

Production by Episode Media www.episode.co.za @episodemediaprod 

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Ring by Wempe 

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Bikini by Eres 

Necklace by Radà 

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left: 

Swimsuit by Seame - Swim 

Earrings by Radà 

right: 

Bikini by Eres 

Necklace by Radà 

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left: 


Earrings by Radà 

right: 

Ring by Wempe 

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left: 

Bikini by Helene Galwas 

Earrings by Sonnia Jewellery Design 

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left: 

Ring by Wempe 

right: 


Earrings by Radà

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Sunglasses by KYME 

Bikini by Helene Galwas

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OAKLEY FACTORY TEAM SS24 

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SIMONE ROCHA X CROCS 

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DR. MARTENS x SUPREME 

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DARKNESS 

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Photography by Natascha Zivadinovic www.natascha-zivadinovic.com @natascha_zivadinovic 

Model is Max Uhrmacher signed at Starwatch Agency @maxuhrmacher 

Make up by Angelique Waltenberg / www.visa-berlin.de @angelique.waltenberg 

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BRIDGING 

WORLDS: 

THE ARTISTIC 

JOURNEY OF 

TARIQ ALSAADI 

In the realm of contemporary art, voices that traverse the intersectional complexities of identity, heritage, and self-expression are 

vital for fostering a deeper cultural understanding and promoting diversity. Tariq Alsaadi, a trailblazing illustrator whose work vividly 

encapsulates the nuances of his Syrian roots and queer identity, is one such voice that commands attention. In this intimate interview 

for our digital issue, Alsaadi walks us through the rich tapestry of his experiences – from the war-torn memories embedded in his 

homeland’s history to the liberating yet challenging realities of his immigration to Germany. 

As an artist whose narrative ingeniously delves into sensitive topics such as identity politics, gender roles, and beauty ideals, Tariq’s 

artwork serves as a compelling commentary on contemporary issues faced by minorities and the LGBTQ+ community. With bold 

colours and evocative imagery, he not only reflects on his personal story but also connects with universal human experiences, 

prompting us to examine our perceptions. 

Discover how Tariq Alsaadi’s potent fusion of Syrian culture, queer identity, and unapologetic artistic expression creates bridges 

between diverging worlds, offering insights that transcend boundaries and resonate with a global audience. Join us in exploring the 

depths of his creative vision and his aspirations for the future of queer art. 

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Tariq Alsaadi lensed by Osman Gazioglu 

@gopicsphotography

Tariq, how do your Syrian heritage and the 

experiences you’ve had there influence your 

artwork? 

Being from Syria (and, in general, from the 

Levant region) is very important to me, and it 

influences my artwork in both direct and indirect 

ways, especially due to its rich culture and long 

history, spanning over 7000 years or even more. 

Continuous conflicts, wars, occupations, etc., since 

the beginning of the first human settlements, along 

with their diversity, lost identity, and contradictions, 

have significantly shaped my perspective. In this 

context, creating art serves as both an escape from 

reality and a means of expressing and exploring 

reality, as well as searching for identity. 

I believe that many Syrians, including myself, 

grapple with identity issues. Our diversity and 

various political factors often create divisions and 

erode our sense of belonging to a specific Syrian 

identity, yet we are united as one people through 

shared experiences of enduring horrific situations 

together. Many Syrians employ dark humour as 

a coping mechanism, stemming from these factors, 

which serves as a form of expression and escapism 

simultaneously. I find that the humour present in my 

artworks is deeply rooted in Syrian culture. 

Moreover, I am greatly influenced by the stories 

of ancient Syrian gods and goddesses, as 

well as the broader region. These stories are 

incredibly intriguing and serve as a reminder that 

humanity, regardless of location, has not changed 

significantly since the dawn of civilization, with the 

inception of religions, kingdoms, and empires. 

As a queer Arab artist, how do you navigate 

the intersection of your identity and your creative 

expression in your art? 

I express my identity as an Arab queer artist in 

nearly every art piece through the characters 

themselves and various elements reflecting oriental 

and Arabic influences. 

Can you describe a piece of art you’ve created that 

you feel particularly represents your experience as 

an immigrant in Germany? 

Living in Germany and being away from home 

for a long time has led me to reflect deeply on 

the details and stories from my childhood and 

teenage years, which I might not have considered 

otherwise. Particularly in the last two years, the 

theme of nostalgia has become more prominent in 

my artworks. 

For instance, in a piece titled “My Birth,” 

I illustrate a story that my mother shared with me 

about what happened before she brought me 

into the world. As a modern, working woman, 

she initially contemplated having a third child but 

was considering abortion. However, she had a 

significant dream. In this dream, she saw a white, 

sparkling horse enter our home and look around. 

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Upon sharing this dream with our neighbour 

(a kind-hearted woman who disregarded societal 

norms and regularly took anti-depression 

medication) my mom that the horse represented her 

unborn child and that it was a message to keep the 

baby. Consequently, my mother chose to keep me, 

and I am here today because of that decision. 

Looking back, how has your art evolved since 

your days studying fine arts in Damascus? 

Reflecting on my art’s evolution, I see a continuous 

connection with my past work, albeit with 

advancements in topics and techniques. My journey 

as an artist began long before my formal studies, as 

I exhibited a passion for drawing from a young age 

and asked my parents to give me a pin and paper to 

draw at 2 years old. 

Since coming to Germany, my art has taken on 

a more political tone, influenced by a deeper 

understanding of my identity and biography. 

How do you approach the topic of gender roles 

and beauty ideals in your work? 

In my work, I aim to illustrate that femininity and 

masculinity are not exclusive to any one gender; they 

are inherent in all of us, regardless of our gender at 

birth or identification. 

We should have the freedom to express these aspects 

of our personalities however we choose, without 

being confined by rigid categorizations. Being human 

is far more complex than these limiting categories, 

which restrict our imagination and hinder our 

collective human civilization. 

Discussing beauty ideals, it’s a significant topic 

within the queer and particularly the gay community. 

Physical appearance holds considerable importance 

in the gay community, and I am actively working to 

break away from these standards. I strive to depict 

diversity in the appearances of the characters 

I create, although it’s a gradual process. 

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Growing up in a society that prioritizes conventional beauty 

standards, and later studying in art schools that reinforce these 

aesthetics, makes it challenging to deviate from these ideals. 

However, I am committed to this journey, and my art now 

showcases greater diversity than ever before. 

Could you share an instance where your art acted as a 

bridge between differing perspectives on identity or gender? 

During my studies of Design in Münster, Germany, I undertook 

a project centred around changing perspectives, which I presented 

as an illustrated book. In this book, everything was depicted in 

reverse compared to real life. For instance, the wealthy were 

portrayed as poor, and the impoverished as affluent. Additionally, 

one of the focal points was identity and gender. In this alternate 

reality, queer individuals were the normative majority, while 

heterosexuals constituted the minority, struggling to find their place 

within the predominantly queer community. 

The goal of this book was to build bridges by encouraging 

readers to empathize with the struggles of others through altered 

perspectives. It aimed to convey the message that just because the 

majority may not experience certain struggles, it doesn’t negate 

their existence. Humour was used as a tool to engage readers, 

prompting laughter initially before leading them to deeper 

reflections. I still intend to publish this book, but I am currently in 

the process of searching for suitable publishers. 

What challenges do you face in the art 

world due to your background, and how 

do you overcome them? 

As a young artist with a Middle Eastern 

background, I encounter different 

experiences compared to those from 

German or European backgrounds. 

For instance, I often face categorization 

and fetishization, which can create 

considerable pressure. To navigate this, 

I strive to collaborate with the right 

people/individuals who appreciate my 

art for its merits rather than exoticizing 

or pigeonholing me. 

If I sense any hint of fetishization or 

categorization, I promptly disengage 

from the situation. While I take immense 

pride in my Syrian background and 

identity, I am intentional about how 

I represent it in my work. I ensure that 

my heritage remains an integral part of 

every project I undertake, but I assert 

control over its portrayal, rather than 

allowing others to dictate how it should 

be perceived. 

As an advocate for queer art, what 

message do you hope to convey to 

both queer and non-queer audiences? 

My aim is for both queer and non-queer 

audiences to discover the common 

threads that unite us as human beings. 

Regardless of sexual orientation, we are 

all dreamers. Art inherently possesses a 

queer quality, regardless of the artist’s 

sexual orientation. Thus, as an artist, 

I prioritize presenting my work in a 

language accessible to all audiences, 

allowing individuals to freely interpret 

its meaning. 

Rather than being labelled solely 

as a queer or migrant artist, I seek 

to transcend categorization by 

communicating through the universal 

language of art. This approach allows 

for a broader reach and fosters 

inclusivity, inviting diverse perspectives 

to engage with and appreciate my 

creations. Indeed, this ability for 

interpretation is what makes art so 

beautiful and magical. 

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How has the Berlin art scene influenced 

your work, especially considering the city’s 

rich history in the arts? 

The Berlin art scene mirrors the city itself! 

remarkably diverse. This diversity provides 

ample opportunities for artists like myself to 

connect with our audiences and engage in 

meaningful interactions. In Berlin, the cultural 

landscape offers something new virtually 

every day, from exhibitions and museums to 

performances, providing constant inspiration. 

Moreover, Berlin itself serves as a profound 

source of inspiration for me. Its vibrant streets, 

diverse inhabitants, underground culture, 

international atmosphere, and sense of 

freedom all contribute to shaping my artistic 

vision and creativity. 

What role do you believe art plays in creating 

dialogue around sensitive issues, particularly 

in the context of the Arab world? 

Art can play a crucial role in addressing 

sensitive issues within the Arab world, 

including queerness, which unfortunately 

remains a contentious topic due to various 

societal factors. In this context, art can 

illuminate queer moments from Arab 

history, showcasing instances of direct 

acknowledgement of queer and gay love 

and sexuality in Arabic literature and art, 

even at times when Europe grappled with 

issues surrounding queerness. 

By highlighting these historical queer 

moments, art serves to educate both queer 

and non-queer Arab audiences, emphasizing 

that queerness has always been a part of our 

culture and history, rather than an imported 

phenomenon to be rejected. Art, with its 

symbolic language, offers a softer approach 

compared to direct discussions, providing 

a starting point for dialogue and facilitating 

progress towards further understanding and 

acceptance. 

Do you have any projects that specifically 

address the experiences of the LGBTQ+ 

community within the Arab diaspora? 

I collaborated on a project with a Syrian 

platform based in Berlin that focused on 

highlighting queer characters depicted in 

Syrian telenovelas from the 2000s era. 

During the 90s and 2000s, Syrian TV 

dramas and series experienced a golden 

era and garnered immense popularity 

across the Arab world. Many of these series 

featured queer characters, although their 

sexual orientation or gender identity was 

not explicitly addressed. Despite this, it was 

widely understood that these characters were 

gay, lesbian, or transgender. These series 

hold significant cultural and identity value for 

Syrian millennials, both queer and non-queer, 

many of whom are now part of the diaspora. 

In our project, we aimed to shine a spotlight 

on these queer characters, providing them with 

more visibility than they originally received as 

secondary characters in TV dramas. 

By directly addressing their queer identity, 

we sought to create a space for dialogue 

and reflection on our experiences as queer 

individuals while maintaining a connection to 

our cultural heritage. This project emerged 

from a sense of nostalgia that binds us 

together, serving as a testament to our 

shared experiences and our desire to remain 

connected to our culture. 

Finally, what is your vision for the future 

of queer art, and how do you see yourself 

contributing to it? 

At times, I find it challenging to label queer 

art as „queer art” because art inherently 

embodies queerness in its essence, regardless 

of the artist’s sexual orientation. Furthermore, 

queer artists have long served as a significant 

source of inspiration for all artists and have 

contributed immensely to the evolution of the 

art scene. 

However, as queer artists, we must remain 

vigilant to ensure that we retain the freedom 

to openly express queer themes in society. 

Unfortunately, our existence and ability to 

express ourselves are often subject to political 

factors that can change rapidly. Therefore, we 

must continue advocating for our rights and 

the development of our art within a supportive 

political and social environment, free from 

exploitation or “pinkwashing” for profit. 

It is our responsibility to ensure that queer 

themes remain present and visible in our 

artworks, sharing our stories and addressing 

our issues to pave the way for future 

generations of queer artists. 

By doing so, we contribute to the ongoing 

progress and empowerment of queer artists, 

striving for a future where we can express 

ourselves freely and authentically without fear 

or exploitation of our identities. 


Follow Tariq via @tariq_saadi 

and @tariq_illustration 

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Leather jacket: Maison Margiela MM6 

available at Stijl Store 

Body: Y Project available at Stijl Store 

Ring ruby with diamonds by Manalys

MODELS: MALINKA / @ZOFIA_______ 

AND ROSALIE FROM RUN MODEL MANAGEMENT 

WWW.RUNMODELMANAGEMENT.COM/ @RUNMODELMGMT 

STYLIST: SIDNEY FIGEYS / WWW.SIDNEYFIGEYS.COM / @SIDNEYFIGEYS 

ASSISTANT STYLIST: FANNY SCHREIBER / @FANNYSCHREIBER 

HAIRSTYLIST: KEIKO HAMAGUCHI / @KEIKOHAMAGUCHI_OFFICIAL 

MAKEUP ARTIST: JUAN-CARLOS SALAZAR / @JUANCARLOSMAKEUP 

PHOTOGRAPHE : ANDREA KLARIN / WWW.ANDREAKLARIN.COM 

@ANDREA_KLARIN / @FASHION_VICTIM_PRODUCTIONS 

ASSISTANT PHOTO: CHRISTOPHE BUSTIN WWW.CHRISTOPHEBUSTIN.COM 

ALLAN DAIF @ALLANFOCUS / HELENE 

STUDIO: ONE SPACE BXL / @ONE_SPACE_BXL 

183GRLPWR

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Ring ruby with diamonds by Manalys 

Shoes: Marie-Adam Leenaerdt 

available at Stijl Store

Jacket: Maison Margiela MM6 


Caleçon: Mariner 

Short: Bellerose 

Earrings: Isabelle Lenfant 


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Jumpsuit: Atelier Margo 

Shoes: Dr Martens & Rick Owens 


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Top: Marie Adam-Leenaerdt 


Panties: Primadonna 

Earrings diamonds and ceramic 

"Zebra" by Manalys 


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Jacket: Maison Margiela MM6 


Caleçon: Mariner 

Short: Bellerose 

Shoes: Jonak 

Socks: Falke 

Earrings : Isabelle Lenfant 

available at Stijl Store




Shoe : Marie-Adam Leenaerdt 



Special thanks to Brainstorming Communication 

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DANIEL 

ZILLMANN 

Interview by Marcel Schlutt - Photos by Joseph Wolgang Ohlert @jwo_studio - Follow Daniel at @daniel_zillman

FROM NEUKÖLLN TO THE SPOTLIGHT: 

DANIEL ZILLMANN ON ACTING, VOICE, AND VISIBILITY 

Join us as we dive into the life and career of celebrated German actor Daniel Zillmann—a native Berliner, who has 

journeyed from the heart of Neukölln to the grand stages of cinema and television. With candid insights, Zillmann 

shares his experiences of growing up in Berlin, making his film debut, and embracing a plethora of diverse roles 

that have defined his dynamic career. His voice acting finesse and his courageous stance on inclusivity and body 

positivity echo through his thoughtful reflections. In this exclusive interview, Daniel Zillmann lays bare his path to 

becoming an actor, his most cherished roles, and the importance of representation in the industry. Prepare to be 

inspired by his words and his remarkable journey in the world of acting. 

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Daniel, what first sparked your interest in 

acting and led you down this career path? 

I was watching Ghostbusters at the end of the 

80s, and I decided, “This is what I want to do when 

I grow up!” Busting ghosts? No, acting in movies is 

full of fun and fantasy. During that time, I landed 

my first leading role in our school theatre play, in 

which I played the king. I found it easy to learn my 

lines, and I had a very loud voice, so the teacher 

thought I was perfect for that part. 

After bowing down to the audience and listening to 

the applause, I realized this was what I wanted to 

do for the rest of my life. I found my purpose very 

early. Typical for a Capricorn. 

Could you share with us what your experience 

was like growing up as the son of nurses in 

Berlin-Neukölln? 

My whole family is from Berlin; our roots are deep. 

My parents are very down-to-earth and yet very 

special. For me, it’s always good to come home to 

my parents’ house and calm down. They are proud 

but not my “fans,” you know? 

Your film debut came with Leander Haußmann’s 

movie NVA; how did this initial experience shape 

your acting career? 

You were hilarious as the cousin in “Die kluge 

Bauerntochter” and I love your work in Andere 

Eltern and Ich Dich Auch. How do you prepare for 

a comedic role compared to a more serious one? 

Ha! Thanks! I think the preparation is the same. 

You create characters that seem vivid and rich. 

The process of shooting can be different, though. 

The timing, dynamics, and plot twists are different, 

but when you do comedy, you always need to 

remind yourself that it’s drama that you’re doing. 

So, acting-wise, there should be no difference. 

We know that you have a passion for voice acting 

as well. How does your approach to voice acting 

differ from on-screen performances? 

In the end, both processes are quite creative. 

There are also different versions of voice acting. 

Radio drama, for example, is like filming a movie 

but without cameras. You act with your partners, 

and microphones record the sound. 

But when it comes to regular dubbing, you kind 

of need to adopt the original sound, tone, and 

dynamics. This can feel much more technical. 

I love voice acting for animes or animated feature 

films. You have much more freedom during the 

process. 

I think it changed everything for me. I was so 

naive when I landed that role. And it was so well 

written. The late casting director Simone Bär taped 

my audition behind the director’s back because he 

didn’t want to invite me to the casting process. Later 

she showed him the tape, and he was convinced to 

invite me to a live audition, which was crazy. Full 

of improv, and I had to show my whole range of 

talent… Leander Haußmann was satisfied, and they 

offered me the role. During the shooting process, 

he wrote a whole new scene for me, which was 

a long funny, heartwarming monologue. I was so 

excited and didn’t want to mess up. But in the end, 

it was just a wonderful experience, and the scene 

was kind of groundbreaking for me. 

In your varied career, you’ve played an array of 

different characters. Do you have a particular role 

that you’ve found most challenging or rewarding? 

I loved playing the evil duke in Zwerg Nase, 

a classic fairy tale because that role was so rich 

and multifaceted. That character was a danger 

to everyone around, but he always seemed very 

delighted when it came to food and art. But the 

moment he got disappointed by his staff, the duke 

would explode like a volcano, and his actions were 

unpredictable. 

I often get typecast as a very sympathetic yet 

strange person, but I love challenges. Once I had 

to play a very wealthy, queer drug lord who kills 

people if they stand in his way. He was jealous and 

very mean to women. When the police came to 

question him, he just didn’t answer but started to 

sing. A real psycho. So much fun! 

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Your work with Joseph Wolfgang Ohlert’s book 

“BIGGER” highlighted body positivity. Can you tell 

us more about the shoot and why you chose to be 

involved? 

I have always been a fan of Joseph’s work, and 

when he asked me to be photographed for his new 

book, I was honoured. I was like, “Wow, he knows 

me!” His work is so progressive but not in a loud, blunt 

way. Very sensitive and always delicate. He came to 

my apartment on a sunny day. Just by himself. 

He only brought his camera, no lights, only a reflector. 

We had a quick conversation and started immediately. 

I think you can sense the warm feeling I had during 

the shoot. And I must admit, it was a strange feeling 

I had at first when I saw the results for the very first 

time. On the one hand, it looks so intimate and simple, 

and on the other, it has huge radiance power in a 

way that only exists if there is a connection between 

the photographer and the model. So, you kind of feel 

there is a vulnerability most safely. That’s what makes 

it so interesting for me. I have the same feeling when 

I look at other pictures from BIGGER. 

How have you seen the conversation around body 

positivity evolve within the movie and television 

industry in recent years? 

I never felt like an activist, maybe more like a pioneer. 

Sounds so weird to say, but I never start my work 

with activistic ideas or political agendas. It all starts 

with creating something new. I was always interested 

in that. But I am who I am, a queer fat actor. So my 

visibility is important. Not only for my selfish career but 

also for other actors or people out there watching my 

work. I didn’t realize it at the beginning of my journey. 

All I wanted to do was act. My passion always made 

me strong and resilient to boundaries. And I also had 

a lot of fun. 

With your column in Curvy magazine, you bring 

attention to life as a “fat actor.” What message do 

you aim to convey through your writing? 

The look at my career got more interesting when 

I reflected on the past 20 years in my column My 

Fabulous Life as a Fat Actor, in which I write about my 

life on set or during costume rehearsals, etc. 

I never felt like a victim. But there were certain things 

we needed to talk about. And there still are. Progress 

never comes straightforward. It’s always going back 

and forth, back and forth, so we should never get 

lazy. But I also like to entertain, I try to bring joy, 

laughter, and absurdity to my own life. And maybe 

there are some people out there who think it’s inspiring 

or just enlightening. That column also led to the 

inspiration for my podcast My Fabulous Life, in which 

I meet people, and we talk about the fabulous life 

moments that changed our lives for good or gave us 

game-changing inspirations, empowerment, and so on. 

That was such an interesting, inspirational experience. 

People sometimes have a hard time remembering 

their good life moments because they are too focused 

on negative situations. Maybe that’s part of “my 

message”? Focus more on the good stuff in your life. 

Not in a toxic way, but be more aware of your luck 

and your power from time to time. 

The #actout campaign marked a significant 

moment for inclusivity in the acting community. 

How has coming out influenced your personal 

and professional life? 

I came out when I was 19. A long time ago. And 

my sexuality was no secret to the industry. So, 

#ActOut for me was more about building 

a strong community. I kind of underestimated that 

being part of something important and historical 

feels so empowering. 

What are the changes you’ve observed in 

the industry since the #actout campaign, both 

positive and negative? 

There is still so much work to do, but there is 

progress within the German film industry. One 

thing I loved about the campaign is that it directly 

addresses the industry for bigotry and a lack of 

diversity. Nowadays, you can feel the tension, 

a lot of people are afraid to do something wrong 

now; they are insecure when it comes to dealing 

with topics like casting queer roles, for example. 

But that’s part of the progress. 

Don’t be afraid. We need to make mistakes to 

become better or more aware. And we shouldn’t 

lose the fun in it. But I must admit, progress is 

slow here in Germany, and there are always 

new boundaries, but compared to, I don’t know, 

2014, the difference is remarkable. I’ve been 

around at that time. 

Looking back at your career so far, is there 

anything you would have done differently? 

Absolutely not. Everything happened for 

a reason. 

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Photography by Zander Opperman www.zanderopperman.com @uglybruv 

Model is Marian Rey @reymarian signed at The Circle Models 

and Viviens Model Management @thecirclemodels @viviensmodelmgmt 

196REY OF SUN

Jeans: G-Star Raw 

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Crop Top: Roxy 

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Pants: Vintage No Fear


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Jersey: Diesel 

Briefs: Calvin Klein

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Top: Diesel 

Shorts: Levi’s

Top: Tiger of Sweden 

Briefs: Zara 

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Top: Diesel


Crop Top: Roxy 

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Briefs: Calvin Klein

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www.perfumesloewe.com 



Liza is wearing 

Dress by Haderlump 

Belt by Ann Demeulemeester 

Vintage gloves 

Leather pants by Haderlump 

Vintage shoes 

Ahmed is wearing 

Vest by Luis Buchwald 

Arm sleeves by Ann Demeulemeester 

Tank top by Haderlump 

Pants by Rick Owens 

Shoes by Rick Owens 

Johann is wearing 

Blazer by Haderlump 


Vintage shoes 

Creative Direction and Styling by 

Katharina Bollgöhn @kathi.arwen 

Photography by Alma Leandra 

almaleandra.vsble.me @almaleandra 

Hair and Makeup by Florina Avyas @florinavyas 

Models all signed with Mint Artist Management 

@mintartistmanagement 

Johann K @jjohannnnnnnn 

Ahmed @ahmed.ys1 

Liza Edward @liza.edward 

Stylist Assistants Luis Buchwald @luisjbuchwald 

Laetitia Pelzer @laetischaa 

Garments courtesy of Haderlump @haderlump.berlin 

ANALOGOUS 


Left: 


Jacket and suit pants by Haderlump 

Vintage belt 

Vintage shoes 

right: 



Sleeves by Ann Demeulemeester 



The editorial is titled “Analogous” and it revolves around the phenomenon of the 

optical unconscious. In its origin, the adjective ‘analogous’ refers to elements which 

can be placed in comparison, due to their natural similarities. 

We as a society have adapted to the fact that there is always a chance of a lens 

being pointed in our direction and an image being taken with us in the background, 

as part of the optical unconscious of the camera. The concept of the optical unconscious 

parallels a target-like symbolism, wherein their use can intrude upon privacy 

and be seen as a modernized weapon, stripping away our control over our own 

image. In essence, we become the very image itself. In most cases, the individual 

taking the shot is not even aware of someone elses presence, focused on another 

aspect of the image, but the camera is always aware. 

Through this editorial, we worked on showcasing the true emotions of an individual 

finding themselves within the optical unconscious, —with a great focus on capturing 

the unspoken bond formed between individuals appearing within the same frame. 

They share common ground, and similar emotions, and therefore can be seen as 

analogous. 

Considering the current socio-political climate being engrossed in war, this editorial’s 

narrative serves as a metaphorical translation of a weapon target parallel to the 

aim of a camera. To translate this concept into visual elements, the editorial is set in 

Berlin’s brutalist post-war architecture. 


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Top by Haderlump 

Vintage corset s 


Corset designed by Laetitia Pelzer 

Blazer by Haderlump


Dress by Haderlump 


Vintage shoes 



Vintage shoes 


Vintage coat s 

Button-down by Haderlump 


Shoes by Rick Owens 




Vintage shoes 




Arm sleeves by Ann Demeulemeester 





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Jacket and suit pants by Haderlump 

Vintage belt 

Vintage shoes 


Corset by Haderlump 

Jeans sleeve by Haderlump 

Pants by Haderlump 

Belt by Michael Kors 

Vintage shoes 




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Vintage coat 

Button-down by Haderlump 


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Vintage shoes 

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Corset by Laetitia Pelzer 



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INTRODUCING 

DENIS GRIGOREV 

Exploring the contrasts between a 

backdrop of industrial conformity and 

the expressive rebellion of street style, 

Denis Grigorev is a name that now 

resonates across the photographic 

corridors of Berlin Fashion Week (BFW). 

Marking his territory with a win at the 

coveted Street-Style Photography Contest, 

Denis's lens captures more than 

moments; it encapsulates stories woven 

into the fabric of the city's fashion tapestry. 

Decoding the unpredictable and often 

fleeting world of street fashion, Grigorev's 

ability to parlay spontaneous elegance into 

award-winning snapshots has earned him 

the spotlight and a new venture with the 

Fashion Council Germany (FCG). 

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As he prepares to lend his eye to the 

upcoming BFW, we sit down with him to 

understand the man behind the camera and 

the passion that turns the cityscape 

into his canvas. 

Join us as we traverse the 

insightful pathways of Denis Grigorev's 

world, where every capture is a testament 

to the beat of Berlin's vibrant heart. 


Follow Denis Grigorev @denisgrigorev 

Special thanks to Fashion Council Germany 

@fashioncouncilgermany (FCG) and 

Berlin Fashion Week @berlinfashionwe

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What initially drew you to photography, 

and at what point did you decide to pursue 

it professionally? 

I used to live in an industrial city the center of 

heavy industry and oil refining and there was not 

much beautiful around. This motivated me to take 

up photography to create and document what 

I like and what I think is beautiful. 

Street-style photography has a spontaneous 

element to it. How do you prepare for the 

unpredictability of this genre? 

I just set my camera to fast shooting mode. 

Thankfully we live in a period when there are 

fewer and fewer technical barriers to creating 

quality content. 

Winning the Street-Style Photography Competition 

at Berlin Fashion Week must have been 

an exciting moment. Could you share your 

experience with the event? 

I haven’t entered any competitions for a long 

time but I’ve recently moved to Berlin and I 

have to fight for my place in the sun in the world 

of photography. That’s why I took part in the 

competition at Berlin Fashion Week. Winning 

brought positive emotions. I hope that this is my 

first small step towards getting to know about me 

in Berlin so that I can be more active in what 

I love to do to give people beautiful moments. 

@leonardochiocca 

In street-style photography, capturing the 

essence of the fashion moment is crucial. What 

is your secret to getting the perfect shot? 

I guess I don’t have a secret. It’s just a general 

awareness, the ability to catch the right light and 

the desire to make people look beautiful in the 

pictures. 

Given your diverse experience, how do you 

adjust your mindset and techniques when 

switching between different photography s 

ubjects like architecture and fashion? 

There is a general understanding of what is best 

for this or that type of shooting. What angle, 

focus, and depth of field? Especially nowadays 

the boundaries between subjects in photography 

are blurred and you can easily experiment. 

How do you ensure that your work in advertising 

photography remains creative and artistic while 

still fulfilling the commercial aspect? 

As Helmut Newton said, “There is rarely 

any logic in advertising photography. Every 

such photograph is a frozen moment without 

beginning or end”. So you just need to catch 

this moment skillfully, so that as much beauty as 

possible is frozen in it. 

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Jorge Hölkeskamp & Eladio Torres @eladiotorres_official

@berlinjesus 

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@isshehungry 

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Can you tell us about a particularly memorable 

photo shoot that you’ve done and what made it 

stand out for you? 

In the French city of Marseille, there is a building 

by the famous architect Le Corbusier it’s called 

Unité d’Habitation. I love this kind of functional 

architecture from the 50-60s of the 20th century 

and I always want to photoshoot some stories 

there using ambient light. This time we ended up 

there with my girlfriend and made a nice photo 

set. This house is a perfect place for different 

kinds of shoots. 

You’ve mentioned that you photograph a wide 

range of subjects. Is there a particular type of 

assignment that you find most rewarding? 

It all depends on your mood. You can spend all 

day shooting pears on a plate and be satisfied. 

What role does post-processing play in your work? 

Post-editing takes a pretty significant place. Add 

some volume to a photo, make a nice colour, and 

remove unnecessary things. I like to spend time on 

this process. 

How has your photography style evolved over 

the years, and what has influenced this evolution? 

Over time I gave up overly staged poses, 

reduced the level of retouching, and tried to add 

more dynamism to the frame. This was influenced 

by the fact that my background is expanding 

every year, I began to distinguish deception from 

truth and I want to make photos more truthful. 

Being based in Berlin, a city known for its 

vibrant art scene, how does this environment 

influence your work? 

Yes, Berlin is a very interesting creative city, 

but unfortunately, I’ve been living here for 7 

months and I haven’t been able to get into this 

creative environment yet. I still have very few 

acquaintances, I don’t always fully understand the 

main trends in a city that is new to me, but I want 

to figure it all out and become a part of it. 

You’ve taken a lot of photographs at various 

events. What do you look for when capturing 

the atmosphere of an event? 

I just watch interesting faces and try to understand 

where the centre of the action is at the moment, 

sometimes I try to detach from the situation 

photos. 

What advice would you give to aspiring 

photographers who are just starting in the 

industry? 

I would you advise to broaden your horizons, 

pay attention to the colours in your photography 

and always be in search of your best shots. 

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@marvinmarioo

@avitheaviavi 

What do you think about the 

role of social media in the 

promotion and distribution 

of photography today? 

Social media is very 

important when promoting 

visual art. In the era of 

society’s love for beautiful 

pictures, photographers and 

videographers are given good 

tools to make themselves 

known. 

Having witnessed the last 

season of Berlin Fashion 

Week up close, what are your 

thoughts on the trends and 

the overall street style of the 

event? 

It’s hard to say. The main 

trend of the last decades is 

unisexualization in clothing. 

I think it will continue to evolve. 

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Team of @helenegalwas_official

@by.elinagaraeva 

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BEYOND 

BINARY 

Photography by Keiko Gui @keiko.work 

Garments Design by Ziming Wang @zimismarchivist 

Shooting Assistant by Lamu @lamu.sc 

Models: Matthew Scott @matthew.scott__ 

and Jordan Godchaser 

Model Agency @amckmodels 

Makeup by Liz @piecebyliz 

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LA CASA DE 

BERNADA ALBA 

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This editorial reinterprets and updates the story of “La Casa de Bernarda Alba” by Federico García Lorca. 

It acts as a metaphor for the societal conditions we encounter today. Symbolically, the father's death 

signifies the end of universal values like tolerance, respect, equality, and freedom of expression. 

In the original play, Lorca offers a realistic depiction of society. In contrast, this version opts for a 

utopian portrayal, where envy and rivalry are replaced by a sense of sisterhood among the siblings. 

In this narrative, Adela also dies, reflecting the ongoing loss of women's lives. However, her death is 

not without purpose; it fuels the resolve of those who follow her. 

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Creative idea Maria Sánchez García @maria.sanchez.g 

Photography Alejandra Comellas Pons @alecomellas 

Photography Assistant Albert Rocafort @zolthyc 

Stylist Leire Crespo Manjarrés 

leirecrespostylist.myportfolio.com @leire.crespo 

Stylist Assistants: Bibiana Sánchez Rodríguez @bibiroxan 

Maria Sánchez García @maria.sanchez.g 

Rita Ruiz Blancher @ritaruizblancher 

Art Direction: Bibiana Sánchez Rodríguez @bibiroxan 

Leire Crespo Manjarrés 

leirecrespostylist.myportfolio.com @leire.crespo 



Set Designers: Bibiana Sánchez Rodríguez @bibiroxan 


Set Designer Assistants 

Esther Velázquez @esthervelazquez 

Rubén Alonso @ruvenyavoy 

Uxia Gayoso @odiariodauxia 

MUAH by Clara García @claragarciastylist 

Cristina López @rolop_makeup 

Nerea Mansoa @nereamansoa 

Nery García @nerygarcia_mua 

Starring by Agustina Cuoco as Angustias @aguscuoco 

Carla Concellón as Magdalena @carlaconcellon 

signed at Uno Models www.unomodels.com @unomodels 

Laura Cordón as Martirio @lauri.ty 

Karma Mish as Bernarda Alba @karmamishbcn_model 

Marta Sierra as Adela @martasierra12 

Minerva Piqué as Amelia @minerva_p.g 

Casting by Bibiana Sánchez Rodríguez @bibiroxan 

Leire Crespo Manjarrés @leire.crespo 


Runners: Carla Pujolar @_caarla.pv 

Francisco Sánchez @fsanch10 

Laura Castro @lauracastrovzy 


In Collaboration with Marc Juan Comunicación 

www.marcjuancomunicacion.com @marcjuancomunicacion 

With the Advice of 

David Urbano @david_urbano 

José Tirado @josetiradoad 

Special Thanks to 

Francisco Sánchez @fsanch10 

Julia García @julia.garcia.b 

Oriol Pozo @one_gangsta 

Pol Pujols @polpujols_ 

Xavier Navarro @xavinavarro.coach 

Fashion by Najjat Harb @najjatharb 

Beatriz Madureira Atelier @atelier_madureira 

Giselle Matamala @gisellematamala 

Daniela Millán @danielamillana 

Zoe Fillaudeau @zoefillaudeau 

Georgiela Studio @georgielastudio 

Goez @goez.official 

Aleksander Revas @aleksanderrevas 

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ALLIE X 

Photographer @claryn.chong 

Stylist @freyathomastaylor 

MUA @kanako_makeup 

Hairstylist @soulkittten 

Styling assistant @abiwood 

Photography assistant @dajianahuang 

Nails @leaha.nails 

Boob look - @freyathomastaylor @ellendunn3 

Red look - @xtcy_n @balenciaga 

UNSMASKING 

“GIRL WITH NO FACE” 

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We had the pleasure of sitting down with pop innovator Allie X, fresh from launching her 

much-anticipated fifth studio endeavour, "Girl With No Face." Steeped in the defiant essence 

and pioneering soundscapes reminiscent of the early '80s, the album's tracks are a unique 

blend of comforting nostalgia and brand-new auditory experiences. 

"Girl With No Face," takes listeners on a high-energy escapade into the most shadowy corners 

of Allie's imagination, all articulated with her distinctively sharp humour. The lead single, 

"Weird World," is paired with a visually arresting video directed by Allie X herself. The 

release also includes a powerful trio of tracks: "Girl With No Face," "Black Eye," and the 

breakout hit "Off With Her Tits," which quickly achieved iconic status in the queer community 

and exploded with millions of streams within just weeks of its release. Showcasing the apex 

of her vocal range, Allie X oscillates between fierce cries, haunting whispers, and a presence 

that is unforgettably beguiling 

Can you tell us more about the concept behind 

your new album, "Girl With No Face," and how 

it explores your personal journey? 

I didn't start out with a concept. It all began 

with the idea that I would try to write and 

produce something myself. I knew I wanted 

to make it on synths and drum machines, and 

I knew my references sonically. 

What I didn't know was that it would end 

up being my angriest and most aggressive 

record. I describe the Girl With No Face as 

a presence that emerged and guided me 

through the process. Undoubtedly something 

inside of me that was so buried she felt like 

an out of body presence but so familiar at 

the same time. She came for blood and was 

pretty funny too. 

How did spending three years in isolation 

as the solitary producer, writer, and creative 

voice for this album impact the overall sound 

and themes of the project? What kept you 

going during this time? 

Well it's pretty unhinged, and that certainly 

reflects my mental state. Isolation and no 

feedback loop except your own mind will do 

that to anyone. What kept me going was my 

willpower, stubbornness and obsession. I had 

to see it through. 

We understand that you took inspiration 

from the technology and hedonism of the 

early 80s new wave scene for this album. Can 

you discuss how this influence is reflected in 

the songs and the overall sonic experience? 

Ya. it's pretty simple. I tried to use the same 

gear and approach as all my favorite bands 

from the early 80's. I trusted putting it 

through my own lens would be enough to 

make it unique. And I think it is, despite how 

referential it is. 

You mentioned embracing the limitations of 

old temperamental equipment for this album. 

How did these limitations contribute to the 

sound that you wanted to achieve? 

Well outboard ear, especially old gear, 

is always going to be unpredictable and 

imperfect. A lot of personality. Plug ins/soft 

synths are limitless and bit too perfect for me. 

Uninspiring. The gear I used had so much 

personality it would get my imagination going 

right away. Sort of felt like conversing with 

someone with a strong viewpoint VS a yes 

person. I also prefer a more tactile hands on 

experience. 

Can you discuss the significance of the masks 

in your album's visual campaign? What role 

do they play in portraying and exploring your 

identity as an artist? 

I've always explored identity in my work. 

The "X" in Allie X has always had a 

connotation to identity/anonymity, so it's not 

a new exploration for me. Masks just felt 

right as the visual thread. 

Unnerving, like the experiencing of making 

this record, and maybe listening to certain 

parts of this record. I never saw the face of 

this presence I mentioned at the beginning 

of the interview, so it made sense to give her 

face multitudes of interpretations. We tried to 

do this with the makeup design too. 

How did your collaboration with Justin 

Meldal-Johnsen help elevate the album's 

sound? Were there any specific challenges or 

breakthrough moments during this process? 

Justin was an angel that came in at the end 

of the process and got me to the finish line. 

I'm not sure I could have done it without him. 

With the exception of the title track "Girl With 

No Face", I would say that all songs were 

"cracked" by the time I approached him, so 

I wouldn't use the word "breakthrough". 

I would use the words "refine" or "perfect". 

We did arrangement changes, sound 

additions, sound replacements. He has 

an INCREDIBLE studio. A total dream for 

someone like me wanting to make a record 

on almost exclusively outboard equipment. 

He also had vast knowledge of the genre 

I was referencing. Far beyond my knowledge. 

I totally trusted him as a sounding board, 

and was able to "let go" and feel good about 

these songs/productions with his approval. 

A far better and more experienced producer 

and sound designer than me, I was so lucky to 

work with him at the end of this process. 

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The album cover, with you clutching a cracked 

papier-mâché replica of your own face, seems 

to be a direct portrayal of your identity. 

Can you elaborate on the symbolism behind 

this image and how it reflects the album's 

themes? 

Ya I think i've explained this above, but I'll 

sum it up by saying in my forever exploration 

of identity throughout my work, this was the 

most violent. I'd never felt possessed by an 

idea or a feeling like this. I think the cracking 

mask was a great representation of the 

violence and pain. I'm trying to breakthough 

to something. 

In what ways do you hope listeners will 

connect with "Girl With No Face," and what 

do you want them to take away from this 

bold and reflective musical journey? 

I hope that I will get the privilege of being 

truly seen and heard by some. 

Are there any artists you're keeping your 

eye on at the moment? For collaborations, 

inspiration, or otherwise? 

Not really. Starting to look for a co-producer 

for the next album. 

What else can we look forward to from 

you this year? 

Maybe tour, maybe remix, maybe other 

stuff…. 

"Girl With No Face” is out now: 

alliex.ffm.to/girlwithnoface 

Follow Allie X @alliex 

Interview by Nicola Phillips 

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278 

BRANKO 

INTERVIEW BY MARCEL SCHLUTT

In this issue, we take a moment to celebrate the 

visionary force behind one of the most dynamic 

and boundary-pushing fashion festivals of our 

time, FASHIONCLASH Maastricht. Co-founder 

Branko Popovic has not only nurtured this 

incredible platform from its conception but has 

catalyzed a cultural movement that transcends 

fashion. As we approach the 2024 edition, Branko 

reflects on the unwavering mission of 

FASHIONCLASH: fostering talent development and 

championing awareness of fashion’s societal impact. 

From its inception, FASHIONCLASH has been 

more than just a fashion week; it’s been a clash of 

creativity, a laboratory for experimentation, and 

a breeding ground for new narratives in fashion 

culture. With an ever-growing focus on activism, 

social issues, and sustainability, Branko and the team 

continue to harness the power of imagination to 

provoke thought and inspire change. Branko’s 

candid interview reveals the passionate partnership 

with Kaltblut, detailing the profound effect such 

companionship and mutual support can have in the 

industry. 

As we anticipate what’s next, Branko hints at exciting 

themes for the upcoming festival that echo the current 

societal pulse: queerness, inclusivity, and a deepened 

conscience in fashion practice. FASHIONCLASH’s 

evolution mirrors the shifting currents of our times, 

embracing co-authorship, holistic programming, and 

a dedication to environmental sustainability. 

Navigate with us through the crossroads of fashion, 

art, and activism, as Branko Popovic shares the 

journey, successes, and aspirations of 

FASHIONCLASH—a festival that is as much about 

fierce fashion as it is about the pressing issues of our 

world. 

POPOVIC 

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Branko, what sparked the creation of 

FASHIONCLASH, and how do you see its mission 

changing as you approach the 2024 edition? 

FASHIONCLASH was founded by a group 

of young designers with, first and foremost, 

an accessible platform to present work and, 

secondly, a stage for experimentation around 

fashion(culture). These goals were always driven 

by the passion to contribute to a better world 

through fashion. 

We consciously chose FASHIONCLASH as the 

name when it was founded, because we thought 

at the time: 'Who needs another fashion week?' 

We needed a different kind of stage where the 

boundaries of what fashion is and can be can 

be stretched. 

The initial vision and mission has not actually 

changed. FASHIONCLASH is still a development 

and presentation platform for fashion (culture) 

that contributes through crossovers to, on the one 

hand, the individual talent development of the 

new generation of fashion makers and, on the 

other hand, to general awareness of the role of 

fashion in the world. 

It is true that we have taken a much more activist 

and proactive position because we live in 

a time where there are many urgent social issues 

in addition to the larger demand; the impact 

of climate change and the role of the fashion 

industry in this. But we do believe in the power 

of imagination of the art of fashion. Because 

we cannot contribute to positive change with 

dystopian messages alone. 

Reflecting on our 10-year media partnership, how 

has this collaboration contributed to the growth 

and success of FASHIONCLASH? 

Collaboration with KALTBLUT is one of the most 

special, because it goes beyond partnership. It's 

also about friendship and supporting each other on 

a human level. That's what I think is also needed in 

the (fashion) world. 

KALTBLUT is more than a media, it is a platform 

for polyphony and multi-dimensional celebration of 

contemporary culture. KALTBLUT t gives a platform 

to voices and makers who push the boundaries 

and/or operate from the margin. We always see 

that there is a good crossover and co-relationship 

between Kaltblut and FASHIONCLASH and 

that has helped us enormously in exposure. But 

above all, Kaltblut has contributed enormously in 

providing a platform for the artists and designers 

involved in FASHIONCLASH. 

Can we expect any new or evolved concepts in the 

upcoming FASHIONCLASH Festival given the current 

state of the fashion industry? 

We have always experimented with our format in 

order to contribute to current issues. 

We are currently paying attention to co-authorship 

and co-creation because we want to continue 

working from the bottom up and let the new 

generation of artists have their say. 

For a number of years we have been working on 

a more balanced annual program and not around 

the festival as a goal. 

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Festival is now a means to present the results 

of various projects and processes. For 

example, we have residency programs. 

At the New Fashion Narratives residency 

we invite designers to curate the exhibition 

program for the festival with us. 

In 2024 we have a new residency program 

around Decoloniality and fashion. Creating 

space for thinking about decoloniality, 

unlearning, revaluing, restoring, etc. is 

more important than putting even more new 

products into the world. 

The Clash House program, with its aim of 

developing performances and crossover 

between fashion and other art forms, remains 

an important focus to contribute to innovation. 

With your considerable influence on the 

modern fashion scene, how do you perceive its 

current trends and future trajectories? 

As far as we are concerned, there are 

mainly inspiring initiatives among the new 

generation of makers. The big brands and the 

powerful industry are too slow to bring about 

the change needed to save the world from 

destruction. 

It is important that there are independent 

platforms and that value-driven initiatives 

receive more attention. 

At the end, we are just a small player in 

a big world where a lot of power and money 

is converted. But we believe that impact 

on a small scale is just as valuable. That is 

what FASHIONCLASH will try to continue 

providing. 

What are some aspirations for FASHIONCLASH 

in the next edition that you haven’t fulfilled 

in previous years? 

The program design for this year will not be 

very different from last year, we have had 

many new activities since last year that we are 

very excited about. And we see that there is 

a lot of interest in this among the community, 

so we are going to further develop a number 

of formats. 

Attention to decoloniality is a new program 

that we will give a real platform to for the 

first time this year with the residency and 

participation in the Global Fashion Assembly. 

We are working on a possible cool new 

location. And we are entering into several 

new partnerships that will connect fashion 

with other art forms. In particular, we want 

to investigate collaboration with music, sound 

and language disciplines, for example. 

Festival edition in November will be 

a beautiful and full program. 

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In the context of your Eastern European heritage, 

how do you integrate this into the dynamics of 

FASHIONCLASH? 

I have always approached my Eastern European 

(Yugoslavia) background with an open mind and 

looked at how I can have a connecting role. 

Of course, I follow initiators from Eastern Europe 

and my own country of birth. 

In general, there has always been a lot of 

enthusiasm for FASHIONCLASH from Eastern 

Europe, from both designers and organizations. 

That is certainly not thanks to me, but I think the 

accessible and openness of FASHIONCLASH makes 

it possible. We also consciously collaborate with 

organizations in the Eastern European context. 

For example, we have often been to Poland to 

attend fashion events, but we have also had good 

partnerships with initiatives in Czech Republic, 

Slovakia and ex-Yugoslav countries for many years. 

We have been working with Zlin Design Week for 

a number of years now. 

In this way we meet designers and fashion 

practitioners personally and ensure that we show 

fashion here in Western Europe as pluriverse and 

one with diverse perspectives and world views. 

FASHIONCLASH bridges fashion with cultural 

discourse. How do you feel the social responsibilities 

of fashion designers have changed recently? 

The new generation of designers, the target group 

we mainly focus on, is extremely proactive and 

aware of their social responsibility. It is becoming 

a norm and that is inspiring. As a platform, we also 

take our responsibility by supporting and presenting 

these designers to the public. And by also taking 

responsibility ourselves. In recent years we have 

paid a lot of attention to youth participation and 

empowerment. We believe that the most sustainable 

thing we can do is invest in collaboration and 

education. 

Given our long-standing partnership, how do you 

envision the role of media will evolve in fashion 

cultural events like FASHIONCLASH? 

The role of media is changing all the time. This 

is a really big challenge for a small non-profit 

organization like FASHIONCLASH. We have now 

become even more dependent on our own media 

channels. Fashion media has become very difficult 

and it is really difficult to get media attention in 

print and even online. We see this especially in 

the Netherlands, we receive more media attention 

abroad than in the Netherlands. 

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There are a number of themes that we 

find important and that we see a lot in the 

community, such as gender diversity, body 

positivity, queerness, equality, decoloniality, 

social design and of course sustainability. 

This year we will pay extra attention to 

queerness and queer narratives. We have 

a number of activities planned to contribute to 

this. 

How are emerging technologies shaping the 

experiences you are planning for the next 

festival? 

As mentioned before, but more than in the past, 

almost the entire program is co-created with the 

participants. 

We have co-curatorship residencies, we 

commission new work, we set up collaborations 

between designers and organize many 

participatory workshops. 

Our New Fashion Narratives Trajectory is 

a good example of that. 

We are sometimes told that our message is 'too 

difficult' for readers or not commercial enough 

because our designers are not concerned with 

selling products and are therefore not potential 

customers in the future. 

There are fewer and fewer independent and critical 

fashion media and voices. And we need more of 

these! 

Fortunately, there are still media such as KALTBLUT, 

Fucking Young, Arts Thread 1Granary who support 

emerging talent, but also people such as Sara 

Maino, Philippe Pourhashemi and Diane Pernet 

who, with a lot of intrinsic passion, are committed to 

young talent and reflect critically on developments. 

As a creative force, how do you select the themes 

for each festival, and can you give us a hint of the 

theme for 2024? 

In the past we have worked more with an 

overarching theme, but we have now let go of that. 

We create themes from the bottom up through what 

the participants themselves put on the agenda with 

their projects. We are more concerned with creating 

formats in which there is a clash between ethics and 

aesthetics. 

Discussing sustainability, what steps are you 

taking for the 2024 FASHIONCLASH Festival to 

promote environmental consciousness? 

Almost everything we do is somehow related 

to environmental consciousness. For us, 

sustainability is not a theme but a standard, we 

only show designers who are also working on 

this and organize activities to contribute 

to awareness of issues that affect this. 

We even made a theater performance ‘Who 

cares what you wear?’ is for young people and 

schools about fashion and sustainability. 

This play will be developed further also in 

Austria later this year. We also regularly 

organize workshops such as upcycling and 

mending, and only work with existing and 

discarded materials. 

We work together with initiatives that are 

also committed to this.And we approach our 

entire working method holistically, looking at 

a sustainable and healthy interaction between 

program, content and organization. 

In the Netherlands we are co-initiator of Culture. 

Fashion.nl, a value-driven fashion network. 

And in collaboration with State of Fashion, we 

are the Dutch representation at the recently 

established European Fashion Alliance. 

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Sometimes we literally give someone an 

assignment and then FASHIONCLASH is 

a source of income. Or someone is picked 

up thanks to participation in one of the 

events, and then it goes from there. 

Because we use very specific curation, 

we offer a platform to artists and designers 

who have an alternative working method 

and do not fit into a revenue model box. 

And so we were the first for many designers 

to say YES to their proposal. 

An example is The Fabricant, co-founded 

by Amber Jae Slooten,a Premium Digital 

Fashion Platform leading the fashion 

industry towards a new sector of 

digital-only clothing. 

Amber studied with a digital fashion 

collection and then had difficulty finding 

a platform for her project. She said we 

were among the first to welcome her. 

Another example is Studio Dennis 

Vanderbroeck, actually a performance 

student from the Theater Academy who also 

wanted to work in fashion. Today Dennis 

has an impressive portfolio. 

As someone with a finger on the pulse of international 

fashion, how do you maintain cultural sensitivity and 

inclusivity at your events? 

To maintain cultural sensitivity and inclusivity, it is especially 

important to remain open and curious to learn to listen 

without judgment. 

I personally invest a lot of time to stay up to date, to visit 

different events, to speak to designers and, above all, to look 

beyond my own bubble. 

At FASHIONCLASH we do not work hierarchically and 

always in co-creation with designers, partners, the public and 

the world. 

Can you share how FASHIONCLASH has impacted the careers 

of particular designers or artists? 

I don't want to take credit and the impact is always 

a combination of factors. FASHIONCLASH helps designers 

and artists in various ways. Sometimes something small 

can have a lot of significance for someone's practical 

development. That is why we always try 

to see what someone needs made-to-measure. 

For example, sometimes we connect a designer with 

a theater maker and that collaboration also extends 

beyond FASHIONCLASH. 

Marlou Breuls (House of Rubber) is 

someone we know for many years, actually 

she was my first intern. We supported each 

other throughout on different levels. She is 

always so curious and eager to experiment 

and you can see that in her practice. 

Some other inspiring examples are 

practices such as from Das Leben am 

Haverkamp, Carlijn Veurink, Lotte Milder, 

Bobbine Berden, Esra Copur and Tom van 

der Borgt. 

During our 10-year media partnership, 

how have you witnessed the perception 

of FASHIONCLASH change among industry 

professionals? 

We have been in business for over 

15 years now and a lot has changed. 

From an emerging platform, we have 

now established ourselves and are also 

more appreciated for our continuity and 

perseverance. 

In the Netherlands we are one of the 

longest running constant platforms and 

have built up a very broad network, as well 

as a lot of knowledge about developments 

over the years. We literally see designers 

come and go, and every year there is 

a new class and new challenges. 

We now have the feeling that people know 

where to find us and know what we do and 

what our signature is. 

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Can you explain the selection process for participants 

in the FASHIONCLASH Festival and what you look for 

in their work? 

I have already said this in different words in 

the previous questions. Selection process is via 

open calls and in most cases we select ourselves. 

Sometimes we call in external expertise and lately, 

as with New Fashion Narratives, we invite the 

designers themselves to participate in the selection. 

Since last year, we have been investigating how we 

can make selection processes more accessible and, 

above all, more inclusive. 

We try to look broader than aesthetics, because 

who actually decides what is good and who 

deserves a platform? 

In principle, everyone who signs up is good enough 

and has meaning in their own context or for 

someone. What we do look at is what a designer's 

motivation is, what values he uses and what he 

wants to be responsible for. 

And finally, we mainly look at whether we think 

FASHIONCLASH will be able to provide a good 

platform. Can we make it happen and is there 

potential for a longer-term relationship? 

Finally, we are paid by public money and have 

a social responsibility, including to use our resources 

sustainably. 

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With FASHIONCLASH being a platform for 

reflection, have you witnessed any concrete 

changes in the industry resulting from 

discussions or presentations at the festival? 

Difficult to come up with concrete examples 

here. Within the scale in which we operate and 

our target groups, we see that our working 

method resonates and has a positive influence. 

Sometimes it is literally about how we work and 

interact with people. Creating safe conditions to 

be and express yourself is not self-evident. 

We always tried to provide these conditions, and 

were always struck that designers and people we 

work with would highlight how rare that is. 

It is shocking, that still, there is so much to 

change within the system so that we have 

more equality and justice. We often hear that 

experience witFASHIONCLASH positively 

inspires in the way of doing and working. 

Another example from artistic point of view. 

We have been committed to crossovers between 

fashion and theater in the early years. People 

sometimes thought what we showed was strange 

or not ‘fashion’, but now you see that more and 

more. And what is fashion and who gets to say 

what fashion is and should be? 

Also, we have always been invested in creating 

participatory projects such as inclusion of 

seniors, refugees or young people with aim to 

break the normative ways in how fashion is made 

and presented. 

The urgency of social issues such as social 

inequality, inclusion and decolonization, 

sustainability and well-being concerns the 

new generation of fashion makers. Due to the 

urgency of these issues, the intrinsic motivation 

of the current generation of fashion makers to 

contribute to 

a better world is greater. This ensures that they 

are more critical but also more open to new 

visions, approaches and working methods 

in fashion. They are open to experiment, 

collaboration and mutual exchange. These 

principles have been inherent in FC's working 

methods for 15 years, meaning that the profile 

it has built up fits seamlessly with the current 

generation. 

We invest a lot of time in our own content and for us online 

is an extension of the physical stage. 

We see that thanks to media we can really make an 

impact and showcase designers. Even though many people 

have not yet been to Maastricht, many people know 

FASHIONCLASH, or at least heard about it in some way. 


Follow Branko and FASHIONCLASH via 

@brankopopovic and brankopopovic.blogspot.com 

@fashionclash_festival 

bio.site/fashionclash 

Photos by Laura Knipsael @lauraknipsael 

Mitch van Schijndel @m_vanschijndel 

www.fashionclash.nl 

As a result, FC's activities are becoming less 

and less of an agenda-setting and recruiting 

character, but are mainly focused on depth, 

experiment and impact. We will be investing 

more time in the coming years to make the 

impact more explicit and measurable. 

Looking back over our decade of collaboration, 

how would you describe the impact of 

media in shaping the narrative and reach of 

FASHIONCLASH? 

Media simply has a big impact. FASHIONCLASH 

is a very small organization, but we manage to 

generate a lot of reach. 

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NEBULA 

Model is Soline De Medeiros signed by CURVE Model Management 

@solaae___ @curvemodelmanagement 

Photography by Carmelo Donato @carmelodonato 

Styling by Nawid Qureischi @nawi.d 

Creative Direction by Nawid Qureischi @nawi.d 

Hair and MakeUp by Telma Oliveira Pereira @telma_makeupartist 

Soline is wearing 

corset GUOVARDE 

gloves & legwarmer GUOVARDE 

skirt COS 

rings KOSKI Bremen 

heels DKNY 

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leather coat Vintage 

boots Tamaris 

jewelry BIMBA Y LOLA

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top ZOEVEGA 

tie by Nawid Qureischi 

bottom G-Star RAW 

shoes CROCS

underwear FALKE 

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top Vintage 

skirt by Marvin Thäte 

glasses Off-White 

jewelry by Nawid Qureischi

dress GUOVARDE 

shoes Steve Madden 

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jacket NAMILIA 

top & shoes by Nawid Qureischi 

skirt Calvin Klein 

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NEXT presents young design talents from Europe who are 

committed to shaping a sustainable future. In collaboration 

with EUNIC Berlin and the Museum of Decorative Arts of Berlin, 

NEXT creates a space in which the potential of European design 

to promote social change and act as a catalyst for innovation is 

highlighted. 

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DBE.Furniture Miami Nightstand

Immerse yourself in the vanguard of aesthetic innovation as the iconic Peter-Behrens-Bau in 

Oberschöneweide becomes the pulsating heart of the BERLIN DESIGN WEEK 2024. From 

the 27th of April to the 5th of May in the year 2024, this is the event horizon where creators, 

curators, and connoisseurs converge. 

Within the hallowed halls of Peter Behrens’ architectural masterpiece, encounter a meticulously 

curated panorama of design, spanning exhibitions that push the boundaries, to provocative 

dialogues and interactive workshops that forge connections and challenge perceptions. The 

Esperanto of design is spoken here—not just as a language of beauty, but as a dialogue on its 

tangible impact on the weft and weave of society. 

Alexandra Klatt, the sagacious Director 

of BERLIN DESIGN WEEK, elucidates, “The 

Peter-Behrens-Bau in Oberschöneweide is the 

quintessential arena for a kaleidoscopic journey 

through design’s potential and its daring quests into 

the realms of the future. This structure, an enduring 

legacy of Peter Behrens’ revolutionary foresight in 

architecture and design, epitomizes the symbiotic 

tapestry of design and societal evolution—an ethos 

that BERLIN DESIGN WEEK holds in reverence 

as we embark on this expedition of creativity and 

enlightenment.” 

NEXT - Young European Design, exhibition 

27.4 - 28.4. & 1.5 - 5.5.; 11 am - 6 pm, 

2 & 3.5. until 5 pm 

Opening: 26 April, 6 pm 

Museum of Decorative Arts, Matthäikirchplatz, 

10785 Berlin 

Project presentations by the designers: 

27 April, 2 - 5 pm 

Registration: from 15 April, at 

berlindesignweek.com/next 

Museum of Decorative Arts, 

Matthäikirchplatz, 10785 Berlin 

Event link: berlindesignweek.com/next 

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The DESIGN POOL is the only sales format that offers 

designers the opportunity to present and sell their craftsmanship 

and products. This market is characterised by a variety of small 

series, special editions and fresh creations from a wide range of 

design areas, from interiors to jewellery and industrial design. 

DESIGN POOL, design market 

27.4 & 28.4; 11 am - 6 pm 

Peter-Behrens-Bau, Ostendstraße 1-4, 

12459 Berlin 

berlindesignweek.com/design-pool 

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Rowac Schemel M1 Minimalist6

Carla Martini + Valeria Schwindt Canvas of Consciousness 

The interplay between design, science and research takes centre 

stage here. Through a series of talks, presentations, workshops and 

an exhibition, the festival brings together designers, researchers, 

engineers, innovative companies and academic institutions. The aim 

is to demonstrate the potential of interdisciplinary collaboration. 

It will highlight how research and technology open up unlimited 

possibilities and how design makes these innovations accessible, 

gives them social relevance and creates an ethical framework. 

Prasklo Klara Vaculikova 

DESIGN + SCIENCE, exhibition & talk program 

Exhibition: 27.4. - 5.5. 

Opening hours: 27.4. - 28.4. & 01.5. - 05.5. 

1-20 hrs; 29.4. - 30.4.14-20 hrs 

Talk programme: see website 

Peter-Behrens-Bau, Ostendstraße 1-4, 

12459 Berlin 

Event link: berlindesignweek.com/design-science 

BERLIN DESIGN WEEK 2024 

27 April – 5 May 

berlindesignweek.com 

BERLIN DESIGN WEEK is an annual festival 

that presents and celebrates the diversity of 

design in Berlin and beyond. It provides a platform 

for designers, companies and organisations to 

present and discuss the latest trends and innovations 

in design. The main location of BERLIN DESIGN 

WEEK 2024 is the Peter-Behrens-Bau in 

Oberschöneweide. The historic building is part of 

the BE-U Behrens-Ufer, which will be transformed 

into a globally unique sustainable commercial 

quarter in the coming years. 

Mobility partner Polestar As a mobility partner 

of BERLIN DESIGN WEEK 2024, the e-car 

manufacturer Polestar will connect two locations 

in Berlin-Mitte with the main location of BERLIN 

DESIGN WEEK 2024, the Peter Behrens Building, 

and offer visitors both a shuttle service and the 

option of driving 

themselves. 

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RUE CAMELS 

Photography by Steven Kohlstock 

www.stevenkohlstock.com @stevenkohlstock 

Model is Tyrone Smithers @tyronesmithers 

signed at Mademoiselle Agency 

Dressed by Public Image PR @publicimagepr 

Mask by Zana Bayne 

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Top by Transe Paris 

Pants by Transe Paris

Shirt by Transe Paris 

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Top by Transe Paris 

Pants by Transe Paris

Mask by Zana Bayne 

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Jewelry by Tumulu 

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Pants by Transe Paris 

Cap by Innangelo

Jacket by Denzil Patrick 

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In the ever-evolving tapestry of fashion, where bold 

creativity intertwines with nostalgic 

tributes, Antía Vieiro emerges as our One To Watch 

designer. Her latest oeuvre, the ‘Lorita’ collection, is 

a time capsule that transports us to the 1960s— 

a decade known for its distinct fashion statements 

and cultural shifts. Antía’s collection is a heartfelt 

homage to her grandmother’s era, the craftsmanship 

she witnessed in a quaint haberdashery, and 

the intimate connection between apparel and the 

comforts of home. Masterfully blending past and 

present, Antía’s designs celebrate vintage aesthetics 

with a contemporary flair, earning her well-deserved 

attention in the competitive world of fashion. Join 

us as we introduce the skilled hands and visionary 

mind behind ‘Lorita’, and delve into the nuances of 

Antía Vieiro’s artful collection, which pays meticulous 

tribute to the generation that sewed before her. 

Antía, can you tell us more about 

your heritage and how it influenced 

the Florita collection? 

My family owned a haberdashery 

where my grandmother worked 

alongside her sisters and aunt in 

the late ’50s and early ’60s. 

“Confecciones Laurita” was the 

original name of the shop, located 

in Santiago de Compostela. The 

name that the company carried was 

that of my great aunt, the founder of 

the family business in the post-war 

era of the 1950s. Alongside selling 

haberdashery items, they also 

sold household linens such as 

nightdresses, slippers, and baby 

clothes, which they crafted themselves. 

This world that I’ve described 

sparked the inspiration for the 

concept and design of the garments 

in the collection. 

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In what ways do you believe 

your Fine Arts background has 

contributed to your approach to 

fashion design? 

An awareness of the creative 

process is crucial in any project, 

and my training in Fine Arts, which 

preceded my Master’s in fashion, has 

made me increasingly conscious of 

this. With a broad spectrum of visual 

artistic references, a keen grasp of 

the colour palette, and proficiency in 

drawing for print design, these are 

skills that were enhanced during my 

Master’s degree but were already 

partially developed during my 

Bachelor’s degree. 

The ’60s is a distinct era with 

vibrant fashion statements. What 

drew you to this period specifically 

for your collection? 

I intended to correlate the relaxed, 

pyjama-like aesthetic of the ’60s 

with elements from the home 

reminiscent of that time, such as the 

floral prints of bedspreads, crochet 

curtains, the cretonne of upholstery 

and haberdashery details like 

trimming. 

The baby doll style also came 

into prominence during this time, 

featuring matching pyjama tops. 

Furthermore, the palette of pastel 

shades that were used in bathroom 

fixtures of that era plays a significant 

role in this project. 

You’ve incorporated a “Coquette 

style” and references such as Sofia 

Coppola in your designs. How do 

these influences materialize in your 

collection? 

The American filmmaker Sofia 

Coppola has greatly influenced this 

collection with her retrospective of 

vintage aesthetics and romantic, 

flirtatious settings in two of her films, 

“The Virgin Suicides” (2000) and 

“Marie Antoinette” (2006). 

She has delved into various facets of 

femininity, exploring the transition 

from girlhood to womanhood and 

the thrill and trauma of these changes. 

Coppola has elegantly challenged 

the predominantly male world of 

cinema with a type of dreamy 

intimacy; her films are sophisticated 

and romantic. 

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“The Virgin Suicides” offers a 

poignant fable about the destiny of 

a group of sisters, with much of the 

action set within their home. Here, 

the romantic nightgowns align 

with the psychological exploration 

in poignant settings. Meanwhile, 

“Marie Antoinette” aesthetically 

transposes an 18th-century tale to 

contemporary relevance. With 

a fancy dress, a grand palace, 

opulent carriages, and a dominant 

pastel colour scheme in costume 

and décor reflecting leisurely 

moments, the film seems 

contemporary, reminiscent of 

perfume commercials and 

coquettish artworks, an influence 

echoed in Jacquemus’s Chou Chou 

collection from autumn 2023. 

What is the significance of the 

name ‘Florita’ for this collection? 

Florita is the name of my 

grandmother, who is the central 

figure and principal inspiration for 

the aesthetic and concept of this 

project. 

Sustainability is a hot topic in 

fashion right now. How do you 

address this in your design 

process? 

After sifting through my 

grandmother’s trunk of memories, 

collecting quilts, crocheted curtains, 

sheets, towels, and other 

decorative items, I repurpose them 

to create many of the outer 

garments such as “las mañanitas,” 

a type of bed jacket that I’ve 

redesigned to be oversized for this 

project. 

Could you elaborate on the 

importance of pattern-making 

and tailoring techniques from 

our grandmothers’ time in your 

current work? 

Today, society often prefers 

inexpensive, mass-produced 

items regardless of fit or fabric 

quality—people pay less attention 

to whether the materials are 

polyester or 100% cotton or how 

much time and effort a tailor 

spends on custom-fitted clothing. 

This was not the case in our 

grandmothers’ time, as most 

women in the ’60s would sew, 

adding many details by hand. 

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My project aims to celebrate these 

vintage values in the design process and 

tailoring, as many details such as the 

flower appliqués and lace are 

hand-sewn, just as my grandmother did 

in the ’60s. 

You mention that your collection revives 

elements such as floral wallpaper prints 

and pastel bathroom colours. How did 

you modernize these elements to appeal 

to today’s fashion enthusiasts? 

To modernize these classic designs, 

I’ve printed denim with floral patterns 

taken from my grandmother’s quilts to 

give them a cretonne appearance. 

Although the collection’s colour palette is 

derived from vintage bathrooms, these 

hues are currently quite attractive and 

playful. This project aspires to revalue 

haberdashery and the bidet—two 

elements undervalued in contemporary 

society—by merging the past with home 

intimacy and the ornate, floral aesthetic 

with the popular dolls of today. 

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What challenges have you faced as 

a new designer in incorporating vintage 

aesthetics into modern-day fashion? 

The coquette style is currently in the 

spotlight, and it is fundamentally a vintage 

romantic aesthetic. I believe in the 

cyclical nature of fashion, where all past 

styles serve as a reference for the present. 

This world has enough space for every 

style, which inevitably returns in time. 

The Barriguitas dolls are a key inspiration 

for your silhouettes. Can you discuss the 

significance of these dolls and how they 

are represented in your collection? 

The Barriguitas dolls have been 

cherished in my family since their 

market debut, handed down from 

mothers to daughters and granddaughters. 

As affordable, pocket-sized collectables 

available even at newsstands, they were 

accompanied by crochet garments made 

by relatives, notably Florita. It’s no 

coincidence that the doll’s attire, 

reminiscent of pyjamas, undergarments, 

or other elements of this collection, as well 

as their pastel tones, greatly inspired the 

collection’s round silhouettes and 

embroidery. 

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As a recent graduate, how do you navigate 

the competitive fashion industry and make 

your mark as a new designer? 

Currently, I am furthering my education in 

pattern-making and dressmaking. I have 

several plans for runway shows and desire 

to continue drawing, as I did during my Fine 

Arts studies. Digital drawing is a skill I aim 

to master since it’s a medium where I lack 

manual dexterity. With immense ambition, 

I want to keep developing projects to enter 

competitions and build recognition, but 

I’m progressing step by step until I feel 

prepared to launch my brand.. 

Finally, what can we expect next from 

you? Are there new themes or eras you 

are particularly interested in exploring 

in your future collections? 

Looking ahead, I aim to establish a vintage 

pyjama brand, reviving the patterns and 

prints from bygone days and perhaps 

revisiting the floral papers of the Victoria & 

Albert Museum or Liberty catalogue. 

Underwear and the concept of intimacy 

have long fascinated me, and this project 

has allowed me to explore these interests in 

a way that connects to my roots. 


Creative direction & Fashion by Antía Vieiro 

@antiavieiro 

Photography & Edition by Sara Gil 

@saragilmz 

Cast by @antiavieiro 

Models: Laura Balagones @laubalaa 

Yolanda Rodriguez @yoliriri 

Hector Velasco @hectorvelascof 

Shara Pérez @shaperez122 

& Ricardo Rodriguez @rikiii_rd 

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OUTSIDE 

THE LINES 

PHOTOGRAPHY BY JASMIJN VAN BUYTENE @TIMEISINDIFFERENT 

MODEL HANNA FISCHER @HANNA.GOLDFISCH 

HAIR AND MAKE UP MICHI SCHIETZEL @MICHISCHIETZEL 

CREATIVE DIRECTION HANNA AND JASMIJN 

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We delve into the dynamic world of London's own Bklava, producer, DJ, and vocalist behind the much-anticipated 

mixtape "c u l8r" launching under their new label Spin Suga. Known for electrifying the dance music scene with 

anthems since their 2019 breakout, Bklava has been heralded for their multifaceted talent and resilience through 

the pandemic, staying connected with fans through various high-profile sets and radio shows. Now branching out 

with Spin Suga, originally a network for underrepresented talent in the dance music industry, Bklava is pioneering 

as an indie label front-runner, ready to drop a mixtape that echoes the underground club culture that's defined 

their journey. The "c u l8r" project boldly shifts focus from their vocal prowess to a darker, club-ready sound, 

reflecting Bklava's evolution as a producer influenced by early encounters with the UK garage scene and formative 

radio inspirations. 

Through collaborations and solo tracks on the mixtape, Bklava channels an energetic fusion of beats and 

emotions, distancing from the nuanced songwriting of their past. It's a culmination of their musical theatre studies, 

familial influences, and relentless exploration of genres, crystallising in a mixtape that Bklava describes as their 

most authentic work yet — a blend of passion, purpose, and the sheer joy of club music. 

'c u l8r' BUT NEVER TOO LATE: 

BKLAVA'S ODE TO CLUB CULTURE 

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Can you tell us about the inspiration 

behind your mixtape "c u l8r" and 

how the themes of club culture and 

various music genres influenced its 

creation? 

When I’ve approached my music 

in the past, I’ve written the music 

coming from a singer first and 

foremost. The music I initially 

released was always a nod to club 

sounds I've been inspired by, but 

took a more emotive and storytelling 

route as this was always something 

I wanted to do with my music. 

It’s worth noting that when I first 

released music, we were deep into 

lockdown and the pandemic was 

making everybody emotional and 

therefore my music was too. Not 

having that space to DJ and play 

music and be inspired by the hustle 

and bustle was challenging- as it was 

for most! When I was able to get 

out post lockdown and start DJing 

frequently, I understood more than 

ever that not all my music transpired 

in the sets I was playing. The 

difference between what I played in 

my sets to the music I released was 

a bit of a jump and I wanted the two 

to link. It’s taken some time to get 

that balance right but I essentially 

wanted it to make a little bit more 

sense so that’s where the birth of 

this mixtape came from! It’s hard to 

get the right blend of underground 

influenced tones when your vocal 

inspirations differ. A vocal can 

easily change the feel of a track and 

sometimes, it makes it lighter without 

intention. It’s a process that I feel I'm 

more well versed in now. 

I had many big plans but over time I didn't have the 

resources to keep the momentum going - especially 

whilst trying to grow as Bklava and trying to put all 

my funds and setting up a project is super hard to 

do without the funding or the right people on board! 

However, I knew to grow Spin Suga, it would help with 

the growth of my individual projects. It was always 

a huge goal of mine to set up a record label but putting 

the Spin Suga initiative into the label was just the cherry 

on top!!! It’s the best step I’ve taken in my independent 

journey alongside my Spin Suga aspirations. Whilst 

the label has just begun and set up for my next run of 

releases, I intend to bring in other artists to their label 

and kickstart their campaigns. There’s 100 things I want 

to do with Spin Suga but creating a community takes 

priority! If you’re interested in being on board - reach 

out. 

Could you share with us the 

significance of the evolution of Spin 

Suga from a network for female, 

non-binary, and gender nonconforming 

DJs to an indie label, and 

how it has impacted your career and 

music? 

It’s always been an initiative close 

to heart that has come from my 

own journey as a DJ and feeling 

like I didn't have a core network of 

women in Brighton where 

I was residing at the time. I was 

studying music and I wanted to 

write my dissertation on the gender 

imbalance within the electronic 

industry- Spin Suga was a project 

I started to coincide with but it took 

on a world of its own. At the core, it 

was a radio show on Platform B, 

a grassroots station in Brighton; 

I had then participated in workshops 

and panel talks with friends and 

Spin Suga supporters over the first 

few years. 

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and I think the new music relates more to that than 

any of my previous tracks. I’ve navigated the impact 

that various features have had on my career (a classic 

dance singers tale i think) and how it’s almost set me 

back. HOWEVER, it’s never final… and the impact 

I hope for this mixtape, will be a reset and hopefully 

a deeper understanding to my listeners of what my 

sound really is. 

You’ve mentioned your upbringing in a household 

filled with classic rock and a mix of Irish and Lebanese 

backgrounds. How have these diverse musical 

influences shaped your artistic identity and sound? 

I don’t think any of my influences are directly heard 

in my music. I’m inspired by so much so I think there’s 

little pockets from each corner of the musical entities 

I've drawn from over the years. Although saying that, 

I intend to do a project focusing on the music from my 

heritage and getting more percussive! It’s something 

I've said before that is still an ongoing conversation! 

As a multifaceted artist with a background in singing, 

songwriting, and DJing, how do you navigate between 

these different creative roles when working on new 

projects like "c u l8r"? 

In your latest project, you mentioned collaborating 

with underground artists like bullet tooth, Big Ang, 

and MJ Cole. How did these collaborations come about, 

and what did each collaborator bring to the mixtape? 

I’m honoured that such esteemed artists want to work 

with me! It’s truly a joy and honestly some of these 

were like a masterclass. It’s taken me a while to get 

others to really understand my vision but with this 

mixtape, it came together so nicely. It was patience, 

trust and a shared love and vision with each collab. 

I’ve never felt so blessed to work with people who 

just fucking get it! The priority in all these sessions 

was about the feeling and the purpose of the song: 

what does this song mean, what are we going for, 

what inspirations do we want to draw on. These things 

sound simple but are not prevalent in every session, 

let alone the core focus. I honestly felt the same level 

of care amongst each collaboration. 

Your mixtape emphasises the darker, speedier DJ tools 

you've utilised since the beginning of your career. How 

do you balance showcasing your powerful vocals with 

the production elements in your music? 

It’s not been easy! As a singer in the dance/electronic 

sector, there’s always a stigma that singing can 

take the underground credibility away once vocals 

are brought into the mix- especially amongst the 

“headsier” listeners or fellow peers. However, I think 

this was a bigger problem way back when. 

The general tastes and inspos of listeners today feel 

more open and varied now than ever before, with 

more artists bringing forward a blend of genres rather 

than a straightforward sound. This is essentially the 

purpose of my mixtape - to showcase the sonics and 

prove that my music can transpire into club spaces 

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This last year I've had time to write and studio time has 

taken the reins and all my focus - it has been tunnel 

vision onto this project really! This mixtape draws on all 

my creative outlets with singing and songwriting - along 

with taking musical inspos from my DJ playlists so yeah 

it’s definitely not left anything out! 

The mixtape celebrates the energy and essence of club 

culture. How do you hope listeners will connect with 

your music on a personal level and experience the 

same sense of euphoria and emotional connection you 

draw from club settings? 

I want new people to find out about me through this 

project and kinda neglect my previous work hahah 

and i want my DJ friends to play it :D. If you’ve ever 

had a strong connection to dance music or can relate 

to the rush of euphoria and the essence of community 

within club spaces, then this mixtape is for you. I want 

it to transport everyone to a place of sanctity. It’s 

not the kinda music to listen to before ya go to sleep 

though, it’s first thing in the morning and late at night 

before or during the shubs hahahah. 

With the release of "c u l8r," your move back 

from Brighton to London, and your journey as an 

independent artist, how has this period of transition 

and artistic growth shaped your perception of success 

and fulfilment in your career? 

I think most people assumed I was still in London 

because I was basically commuting there 5 times 

a week before anyways haha but being back in 

London feels like home to me. I love the new little 

pockets I've been finding since being back here and 

also surrounding myself in the greener parts of London 

has been a bit of a blessing too. I’m always inspired in 

London, it’s hard not to be when so many wonderful 

people reside here from all walks of life. When it 

comes to my independent journey, it all stems from 

taking matters into my own hands and having more 

control in my narrative. It’s not something I've always 

been able to emulate but I do believe these are the 

steps to come into my own.


'c u l8r' will be released June 26th on Spin Suga 

Follow @bklava 

Photographer: Gray Brame @graybrame 

Styling: Phoebe Butterworth @phoebebutterworth 

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THREADING 

by Corta Cabeza Creative Team 

www.cortacabeza.com @corta_cabeza 

Corta Cabeza Creative Team members: 

Luciano Cañete @peluqueroyconfesor 

Danni Zúñiga @dannizu 

Yolanda Campos @yolbecool 

Laura Salvador @_lulu_cest_moi_ 

Make Up by Adrián Calle @call_adrii 

with Nars @narsissist 

Assistants Eneko & Josu 

Photography by Felipe Huertas @felipe_huertas_ 

Video by Víctor Vega @vicvandekamp 

Products: Schwarzkopf (color) @schwarzkopfpro.spain 

& @schwarzkopfpro 

& Authentic Beauty Concept (styling) 

@authenticbeautyconcept.spain products 

Models: Santi Amen @santi.amen 

Cirenia @_cirenia 

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"THREADING symbolizes a virtual wiring that not only unites 

people, but nourishes the human being. It is undeniable that 

our differences make us unique and irreplaceable beings. 

Some prefer to go unnoticed, shaping themselves within 

anonymity to stand out from the rest. Many others do it with 

an uncovered face, gifting the world with their most original 

version. But no matter how exclusive we may be, from the 

moment we are born, we spend our lives seeking special 

connections with other mortals, thus threading the threads 

that form our essence, weaving a mesh that interlaces those 

interconnections, extending them to infinity. This is THREADING, 

our new collection, a virtual wiring that not only connects 

people but also nourishes the human being each time, 

intentionally or unintentionally, they come into contact with 

those common points of others." 

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... and even if we have little or almost nothing in common 

with others, we will always be eager to discover those small 

connections that make us feel we are not alone.

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davidcatalan.store

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THERE’S NO RAINBOW WITHOUT 

YELLOW AND BLUE 

Veselka, a transformative queer collective and event 

series founded by Stas Tweeman and Denis Pinchuk in 

December 2018, spearheaded Kyiv'scultural revival. 

Now, with a significant portion of the team living abroad 

dueto Russia's full-scale invasion, they're planning events 

all over the world – from New York City to Berlin. More 

than a party, it's a movement fostering inclusivity and 

freedom. "I wanted it to be a party for everyone," Stas 

told me the day after Veselka’s Hör showcase in 

mid-February. On a pleasant spring day at a charming 

café in Prenzlauer Berg, I met Stas, aka Tweeman, 

Veselka resident Ruslan Mays, and Vadim to chat about 

Veselka and its history. 

When Stas and Denis planned the first event, he 

remembers friends being sceptical, telling him he has 

a good standing in the scene; this might ruin his career. 

He didn’t listen. "When your heart is convinced, it needs 

to be done," he said. They put on the event, and it was 

a success. The first event attracted around 200 people – 

the second around 700. 

Since the full-scale invasion, the collective has been 

scattered around Europe and the rest of theworld. Some 

stayed in Ukraine, others left. Supporting their country 

has become one of the main aspects of their events 

nowadays. Besides dancing, punters are also 

encouraged to donate money to the armed forces and 

humanitarian aid. Collecting money for weapons such 

as drones or cars for the frontline has become a grim 

reality for many Ukrainians. Just like the rest of us, 

they’d love to invest their money in other things, but due 

to Russia’s aggression, they’re forced to put everything 

into their own defence. 

There are hardly any Ukrainians who don’t know 

someone fighting in the army. For Stas, collecting 

donations for his friends at Veselka events has become 

somewhat of a mission. Unlike sending money to big 

organisations, he knows where the money is going, 

Stas told me. 

GET TO KNOW: 

VESELKA 

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“We’re not collecting money to kill people; we’re 

collecting money to support our friends at the frontline 

who are protecting and fighting for us,” he explained. 

Besides donations, collaboration plays a vital role for 

Veselka. 

Their upcoming Berlin showcase at RSO on 17 May 

is a collaboration between the collective Dissident. 

“Collaborations like this are a good way of 

communicating with other communities and creating 

something new,” said Stas. Veselka and Dissident invite 

to embark on a journey “where shadows dance and 

laces shimmer with perspiration—an introduction to 

a dystopian adventure”. Half – if not more – of the 

community has left, he added. Inevitably, this means 

the scene in Kyiv has changed, but it’s also opened 

doors for newcomers and new collectives, said Stas. 

“It’s not getting worse, it’s just changing.” 

Since the full-scale invasion, partying has a new 

meaning. People go to clubs to forget about reality for 

a couple of hours; servicemen go dancing on their days 

off to clear their minds. “I remember in the first month of 

the war, I couldn’t listen to music at all,” said Stas, 

“I moved to western Ukraine, and we organised our first 

charity event there. A lot of people came; everybody 

was smiling, thinking about different things and not 

about the war. For me, it was something different; when 

I start playing, these two hours disappeared.” 

Veselka – which translates to “rainbow” – filled 

a void for liberated expression, galvanising Kyiv's 

queer community and redefining the city's club 

culture. 

Follow @veslka_kyiv to keep up with upcoming 

showcases. Tickets for the event at RSO on 

17 May can be purchased here. 

Text by Johanna Urbančik 

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Alexis: Hello, I have started the recording. 

Svea: Hello Alexis, I am thrilled. 

Alexis: Let’s jump right in. How did we meet, Svea? 

Svea: We’ve known each other indirectly since 

our tailoring training, so for about ten years? 

We met in Hamburg, or ... 

Alexis: We’ve actually never met. 

Svea: No, we just knew of each other. 

Alexis: I actually didn’t know about you until we 

won FashionXCraft in 2022. Then, when I did 

some stalking, I realized we had mutual friends. 

Svea: Yes, that's right. 

Alexis: And then we were at FashionXCraft. 

Svea: By The Fashion Council Germany. 

And the Kings Foundation. 

And the Swarovski Foundation. 

SVEA: 

I'm Svea, a trained tailor and pattern 

director with a degree in womenswear 

fashion design from CSM in London. 

During my studies, I realized that 

dressing similar body types was 

getting monotonous. So, I began 

creating different characters, starting 

small with clay models and then scaling 

up. My largest sculpture to date 

measures 3 meters in length and width. 

I then dressed these characters, 

resulting in clothing that can be worn 

by people. With the fundamental idea 

of inclusion and freedom, I'm currently 

establishing my own label. 

Alexis: 

I'm Alexis. I am also trained as a tailor 

and later studied fashion design in 

Berlin. Afterwards, I freelanced as a 

costume designer and made bespoke 

garments. However, I realized that the 

traditional fashion industry and my 

label weren't aligning well. So, 

I'm currently pursuing my Master's in 

Critical Fashion Practice to question my 

role in the fashion and textile industries 

and explore how I want to position 

myself and continue working with 

textiles in the future. 

Alexis: A quick name drop. Exactly. So, our shared 

background is tailoring and sewing. I think this 

project was a significant bonding moment for us in 

terms of how we view our craft within the fashion 

industry and how we position ourselves in it. 

I believe I have a pretty similar approach to you in 

reimagining the body. 

I feel the absence of physicality in the fashion 

industry; it's very detached and alienated from 

actual bodily experiences. So, the question arises, 

how can we, with our craftsmanship, find a way to 

reconnect with the human and physical aspects? 

You have this approach of completely removing 

yourself from the human aspect. 

Svea: Yes, I think through this approach, new 

and interesting things emerge. Because it allows 

me to break free from typical beauty ideals and 

standardized bodies. It gives me the freedom to 

think about clothing in a completely different way. 

Of course, I still apply what I've learned, but the 

intention is different. For example, gender plays no 

role anymore. Because the sculptures exist outside 

of societal boundaries, and so does the resulting 

clothing. 

When a person wears this clothing, the potential 

for self-expression is entirely different. It's much 

more open and allows for much more. 

The relationship with the sculptures is also somehow 

surreal: I'm not just creating an external form; 

they are complete characters. Often, they start 

as a part of myself and then develop completely 

differently. You get to know yourself and the 

sculpture continuously in new ways. They develop 

their own lives, and through clothing, they become 

even more personalized. 

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Alexis: That's true; I think personifying bodies is an 

essential part of fashion, giving subjectivity to the body 

in our clothing and causing wearers to react differently 

to their environment. As designers, we in a way have 

a responsibility in this interpersonal aspect. The care in 

making clothing for specific bodies is often overlooked 

in the fashion industry. 

Svea: Absolutely, I agree. Also, I often feel there's 

a lack of opportunity for self-expression; clothing is 

often not customizable. The design identity of some 

labels is so dominant; you don't want to look like an 

advertisement for any label. We should give wearers 

the opportunity to express themselves through their 

clothing. 

Alexis: But at the same time, our signature as designers 

is extremely important. Unfortunately, it contradicts the 

individualism of our target audience. I am very responsive 

to the needs of my customers. While the signature 

remains, collaborative processes with customers may 

sometimes lead to a sense of detachment. What about 

you? Do you feel it's more important for your signature 

to remain, or is it more important that the customers can 

express themselves in your garments? 

Svea: I believe it's important to have your own signature 

to stand out and appeal to people. I don't think the 

signature is lost when wearers personalize clothing. 

I might see it more as a form of 'open source,' 

allowing room for individuals to contribute without 

being a designer's mannequin. I think something much 

better could emerge when wearers have the 

opportunity to contribute. 

This also includes direct communication between 

wearers and designers. Sometimes I feel like fashion 

labels are so far removed from humanity that feedback 

isn't even possible. Yet, I believe learning from each 

other and exchanging ideas is crucial to the design 

process. Relying solely on sales figures for feedback 

isn't sufficient. 

That's an important point I want to implement in my 

label. There must be room for mistakes to evolve and 

grow in our work. We deprive ourselves of the 

opportunity for development if we're not open to 

feedback. 

If that makes sense. 

Alexis: Yes, I believe it does. It also relates to care. 

There's a profound intimacy involved in making clothing, 

not just with what we create but also with the wearers of 

our clothing. When working with performers, observing 

how they move, what are their needs in their clothing 

or costumes, what are the things that wear out quickly? 

How can I improve that? How can I tailor clothing to fit 

those needs? This aspect is completely absent in large 

fashion labels. And as you said, there often isn't even 

room for feedback. 

Svea: Yes, especially constructive feedback. Starting 

a social media shitstorm is quickly done, but does that 

help? 

I mean to engage in a conversation where discussions 

are usually incredibly important. Unfortunately, that’s 

often not possible. I find that very unfortunate. 

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Alexis: Agreed. Design processes are often invisible to 

consumers, and validation requires reflection and direct 

interaction with customers. Customers are the ones who wear 

the garments. They know how the clothing feels on their bodies. 

It's highly subjective, which is why retaining the craft of tailoring 

in a fashion label is important. 

There will always be customers who want to adjust things to 

enhance their experience with clothing even more. With our 

background, we can actually work as catalysts. However, this 

approach isn't feasible in a fashion label, making it challenging 

to find a place in the fashion industry. I love clothing. I love 

making clothing. But finding my voice amidst the noise of 'how 

you should run your label' is extremely difficult. 

Where or how would you position yourself? 

Svea: Wait, I have another question: Your transition from 

tailoring and fashion design, both fields deeply rooted in the 

technical, hands-on production of clothing meant for the 

protection of the body, to a field of study that explores 

a completely different perspective. How did that happen? 

Alexis: How did it happen? I think it’s again a matter of 

positioning. The way people act in the fashion industry is so 

contrary to my upbringing on a farm. I had this need to let 

these values from my childhood flow into my work and fashion. 

I find it so important, that these bodily, intimate, and caring 

values, and how we deal with society, must also flow into our 

work as fashion designers. Especially because we influence the 

subjectivity of people through our designs. This indirect process 

wasn't clear to me before, and I followed my intuition. However, 

I also faced many disappointments along the way. 

The Master's in Critical Fashion Practice at ArtEZ feels like 

a continuation of these thoughts and positioning. It's extremely 

helpful in finding my place and raises many questions. How can 

we play with the discrepancies in our lives? How can I somehow 

liquefy the structures and find new ways to navigate through 

this barrier? How can we reach out to each other and arrive at 

a point that is socially more valuable than something as 

alienating as the fashion industry? Here, one of the approaches 

is again the other extreme, to create it more humanly by 

alienating oneself, as you do, and imagine a new world. 

To invite people and realize, wait, I can participate here, my 

voice is heard, and I feel seen. And I think such approaches are 

totally important. 

Svea: Thank you, I’m glad that you feel that way. 

It might be my way of rebelling against societal norms 

and boundaries and the desire for authenticity and respect—not 

just for individuals but for our whole 

environment. 

You’re not a better person just because you happen to meet the 

beauty standard. 

Another thought that was particularly new to me, came to me 

during the design process for the sculptures’ clothing: 

How do I dress a character? 

To consider how someone feels and what this character needs 

to feel comfortable. So, looking at clothing as a form of support 

and expression for each person’s inner world. This made 

me realize once again how fashion shapes not only the outer 

appearance but also reflects and supports personality, moods, 

and needs. Somehow I feel that through the sculptures I’m much 

closer to people. 

But as you already mentioned, not only the output of the 

fashion industry shows the alienation from people, but 

also the way the entire fashion industry operates. 

Unfortunately, I have had so many negative experiences 

concerning mutual respect. Around the end of the 2nd 

year during my studies, I wasn’t sure if I really wanted to 

work under ego power struggles for the rest of my life. 

I think we both have had similar experiences because we 

have seen the world of fashion from different perspectives. 

The development of the relationship and hierarchy 

between fashion designers and craftsmen to this day still 

surprises me. The complete devaluation of craftsmen. This 

led me to seek the connection between fashion and art. 

Because I needed to show a different kind of interaction, 

like a small alternative society. Within this society is a 

certain safety to experiment. I like that. 

Alexis: So, we're back to my favourite critique, capitalism. 

Yay! But honestly, I don't even feel like talking about it 

anymore because I just think, burn this shit down. 

However, I do believe that people who have the skills to 

implement things and inspire others to envision the world 

differently pose a threat to the concept of capitalism. Yet, 

once the detachment from clothing to craftsmanship is 

achieved, there's also a lack of understanding of how the 

clothing we produce influences society and individuals. 

Svea: Another question, because you keep emphasizing 

humanity: How do you see artificial intelligence in the 

fashion sector? 

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Alexis: Oh, there are many views on that. For my position, 

we first have to delve briefly into the concept of “Failure of 

Language.” An AI is first and foremost trained through explicit 

knowledge, so everything that we can communicate in words 

or codes. A large part of my current research lies on the idea 

of “Tacit Knowledge,” that is, implicit knowledge, bodily 

knowledge that is extremely difficult to articulate and 

communicate verbally. So, when training an AI, there is a bias 

that does not reflect a large part of society, often workers, 

because these bodily processes fall outside of these grids. 

An AI can reproduce and copy our work. But giving it soul 

and the intentions that go into the process of creating will be 

missing. 

When you think about how long you work on embroidery and 

how many thoughts go through your head, that all suddenly 

becomes part of this piece of clothing. This is something that 

can never be imparted by a computer into the garment. 

Here I also see the point where we import the consequences of 

exploitation through the industrial fashion system into our lives, 

which is supported by the alienation from bodily 

processes in fashion. The stories that we incorporate into our 

clothing through manufacturing are erased, and the dark sides 

of production become invisible. But the whole thing is also 

a pretty deep topic that can be quite draining to think through. 

Therefore, we must be aware of how we want to deal with the 

medium of fashion and our environment. 

Svea: Yes, absolutely, I think you're totally right. Especially with 

the point that our stories embedded in clothing are lost due to 

exploitation and alienation in the fashion industry. 

This is exacerbated by fast fashion. 

On the other hand, it also highlights how much this depends on 

financial background. A large number of people resort to fast 

fashion because they want to express themselves and be part 

of the 'fashionable' society but cannot afford the more expensive 

and sometimes sustainable brands. In that case, buying 

second-hand clothing is the closest solution. 

Again, I found it interesting to see the perspective of 

'The Nest Collective' when we were both at Documenta 15: 

The effects on people who exclusively wear 

second-hand clothing and how flooding with Western 

second-hand clothing leads to the loss of identities and local 

cultures. 

That again aligns with what you said about detachment and 

the stories embedded in clothing: that clothing isn't just a piece 

of fabric but also carries the history and culture of the previous 

owner and can transfer that to the new wearer. Wearing 

something that belonged to someone else brings a special 

connection. 

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Alexis: es, what was their question? What does it do to 

your own sense of culture when you wear the culture of 

other people? There's this fitting link to buy something 

new because you want to charge it with your own identity. 

Somewhere, we're still forced to participate in the 

structures as they are. But how can we become little 

glitches while we participate? How can we not completely 

adapt? And sometimes, it feels like me against the rest of 

the world. But I think it's important not to be discouraged. 

To express ourselves, articulate our thoughts and 

criticisms, and possibly transmit it visually, in the way you 

work, in the way I work, and thereby find like-minded 

people. We need to communicate our worldview, how 

we envision it, and how we deal with fashion, to reach 

a point where we can inspire people and maybe make 

a difference. Mere criticism, without action, doesn't lead 

us closer to a goal that brings us together. Criticism must 

be followed by solutions, and we need to work on those 

together. 

Follow @alexis.mermaid 

All photos from Alexis and his work 

by @barbie.who 

and @house_of_sveason 

Photos by Lena Siebels 

@lenasiebels_photography 

Model: Anna Chan @anna_chanchan 

@louisamodels 

Camera assistant: Matthias Peper 

@Matthias.peper 

H&M: Sanja Philipp @sanjap 

Styling assistance: Jessica Meyer @jessicapiep 

Svea: Grandial, you should write a book! 

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WHITE HEAT 

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Photography by Amanda M. Jansson @amanda_mjnssn 

Styling by Kim Jihye @kim.jihyekim 

Hair and make up by Seo Hana @kittenhan.a 

Assistant Daehyun Kim @tearsstainhard 

Modeling by Elina @e.l.i.n.a.213 

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A MAGICAL OASIS UNVEILED: 

VASSILIKI KOUKOU’S 

‘WHERE FLOWERS ARE SINGING' 

Zoumboulakis Gallery is delighted 

to announce the solo exhibition 

“Where Flowers are Singing” 

by Vassiliki Koukou, opening 

on Thursday, April 25, 2024, with 

visiting hours from 18.00 to 21.00. 

The exhibition, curated by 

Angeliki Baras, will run from April 

25 to May 25, 2024, showcasing 

Koukou’s enchanting blend of 

paintings and textile sculptures. 

In this captivating display, visitors 

are invited to step into a world 

where flora is not merely depicted 

but seems to resonate with song. 

The gallery space itself transforms 

into a vibrant, poetic sanctuary 

filled with imagery drawn from 

the fantastical realms of illusion 

and mythology. 

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Koukou’s work is a heartfelt exploration of colour and form, bridging childlike wonder with complex narratives. 

Her ecofeminist perspective breathes life into a world where cooperation surpasses individual success, and 

existence is portrayed as an everlasting cycle symbolized through nature. 

Included are not only Koukou’s hybrid paintings but also an array of real plants interacting with her surreal 

fabric creations. This interplay crafts an immersive environment where reality and imagination converge. 

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Vasiliki Koukou (b. 1996) graduated from the Athens School of Fine Arts (BA & Integrated Master, Painting). 

In 2019 she was awarded the Rosa's Luxemburg Foundation Award in Greece and Berlin and in 2020 she won 

the second prize "Gre-Taste: The taste of Greece" from the Vassilis and Marina Theocharakis Foundation for 

the Visual Arts and Music. In 2017 she was a performer for Documenta 14 and in 2020 she curated and performed 

"A Metamorphosis performance?" for the project Performance Rooms Kappatos, St. George Lycabettus 

Hotel. Her works have been shown in museums and institutions such as the Michael Cacoyannis Foundation, the 

War Museum, the Byzantine Museum and others. She has participated in numerous group exhibitions such as, 

"Resilient by Nature", Zoumboulakis Gallery (2023), "Open-Ended", Zoumboulakis Gallery (2022), "Inertia II", 

Bageion Hotel (2022), "Volcan of Santorini Project", Zoumboulakis Gallery (2021), "Learn To Swim", Zoumboulakis 

Gallery (2021), "Art on Boards | The Skate Project", Zoumboulakis Gallery (2021), "The Empty Gallery", 

Shrine Gallery, New York (2021), "Counting Approximately 1,5M", a.antonopoulou.art gallery (2020), 

Maximos Mansion (2019-2020), "Rooms Contemporary Art Exhibition", Kappatos Gallery (2019), "Rosa's New 

Clothes", Ikastikos Kiklos D.L. (2019) and others. In her work she uses abstraction and surreal representation to 

invoke a sense of the mythical and magical. She lives and works in Athens, Greece. 

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Exhibition Details: 

Dates: April 25 – May 25, 2024 

Opening Reception: April 25, 2024 | 18.00 – 21.00 

Visiting Hours: Tue., Thu. & Fri. 11.00 – 20.00 

Wed., Sat. 11.00 -15.00 | Closed on Sundays & Mondays 

Find out more at www.zoumboulakis.gr and @zoumboulakis_contemporary 

Follow Vasiliki Koukou www.vassilikikoukou.com and @vassilikik 

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SISSY MISFIT: 

The Bone-Shaking 

Force Behind 

“EXXXOSKELETON“ 

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We caught up with Istanbul-born, London-based musician SISSY MISFIT as she teases the 

release her debut album EXXXOSKELETON with the new single and video for “PUSH THE 

NEEDLE”. Known for her electrifying industrial dance and screamo-pop sets, SISSY is also the 

mastermind behind the 'CEHENNEM' events spotlighting trans+ producers and artists. With 

a unique blend of electronic, industrial, hardcore, and pop music, she draws inspiration from 

a diverse range of artists, crafting a captivating sound and live performances that have 

gained recognition across the EU and UK. Collaborating with fashion designer Rick Owens 

and inspired by a wide array of influences, SISSY's forthcoming album promises to be a dark, 

sexy, and fun journey. The title 'EXXXOSKELETON' reflects her fascination with creatures 

possessing exoskeletons, symbolising her own evolution and self-presentation. Crafted over 

four years in her East London bedroom, the album is a labour of love and a significant 

milestone post-transition, celebrating pride, fierceness, and strength. 

Can you tell us more about the concept behind 

your new single 'PUSH THE NEEDLE' and the 

accompanying video, and how it ties into your 

upcoming album? 

Well sonically I created a sound that would 

have all the extravagance, dynamics 

and feel of a 2010s pop song mixing it 

with more industrial music elements and 

experimentation through my own sound 

design. 

Thematically it is a love letter to the lonely 

and lost girl I was. My mom used to put 

on Fashion TV while she cooks and I use to 

come back from school and sit in front of 

the TV wishing to be one of those women 

one day. I would go to my room close my 

eyes and imagine myself in a campy and 

glamorous future with leather jackets, big 

lips, strutting down the streets. Of course 

that was the bubbly dream world of a little 

kid and I don’t see my journey defined by 

these material things but the idea is pop, it 

is funny and sometimes real. It is all about 

creating a fantasy world. The title had a 

meaning in my mind of putting the needle on 

a record and starting the music as this song 

is the opening track of the album while also 

pushing the needle deep into my skin giving 

me that plastic pump and transforming me in 

the ways I want to look. Funnily enough 

I have a huge needle and hospital anxiety so 

it is also a contradictory song about desires 

and unrealistic standards too. 

The music video reflects all these ideas. With 

my music I really want to push the medium 

of music videos more and more. I miss when 

music videos were so important and glorious. 

I want to try to bring that back with my work 

which is all self directed and edited. PUSH 

THE NEEDLE will be the opening chapter of 

a series of music videos that will accompany 

this album and I can’t wait to share it all with 

everyone. 

Could you share with us the inspiration behind 

the title of your debut album, EXXXOSKELETON, 

and how it reflects your artistic identity? 

I have been making, performing and 

producing music for a decade now. It is 

my entire life and it always will be, I can’t 

breathe without it. 

I have had so many previous projects, bands, 

aliases before becoming SISSY MISFIT and 

crafting myself this sound. EXXXOSKELETON 

is almost an industrial pop opera about my 

identity, it's the very first record I have done 

after starting medically transitioning and 

publicly coming out so in a way it is the 

shield and the bone structure I have built 

around myself. A cocoon, a new body for 

the audience to experience. It is a part of 

me and I am made of it. It is a metaphor for 

my chameleon nature of always wanting to 

change, always wanting to look and sound 

different, push for the hardest challenges 

while wearing my armour. 

As an artist who has been actively involved 

in both the underground music scene in 

Istanbul and the UK, how do you feel your 

diverse experiences have shaped your unique 

sound and style? 

I always say this, I owe everything I am 

today to the community I have in Istanbul. 

Everything was so hard for us but we made 

it happen. The more oppression they 

threw in our way the harder we created 

and connected. It is a fairly different 

community than in London. In Istanbul we 

collaborated with each other endlessly, 

gave unconditional love towards our craft 

and just kept on producing more and more. 

Competition was never a big driving factor 

in the way we created. Here in London, the 

climate is much more relaxed in comparison, 

people are more individualistic. You can 

definitely feel the burdens of capitalism 

much more too. Both scenes have their pros 

and cons of course like with everything but 

I find myself not really enjoying the isolation 

I experience here in London that much 

even though I have some really nice and 

cool friends who inspire me everyday. I miss 

my home and my scene quite a lot. But I was 

suffocating during my last years before I left 

Istanbul and I had the privilege to make 

a way out of there to move to London for 

a bit and I don’t hate it, don't get me wrong. 

I feel so lucky to be finally able to fully 

express myself and have bigger tools and 

platforms to show what I can do. The hand 

in hand melancholy and joy of the whole 

changing countries process do make me write 

and produce songs in 

a different way. 

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You mentioned organising 

'CEHENNEM' events to spotlight 

live electronic music by trans+ 

producers and artists, could you 

tell us a little bit more about 

them? How and why you started? 

Who you met along the way? 

So one of the other things I kept 

on doing while I lived in Turkey 

that I used to put together event 

series of unique kinds. Line-ups 

with performance artists, drag 

artists, punk bands, DJs coming 

all together under different 

concepts. I really enjoy curating 

shows personally and it gives 

me great happiness to somehow 

try to contribute to the nightlife. 

I thought that spirit would already 

exist in London and I didn’t really 

plan to curate a night at all at 

first. But spending my first year 

here I have realised there was 

almost no room for people like me 

to perform. Raves didn’t really 

wanna book me because the 

organisers were probably seeing 

the live music performance aspect 

not very fitting to their vision and 

I couldn’t fit in punk shows at pubs 

with my act. The more 

I talked to my friends the more 

I have realised there are so many 

of us like this enough to come 

together and start a new kind of 

platform. So I immediately started 

CEHENNEM to highlight trans+ 

electronic music producers who 

performed live. A platform where 

we are the headliners, 

we get paid equally and we don’t 

care about experience or clout. 

The way I curate the night has 

always been about booking as 

many hidden gems as possible 

rather than create a line-up of 

acts who would just sell tickets. 

Of course it is so hard and we 

do it less often now because 

ever since I moved here the 

economic depression has been 

getting heavier and the cost of 

throwing an event has increased 

quite a lot. But quality over 

quantity. Seeing everyone so 

happy each night makes my 

heart filled with joy. Each edition 

of these nights are highlights in my 

life. 

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Could you walk us through the creative process 

of crafting your debut album, especially with 

the challenges of working between different 

cities and environments? 

My creative process is really random. I don’t follow 

a pattern. Song ideas usually come to me suddenly 

in random days and ways. I usually sit down in my 

room for days, chain-smoke and make it happen 

without talking to anyone. But I know it can happen 

anytime too so I always carry my laptop around. 

I made some of these songs on the 149 bus, some 

of them on a train, some of them in my room and 

so on. I don’t need a studio or good environmental 

conditions to make a track and sketch out ideas, I can 

be anywhere. These 10 songs are the chosen tracks 

I felt that fit the most for the debut out of 60 to 70 

songs I have produced in this time period and the 

way I create is super fast ADHD infused chaos. My 

best friend Trashedbaby was with me on a train 

back from a gig we played in Glasgow and I was 

working on some tracks. She just turned to me and 

was like ‘I can not believe you literally work on 4 

songs at the same time’. So that’s really how it is. 

In what ways does EXXXOSKELETON symbolise 

a shift of themes compared to your earlier work? 

It doesn’t completely symbolise a shift in sound but it 

is definitely the record I feel most comfortable on. My 

art used to heavily be about melancholy and anger 

and self-deprecation. EXXXOSKELETON is about 

self-boasting, embracing my power and glamourising 

my problems in a fun way instead of pitying them 

and feeling bad about my sadness. In this record I’m 

a bit more like ‘I am sad on the dance floor yeah but 

fuck it come over here and kiss me then you might find 

heaven in my hell’. 

EXXXOSKELETON will be released June 7th, 2024 

Follow SISSY MISFIT @sissymisfitt 

Photos by Joseph Delaney @director.of.doom 

Given your collaborations with iconic figures 

like Rick Owens, how do you see fashion 

intersecting with your music and overall 

artistic vision? 

I can’t think of music without its aesthetic 

properties and power. Everyone that has ever 

inspired me has always been musicians with 

a very strong fashion sense and a specifically 

crafted visual world. 

I start thinking about the style and visuals 

of imaginary editorials and music videos 

and movie scenes while I make a song or 

listen to another song by another artist. It 

really does come natural to me and my art 

will always have fashion and visual arts hand 

in hand with its sound, I am not interested in 

creating in another way. I want to create fully 

realised fragments of fantasy. 

Looking ahead, what do you hope listeners take 

away from your music and upcoming album? 

I honestly don’t have any expectations from the 

listeners. When it is released it's not just mine 

anymore it's public domain, I wanted to share 

it with everyone and so there you have it, do 

whatever you please with it. The food is ready 

to be served and digested, I can’t expect you to 

not have an allergy. 

Do you have a favourite David Lynch 

film/scene/ score? 

Grandmother, Eraserhead & Mulholland Drive 

are my top 3 David Lynch works for sure and 

for the score the it is definitely the genius work 

of Alan Splet and David Lynch for Eraserhead. 

The soundtrack will always be number one for 

me, the way it was recorded and edited. You’ve 

got your good things and I’ve got mine. 


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LP - RESPOND 

A F/W24 COLLECTION 

BY LEO PROTHMANN 

"2FOR THS COLLECTION I WAS VERY DRAWN TO 

SEBASTIAO SALGADO’S IMAGES OF THE OIL RIG INFERNO, 

PROMPTING DEEPER REFLECTION ON THE IMPACT OF 

HUMAN DECISIONS ON OUR ENVIRONMENT. THIS 

CONTEMPLATION HAS LED ME TO VISUALISE POTENTIAL 

EVOLUTIONS IN OUR AGRICULTURAL PRACTICES, 

PARTICULARLY IN RESPONSE TO THE NECESSITY OF 

WEARING PROTECTIVE GEAR DUE TO HAZARDOUS 

ENVIRONMENTS. 

CONE LIKE SHAPED SILHOUTTES CURVE AROUND THE 

SHOULDERS AND BODICES ARE A SCULPTURAL REFERENCE 

TO ANTHONY CARO’S ‘SACKBUT', 2013 SCULPTURE. 

I FOUND THIS TO BE QUITE A DYNAMIC ALTHOUGH VERY 

IMMOBILE PIECE. THESE SHAPES ASK FOR A LARGE 

SURFACE AREA FOR THE WEARER TO INHABIT, WHICH 

REMINDED ME OF REBECCA HORNS CONCEPT OF ‘SAFE 

SPACES’ EXPLAINED IN HER PIECE 

‘WEISSER KÖRPERFÄCHER, 1972’. THIS CONCEPT SEEMS 

TO BE A DEEP-DOWN DESIRE FOR ME TO FEEL, AS I KEEP 

ON REVISITING HER WORK LOOKING FOR ANSWERS. 

IN SOME LOOKS, I INCORPORATED 'M' SHIRTS AS 

A PERSONAL TRIBUTE TO MY BROTHER MAX, 

SYMBOLISING MY SUPPORT FOR HIS ONGOING BRAIN T 

UMOUR TREATMENT. THESE SHIRTS WILL BE LAUNCHED 

ON THE ANNIVERSARY OF HIS SURGERY, APRIL 28TH 2024, 

ON OUR ONLINE STORE. ALL PROCEEDS WILL BE 

DONATED TO THE BRAIN TUMOUR RESEARCH 

FOUNDATION IN BERLIN." 

WWW.HIRNTUMORHILFE.DE 

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WWW.LEOPROTHMANN.COM 

CREATIVE DIPECTION: LP @LEOPROTHMANN 

PHOTOGRAPHY: STEFANO GIULIANO @STEFANOGIOVANNIGIULIANO 

CASTING DIRECTION: CELESTE CASTING @CELESTECASTING BY @HARPERPFION 

AND @MANTAZVY 

MAKE-UP DIRECTION: OPHELIA LIU @IN.TEMPLUM.OPHELIA 

MAKE-UP ASSISTANT: KRISSIE MARIE HELIODORE @KRISSIEMARIEHELIODORE 

HAIR DIRECTION: TAKUMI HORIWAKI @TAKU_HAIR 

HAIR ASSITANT: ANNA CICHON @NERDSFX 

MUSIC DIRECTION: HOLDEN FEDERICO @90STECHNO.REDUX 

VIDEOGRAPHER: DIMA @PMYTRO 

PRODUCTION: SARAH FASSOLD @SARAHFASSOLD 

PRODUCTION ASSITANT: EVITA VITOLINA @VIITOLINA_ 

LOCATION: SILVERSPACE STUDIOS @SILVERSPACESTUDIOS 

STYLING ASSISTANTS 1: EDEN SHERRY @WHOARETHEY_EDEN 

STYLING ASSISTANT 2: JOHANNA CRAFOORD @JOCRAFOORD 

SPECIAL THANK YOU TO RICK OWENS FOR SUPPORTING WITH LP x RICK OWENS 

KISS BOOTS 

WWW.HIRNTUMORHILFE.DE 

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e-modusvivendi.com 

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