When Communicating Scents: Perfumery schooling calls for patience, attention, and perseverance.


When Communicating Scents: Perfumery schooling calls for patience, attention, and perseverance.



When Communicating Scents

november 018

written Julia Ahtijainen
illustrated Gary Chew

A friend of mine, who wishes that one day I’d change my field – “start doing something serious and stop wasting my talent and time” wrote me:

“I was thinking the other day that I really don’t like any perfume per se... All of them are just too damn strong... If they are supposed to enhance the person, they should never overpower them, and it seems that they always do. Too much lipstick for a pig... but still a pig.”


My friend verbalized pretty clearly how I sometimes feel about my job. Communication is a weird field. It’s something in between politics (one has to be always polite and politically correct), babysitting (taking care of the journalists and explaining multiple times the importance of social media, the needed cheesy actions and press gifts to the owners or the creators of the brands), and style (you kind of a need to look and sound and be an extension of a brand, otherwise you might lose some loyalty points from both sides of the business). And then – how do you measure the results in between these three? The blood, sweat, and tears one invested in a couple of nice, sometimes forced, words and meetings. The time that’s been wasted or invested?

But I’m not a pig, neither do I like to use too much of a lipstick. I’m a pretty honest and unfortunately for this field a pretty direct lady. And, I don’t like pigs, neither eating pork... unless it’s a symbolic ‘prosciutto crudo’and a night-out with my Italian friends.

“Pig” is a word that smells. A word that has multiple meanings and is heavy in many cultures, banned within some religions. Italian historian Roberto Finzi in his book called “L’Onesto Porco” (trans. “honest pig”) explains “the meaning of pig” from a cultural, religious and linguistic point of view, and funnily in Italian the worst cursings begin always with a word “porco”, which means also “dirty”. Though, the smell of the meat isn’t always delightful and despite the growing trend of vegetarianism, most of the people in the world still eat pork.

Most of the animals become “dirty” when domesticated, while in nature they’re perceived as they are. In this case – anything and everything can become a sign. And here opens up a Pandora box full of the daily struggles of a semiotician trapped in product-related communications.

I’ve been accused of being too opinionated in this field... Yet, if a parfume“per fumum” means “through smoke”, one can easily become volatile while communicating. To understand a phenomenon, a person or a sign, one has to create types, detect similarities and differences. Put the subject into a system. Into a frame, so that it cannot escape, cannot fade away. There is no reason behind the plain abstraction, an empty expression, a delusion while communicating scents. Michelangelo wrote that the greatest danger for all of us is not that our aim is too high and we miss it, but that it is too low and we reach it. And one should always aim high.
Communication in perfumery is like leading blind people from the high. Leading them with passion and honesty, at least in my case. Here, I’m talking about the artistic, truthful and humble way of communicating a scent, taking pride in a communication of outstanding masterpieces.


Applied semiotics is ultimately a creative act which helps to communicate and aim high. It involves sculpting one’s tools (frameworks) to make them fit for purpose and applying them correctly to a phenomena. The perfumer judges odors in terms of quality, intensity & duration of perceptibility (volatility). Scent is an entity. Communication of a scent requires the same effort of imagination needed for creation. In order to do this, some sort of power of imagination is required too.

There is probably a frustrated novelist inside many semioticians and once in this field one needs to know how to write, but more important – one needs to know how to read. Reading is a technique not only acquiring knowledge but also for sharpening insight and critical powers. Looking at and comparing the possible oppositions and similarities, reworks, copies and traces.

Semiotic work tends to be more akin to detective work. It requires a need to be provocative. Semiotic theory fragments work well as hooks upon which to hang one’s thinking. Being a “culture vulture” in this case is an advantage and pop culture knowledge is absolutely vital to survive.

The Main Characters or Our (Semiotic) Environment are:

SPEED = messages, responses, feedback, information, execution, rigor, chronicle
CLUTTER = ideas, content, books, music, events, choices, pattern detection
UNPREDICTABILITY = accountability, flexibility, constant changes
DISTRACTION = information overload, concentration, mindfulness
FRAGMENTATION = the niches, subcultures, the big picture, cultural sensitivity
IDEOLOGY = critical thinking, competing, changing ideologies

Now, when I washed away all the possible lipstick hues and revealed the “dirty way” of reading and analyzing the communication of a scent, I shall mention also the style, the taste... or let’s say the intuition. Our sense of smell is indisputably primal: a seat of powerful memory, a scent is an immediate recall and recognition. The most ancient part of our neuroanatomy, the archipallium – is our primitive reptilian brain. Hence – there’s no way to complete any perfume culture detective project or job without an intuition being involved. And one of the best definitions for intuition I found in the field of perfumery.

“Intuition is not a miracle; it is a flame which is sparked only if the necessary amounts of knowledge, experience, reflection, and meditation are available. Perfumery schooling calls for patience, attention, and perseverance.”
– Edmond Rodnitska


Croatian Films at DOK Leipzig

Croatian Films at DOK Leipzig



Political Roots, Digital Spaces, Young Folks & Big Screens
*Croatian Films@DOK Leipzig 2018

october 018

The 61st edition of DOK Leipzig is set to kick off on 29 October. This year’s festival features films that depict transformational processes or aim to spark change, honours Austrian documentary filmmaker Ruth Beckermann and living legend Werner Herzog, provides exciting insight into Lithuania’s film scene in the Country Focus and showcases the cinematic work of Leipzig artist Lutz Dammbeck. On top of all that, fascinating creations from the realm of animated film get their moment in the spotlight too, as well as further works for the big screen which take a look at the legacy of the Soviet Union, at strong women and perception of women, at architectural masterpieces and deep into the abyss – while getting to the roots of current political trends in Germany, Europe and beyond.

Balkan / Post-Soviet Realities: Many of our films treat crises of identity – including those which depict everyday post- Soviet realities and observe individuals in the Balkan states as they attempt to process the conflict-marred recent history of their homelands.

Film “IKEA Four YU”_
Marija (33) grew up in a family that lives Yugoslav ideals even today. Given that Marija and her family are of Serbian origin, who continued to live in Croatia, regardless of the pressures of the recent war, the Yugoslav identity is the one they felt closest to (more than only the Croatian or Serbian one). She had always felt that her family's ideals were her own, until her life path turned her in a different direction. When she founded her own family with her husband, she began to question her parents' and grandparents' values, as well as her own, and if that was the environment in which she wanted to raise her son (5). Within a journey through the family history, Marija opts for a "new beginning" in a totally different environment and sets up a new home ... in Sweden. This film is a story about growing up, separation from the nest, and accepting one's own value system, and how to get there, in the atmosphere of a stable and loving family.

© The Cure (2018)

© The Cure (2018)

Film “The Cure”_
Through a series of seemingly simple everyday scenes, the director Ana Opalic depicts the period of several months in the life of her mother Tamara, who suffers from oropharyngeal cancer. The daughter looks to understand why her mother still smokes, despite her condition.

© On the Water (2018)

© On the Water (2018)

Film “On The Water”_

A portrait of a former industrial city shown from the perspective of the river running through its centre. Today, the river is a space of relaxation and leisure. The film by director Goran Devic allows a closer look at the people spending time along its banks reveals all the social conflicts of a country in transition.

61st International Leipzig (Germany) Festival for Documentary and Animated Film:


PRADA presents "STORYTELLING", a solo show by Liu Ye at Prada Rong Zhai in Shanghai.

PRADA presents "STORYTELLING", a solo show by Liu Ye at Prada Rong Zhai in Shanghai.



fondazione PRADA
*Storytelling - Liu Ye

october 018

Prada presents *Storytelling, a solo show by Chinese artist Liu Ye curated by Udo Kittelmann, with the support of Fondazione Prada. The show will take place in the premises of Rong Zhai, a 1918 historical residence in Shanghai restored by Prada and reopened last year. The exhibition project will show the work of Liu Ye through a selection of 30 paintings realized from 1992 onwards.

© Liu Ye  Chet Baker , 2009 Acrylic on canvas 40 x 30 cm Private Collection, Beijing

© Liu Ye
Chet Baker, 2009
Acrylic on canvas
40 x 30 cm
Private Collection, Beijing

Liu Ye expresses an intimate and sensual imagination, that feeds on heterogeneous sources related to literature, history of art and popular culture from the Western and Eastern hemisphere, giving rise to atmospheres which evoke introspection, purity and suspension. In the artist’s oeuvre the stylistic features of fairy-tales coexist with the sense of humor and a parodic vein.

Referring to his own artistic production, Liu Ye underlined that “every work is my self-portrait”. Combining different elements and sources, his paintings are generated by a plurality of creative forces: memory, observation, imagination and artistic education. All his works are pervaded by a certain ambiguity as they seem suspended between two worlds: reality and invention. During his artistic development he created a personal domain, at the same time accessible and impenetrable to others, which can be described as a subjective reality.

© Liu Ye  Mondrian in the Morning , 2000  Acrylic on canvas, 180 x 180 cm Private Collection, Beijing  Photo: Cao Yong (曹勇)

© Liu Ye
Mondrian in the Morning, 2000
Acrylic on canvas, 180 x 180 cm
Private Collection, Beijing
Photo: Cao Yong (曹勇)

One of the most distinctive feature of Liu Ye’s initial approach was the collision of anachronisms, typical of an individual immersed in a foreign culture: modern art motives combined with old masters’ quotations, western cultural references associated to Chinese cultural icons. The autobiographical nature of his work assumed another connotation after his return to his homeland from Europe in the late nineties. He employed his art as a mean of self-exploration and discovery, in a context in which artistic creation and daily life mutually influenced each other. As he specified, “Even though I have never become an abstract artist, I am nonetheless interested in stripping down narrative and simplifying.” His visual narratives don’t progress linearly or logically; they are based on contrast as a collage of different forms and languages.

As Udo Kittelmann highlights, “I experienced his paintings as sensitive pictorial messages relayed between two worlds that are often viewed as contradictory: Western cultures versus Asian cultures. Even back then, Liu Ye’s paintings struck me as manifesting a dialectical constellation, for his work is not only interwoven in many ways with China’s manifold cultural developments; it also bears witness to a profound knowledge of the history of European culture and painting. His pictures are grounded equally in traditional Eastern and Western intellectual and artistic trends, conjoining the strengths of the past and the future.”

Within the decorated spaces of Prada Rong Zhai, Liu Ye’s enigmatic works will acquire a new layer of meaning, engaging a dialogue with the architecture and the unique atmosphere of this historic, early 20th century mansion, which was originally conceived as a place of encounter between European and Chinese traditions. The sequence of the rooms of Rong Zhai’s two main floors will punctuate the exhibition, revealing unexpected resonances between Liu Ye’s paintings, and their relation to the architectural and decorative elements. Visitors will be invited to freely move around the different spaces in order to create a palimpsest of images, memories and new stories told by the artist.


C/O Berlin will be presenting the exhibition Nobuyoshi Araki . Impossible Love—Vintage Photographs.

C/O Berlin will be presenting the exhibition Nobuyoshi Araki . Impossible Love—Vintage Photographs.



*Impossible Love—Vintage Photographs

october 018

A young woman with her legs spread wide; buttoned-up dressed workers on a city street. Photographs like these of intimate, private scenes juxtaposed against snapshots of nameless passers-by were an early commentary on the heterogeneity of Japanese society. In 1973, Japanese photographer Nobuyoshi Araki published a series of image pairs showing life in Tokyo between 1969 and 1973 as a photo- graphic book. In their authenticity, these early works by Araki reveal a dysfunctional society, calling the social responsibility and moral sense of its members into question.

Kinbaku, 2010, Polaroid  © Nobuyoshi Araki Courtesy artspace AM, Tokyo

Kinbaku, 2010, Polaroid
© Nobuyoshi Araki
Courtesy artspace AM, Tokyo

Nobuyoshi Araki is one of the most influential and widely discussed artists in the world whose work deals with nakedness, sexuality, and the body in a radical and realistic way. In these works, what is most surprising to the viewer is the photographer’s lack of distance and the familiarity of his gaze. Araki’s extreme closeness and intimacy with the subjects and the situations depicted are unique and revolutionary to this day. In contrast to classic photojournalism, which looks into an unfamiliar world from the outside, Araki not only is part of his subjects’ lives but also plays a central role in his own photographs, thus transcending voyeurism. He navigates the tense relationship between classical visual composition and his chosen visual themes with a direct, intense visual language, creating works that are in equal parts moving and unsettling and that set him apart from virtually all of his peers. His work concentrates on a sexuality that is lived out in complete openness. In depicting this, the artist never denounces or accuses, but instead leaves all inter- pretation up to the viewer. Together with US photographers Nan Goldin and Larry Clark and Ukrainian photographer Boris Mikhailow, Araki is considered one of the pioneers of intimate, subjective photography.

Ohne Titel, a.d.S.  The Days We Were Happy , 1975 © Nobuyoshi Araki Courtesy Privatsammlung Eva Felten

Ohne Titel, a.d.S. The Days We Were Happy, 1975
© Nobuyoshi Araki
Courtesy Privatsammlung Eva Felten

In this unique compilation and for the first time in Europe, C/O Berlin presents the exhibition Nobuyoshi Araki . Impossible Love—Vintage Photographs. Exclusively on view at C/O Berlin, the show combines Araki’s Tokyo series from his early works with a selection of his recent Polaroid collages and newly developed slide shows— all of them exploring the contradictions between anonymity and intimacy, the public and private sphere, reality and dream. A catalog accompanying the exhibition will be published by Steidl Verlag, Göttingen.


Foam presents the first solo exhibition by Paul Mpagi Sepuya in Europe.

Foam presents the first solo exhibition by Paul Mpagi Sepuya in Europe.



*Double Enclosure

october 018

In his exhibition Double Enclosure, Sepuya enters into a dialogue with himself as artist, his subjects and the spectator. He comments on the medium of photography as a construction of longing: the longing to record things, to look, to touch and to keep. Through a combination of draped fabric, careful framing and layered images of existing work, the viewer sees arms, thighs, torsos and hands, but rarely the whole body of the subject. In this way, the spectator is visually challenged to tease apart the construction of the image.

Darkroom Mirror Study 2017  ©Paul Mpagi Sepuya

Darkroom Mirror Study 2017
©Paul Mpagi Sepuya

With this visual strategy in which he references a homo-erotic visual culture, he explores the productive and critical power of longing as an essential part of his work.  

The exhibition shows a free selection of work from series that Sepuya has developed during the past three years. His photographs often contain fragments or compilations from earlier work, which appear in the image as strips or cuttings, overlap the camera lens or are pasted to the mirror of the studio in which he is taking his photos. He firmly distances himself from digital applications by shooting in his studio mirror and bringing his diversity of materials together in a single plane. Thus, his images are not collages in the true sense of the word, but ingenious compositions created in front of the lens and recorded in a single shot. The subjects portrayed, the camera and tripod, and prints of earlier images come together in layered, collage-like compositions that demand an active form of looking. Moreover, by constantly pointing the camera at us as the central motif in the image, Sepuya makes the spectator aware of himself, as the construction of the image not only takes place via the photographer, but is also strongly dependent on the interpretation of the viewer. In this way, Paul Mpagi Sepuya plays a self-assured game of exposure and concealment, an exploration of surface and reflection, lens and mirror, touching and tracing. His provocative approach arouses a feeling of desire, to see that which is hidden.

Mirror Study for Joe 2017  ©Paul Mpagi Sepuya

Mirror Study for Joe 2017
©Paul Mpagi Sepuya


New York City: Two strangers. One Pill. A haunting body of work.

New York City: Two strangers. One Pill. A haunting body of work.



*Two Strangers. One Pill. A haunting body of work.

september 018


There is nothing quite as powerful as the art of collaboration. Unless perhaps, it’s prescription drugs. Meet Roxy. Full name: Roxicodone. The little blue pill that you’ll never take home to mother. The opiate of choice for an adolescent prep school kid in Houston, who once moonlighted as a YouTube influencer and stylist for celebrity rappers. Preston Douglas has since gone on to become a menswear designer, outfitting the likes of Travis Scott and debuting a collection at New York Fashion Week. 

Torn Apart, 48” x 72”, $1,400

Torn Apart, 48” x 72”, $1,400

  Ten years his senior, Tyler Swanner, a multimedia artist, was going through his own struggle. His diagnosis of advanced glaucoma, a degenerative eye disease that can ultimately lead to blindness, had Swanner thinking about his own habits and vices. Prescribed drugs, rituals, medicines and his partaking in illegal substances all became fair game. The result— a body of unedited work that is both personal and eerily relevant. In 2016, 2.4 million Americans were reported to have an opioid use disorder. A large majority of abusers ranging from 12 to 17 years of age and some even as young as 1 year old, according to the American Academy of Pediatrics.

“Tyler and I met just two months ago, and I knew from the moment we started talking that we would be friends. It was like talking to my future self,” said Douglas. “He just moved back from Los Angeles, and I had just gotten back from staying in New York for a while, so I invited him over to my studio to see what I had been working on. We ended up talking for almost three hours,” he continued. 

Douglas’ A Love Letter to Roxy series, a collection of gestural abstractions, low-life motifs and internet-derived collages seemed to hit the perfect note to Swanner’s series. A drug that had once lead a young Douglas to steal a Lamborghini with his drug dealer and to finding vicarious satisfaction in watching National Geographic’s Hillbilly Heroin documentary in withdrawal. But in his artist statement he emphasizes, “Despite the title, this body of work does not aim to romanticize this part of Preston’s life. Rather it serves as a daily reminder to himself of the pain that comes from loving that little blue pill, and as a mechanism of gratitude for escaping her crushing grip. One day at a time.” 

A Little Pill
artwork available for sale, for inquiries e-mail: info@prestondouglas.us
film Chris McElroy 
music NNOA
© copyright + courtesy Tyler Swanner + Preston Douglas


Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency

Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency



*Social Currency | Interview

august 018

No one does social convention quite like John Yuyi. The Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency: a ‘like,’ a ‘retweet,’ a ‘match,’ a ‘follow,’ a ‘read’ receipt, the unnerving ellipses that appear just as fast as they disappear, etc. Instead of being confined to a screen, they are displayed on parts of the body for the world to see. 


  Her rendering of other status symbols, including Gucci’s green-red stripes, the LV monogram, the Nike swish, and two very famous interlocking “C’s,” has introduced us to a new type of logomania. Inspired by her own life, family, friends, strangers, and social media,

Yuyi is proving that sometimes connectedness is only a ‘follow’ away.

written + interview Hannah Rose Prendergast


Le Mile: Would you like people to view your work as more of a reflection on youth culture or a commentary?
John Yuyi
: I don't think about that too much. I think when I create my work, I don't anticipate what people will see. I recently kind of found out that my work is like my dairy, so maybe I give people the vibe of youth culture. I don't really mind how they define the works.


Le Mile: Do you have an affinity for all these luxury brands, logos, and social media or an aversion?
John Yuyi: I think both because I'm a really contradictory person; I'm positive, but I'm depressed. I'm sensitive, but I'm super chill about somethings people can't be chill about. I love social media, I see the positive and beneficial side of it, but I also feel kidnapped by it. Sometimes I just want to delete every account. So I think all the brands, logos, and social media things for me, of course, I love it, I love those things people love, but at the same time I’m thinking about the contrasting side to this stuff. Sometimes it makes me feel excitement, sometimes it make me feel emptiness. I guess I am always like that. I always feel really bipolar: at either two extremes.

Le mile: As a fashion design graduate, what was it like being commissioned by Gucci for Le Marche Des Merveilles collection last year?
John Yuyi: It's the craziest thing; I never thought it would happen in my life. As a fashion design graduate in Taiwan, I thought the only relationship you could have with Gucci was to buy a product in store or maybe work with one during a magazine editorial shoot. But I never thought that I could work as the individual, John Yuyi, with [Gucci] HQ. The project is global, it's really insane. Some people say I am so easy to buy, I'm capitalism, but I'm fashion design majored, so tell me the reason why I'd say no to this dream project. 

Le Mile: Your resume also includes graphic design, photography, styling, and modelling. Do you ever feel pressure to pick one? Or do you see your work as more of a collective effort?

John Yuyi: I think nowadays, people all require multiple skills or multiple identities. Yes, I feel pressure to pick one because I'm not a professional full time model, I'm not a professional full time stylist, graphic designer, etc. But I got different jobs doing different things, so I used to call myself a freelancer since I didn't know how to introduce myself. When I create my work, I’m doing a lot of different things, so I guess everything is involved a little bit. 

Le mile: Do you think art and fashion can be the same thing?
John Yuyi
: I think art includes a lot of things, and fashion is art. It's definitely art!


Le Mile: You’ve referenced Hokusai Katsushika in your 2016 works: “Megumu's browser” and “Ukiyo-e.” Is he someone that inspires you?
 John Yuyi: Yes! He is amazing and timeless. I definitely got inspired by his work. One of my favourite dresses has his art on it. But he’s not the only artist that has inspired my life theory.

Le Mile: Do you believe that sex sells and is it something that you agree with? Talk a little bit about your “Skin on Skin” project (2016), was your intention to portray the oversexualization of women?
 John Yuyi: No, I just wanted to play with a fake "skin on skin" cycle. But a lot of people told me that they think it's a reflection of the objectification of a woman’s body. I like that people have an unlimited imagination when it comes to what it means; it's the most interesting part for me. When I was at my solo show opening, one boy came up to me and told me his thoughts on "Julia's Twitter." He told me that her tongue, stuck out with a “Following” tattoo, indicated that she would do anything for a ‘follow.’ I was so surprised! I am so in love with people telling me how they see my work!

Le Mile: You’ve mentioned in the past that your work helped you cope with anxiety and depression. Is this something you still struggle with today?
 John Yuyi: Yes, I still do. Sometimes I feel better, but sometimes I feel that I’m getting worse.
I work because I feel anxious, and when I work too much I feel stressed. When I finally can take a rest, I feel guilty for not working hard. It’s kind of become a bad cycle for me.

Le Mile: What was it like doing the latest campaign for Nike Air Max with Lauren Tsai?
  John Yuyi: It's a celebration of Nike Air Max. Hypebeast found a few artists to do the artwork. I'm glad I was chosen as one of the artists, but Lauren and I worked on the project individually, so I didn’t get a chance to work directly with her. But she's so pretty and talented all in one. I'd like to work with more talented Asian women in different fields in the future!

Le Mile: How has your work evolved since you started in 2015?
 John Yuyi: I don't know, I just keep feeling like it's all about luck. I keep walking this journey, but unpredictable things keep happening to me. I feel flattered and I feel small at the same time. I need to push myself to move faster than what I've got.

Le Mile: Who did you last follow on Instagram?

I think it's @mylesloftin. I'm not sure, but the latest one that I remember is him! He’s the photographer that shot me during the Gucci Wooster opening in New York.

works_ © + The Artist: John Yuyi
© + Courtesy  Artist


Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.

Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.



*fashion illustrator | Interview*

august 018

Conversing with fashion illustrator and Instagram famed artist Phannapast blossoms into a larger dialogue about the relationship between fashion and art. A portfolio of multiple collaborations with Gucci, a creative studio and an DIY -approachable point of view establishes this mixed media artist as a progressive creative with a soft heart for romanticizing the details of human experience through illustration.


  Click through her social media posts, @phannapast and discover a fairytale filled with magical creatures; her illustrations, embroidered patches and beadwork dictates storytelling while inspiring a journey into definitions of human expression from art. 

For if art is a creative form of communication, fashion is the art of socially acceptable expression through clothing design and the manipulation of fabrics into a found culturally interested product.

With sensitivity this comparison stimulates a discussion about the purpose of fashion. In our conversation, the greater debate that defines fashion as art passes without obstruction; for fashion is a tool in Phannapast’s work that elevates communication.


written + interview Valerie McPhail


Le Mile: How would you describe your art? Do you have an artist’s vision?
: My art is another form of communication. It tells stories about my experiences or my view towards my surroundings. Sometimes, when I look back on it, it is like a personal diary. The art tells a lot about what kind of music I was listening to at the time, the book I am reading, or the people I have met. 

Le Mile: What are your thoughts and opinions on the relationship between fashion and art?
: Personally, I believe that art stays everywhere, including fashion. Fashion is the story of the art which appears on the body — in movements, and dimensions. Fashion speaks a lot about the mood, the perspective and the personality of a subject; therefore it is also a personal communication. Designing clothes requires a lot of creativity and imagination. There are different types of knowledge in fashion like fabric design — the choice of colors you use, silhouette design, the structure and the pattern of clothing. Combined with inspiration in the right amount this is when fashion and art meet. 


Draping maxi dresses on butterflies, suiting a young buck in a pastel, floral printed Gucci two piece: animals play dress-up in her work for the GucciGramTian. The animal motifs continue to tell the story behind the creation of Gucci jewelry at the Wonder Factory.

With intergalactic cats and an elegant elephant spraying rainbows from her trunk, Phannapast’s  drawings capture the imagination and eccentric personality of the Italian house. 


Le mile: I would like to talk about your experience working with Gucci: how did the work and collaboration with Gucci manifest? 
: Alessandro Michele discovered my work on Instagram in 2016. Shortly after I collaborated with Gucci on 3 projects: GucciGramTian, The Fairy tale book for Le Marché des Merveilles Jewelry Collection, and, recently, Bloom Acqua di Fiori perfume. They are very important experiences I am very happy and proud of. 

Le Mile: What is meaning behind the animal motifs in the work?
: I use the animals to represent my feelings. Whether it is a tiger, a bird, a crocodile: they represent a part of myself. Sometimes I draw them with a mole below the lip because I have the same mole. 

Le mile: Can you explain the story of your illustrations in this work?
: In every Gucci project, there is always a story of myself. It is the experiences or how I think at that moment or something that I have been through: self-acceptance and how we can see the value of ourselves and the relationships with people around you. In every picture, there is a personal symbol hidden, the character's act and how it expresses itself. There is also a physical and visual expression. I use both to convey my message through expression.


Le Mile: Have you always created work in fashion and fashion illustration?
 Phannapast: I always like to add a little fashion into my drawings. You can see the animal characters wear different clothing, sometimes, the flowery pattern has a little gimmick hidden in it, and sometimes I use the different palette of colors that is more special than the natural tone.

Fashion illustration is just a portion of her work. The artist showcases the larger part of her work in her workshop titled Pommecopine Studios, which shares her whole heart and vision as an artist. Embroidered sparrows nesting on button downs, collectable patches of fawns, cheeky babies and cats pay ode to a home base, her childhood. These expressions are patchwork pieces that will lead Phannapast to making her artistic dreams a reality.

Le Mile: And you have a studio, Pommecopine Studio, which showcases your solo fashion and artwork. What is the heart and soul of this project? Can you explain the meaning behind the name?
Phannapast: Pommecopine is a nickname my friend gave me when I was studying branding at the university. It came from my personal hairstyle, which looks like an apple. Pommecopine first became my brand of clothing for dolls and figures. Now, my intention is to create Pommecopine as a brand that represents what I loved during my childhood. I still like dolls, patchwork, embroidery, or handmade knickknacks. That’s why I also organize workshops for people who are interested. Now, I have a mascot for the brand named Rainbow Sue, which I named after my mother. She represents happy days.

Le Mile: The platform extends beyond illustration into embroidery, beading and patchwork, what inspires you to create new forms of art?
Phannapast: Embroidery and patchwork are my hobbies. I’m thinking of combining them to my art. At the moment, I’m interested in creating a soft sculpture from fabrics. 


Le Mile: Can you elaborate on the type of work we should anticipate next?
 Phannapast: Right now, I want to bring out my world into a form of work that in tactile, something that you can interact and share experience with. It is my dream for the future which I will take time developing.

Through her whimsical works Phannapast tells tales from her life experiences and shares with us her art, collaborations and  passion projects — they share her visions, aspirations and dreams — unveiling the soul of an artist.


portraits_ © + The Artist
Artworks (illustrations)_ © + Courtesy Gucci


Porsche gives artists opportunity to collaborate with photographer to the stars

Porsche gives artists opportunity to collaborate with photographer to the stars



Peter Lindbergh photographs Porsche models
*Porsche Talent Project

july 018

The “70 years of Porsche sports car” anniversary made it all possible: Peter Lindbergh, known for his fashion photography and his images of well-known subjects, has done Porsche the honour of making the concept study of the first fully electric Porsche, the Mission E, and the iconic 911 sports car the subjects of a new series of photographs. The location for this very special interpretation of the Porsche anniversary was a beach in Ault, northern France.

“For me, Porsche has always expressed something unique, something personal. And always without any claim to perfection. The result is a unique kind of poetry”,

says Lindbergh.


It was not just the subjects that made this shoot such an extraordinary project, for Lindbergh and for Porsche: The photographic series was created as part of the “Porsche Talent Project” that was launched by the sports car manufacturer last year with the aim of giving young artists the opportunity to collaborate with the greats from the field. Skander Khlif, a young artist from Munich, shadowed Lindbergh on the shoot, and had the opportunity to produce his own images under the guidance of the photographer to the stars. Lindbergh enjoys being a mentor, but rarely gets the opportunity.

“We are delighted that we were able to secure Peter Lindbergh for the ‘Porsche Talent Project’. His images offer a unique interpretation of a story, and his methods are completely inspiring. Seeing him work with the young photographer reaffirms our commitment to offering aspiring artists a unique experience that will help them to progress in their careers”,

says Bastian Schramm, Director Marketing Porsche Deutschland.

This is not the first success for the “Porsche Talent Project”, which at the end of 2017 gave talented young people the opportunity to work with Berlin-based designer clothing label “lala Berlin” on the company’s “triangle scarf” and produce their own take on this famous accessory. Working in co-operation with Porsche, networking site Talenthouse selected six finalists from a pool of more than 50,000 artists.


*The “Porsche Talent Project” is just the latest chapter in the Stuttgart-based automotive manufacturer’s ongoing history of involvement in culture and the arts. Among the events supported by Porsche are the Leipzig Opera Ball and the Ludwigsburg Festival. Porsche also has long-standing co-operations with internationally renowned institutions such as the Leipzig Gewandhaus Orchestra and the Stuttgart Ballet.





'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018

'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018



*HOFA Gallery, Mayfair

july 018

The House of Fine Art is celebrating what has been a fantastic year of expansion. Following the success of their first gallery in London, they have since opened a gallery in the stunning location of Psarou Beach in Mykonos, a third gallery in Mayfair and have now taken their brand to the US, with a gallery in the plush setting of West Hollywood.

NEMO JATZEN    Comic Relief , 2018 Original photography with resin on wood. 121 x 146 cm, 3cm domes (NJA015)


Comic Relief, 2018
Original photography with resin on wood.
121 x 146 cm, 3cm domes

  HOFA already has a huge reputation for showcasing the work of some of the best artists in the world and this growth will ensure that even more art collectors and appreciators will be able to visit the exclusive exhibitions that HOFA are so renowned for.

To mark the opening of the new Mayfair gallery, a summer exhibition titled ‘The Edit’ will be taking place from 4 July – 8 August 018. This second location in London really makes a statement – the newly renovated, charismatic Victorian gallery space is situated at 58 Maddox St crossing with Bond St. It is a very fitting home for some remarkable pieces of art, produced by world-class artists.

‘The Edit’ exhibition will feature some of the most talented artists across the world right now. Headline artists include Romina Ressia, Tian, Robert Standish and Marco Grassi.

Each artist brings their own very unique creativity to the exhibition, which will include a combination of sculptures, paintings + mixed media.

TIAN YONGHUA    Wave 3  Cast copper and acrylic. 50 x 45 x 55 cm Edition of 8 (TYO031)


Wave 3
Cast copper and acrylic.
50 x 45 x 55 cm
Edition of 8


Read the Interview with Collage Artist and Photographer Anaelle Cathala.

Read the Interview with Collage Artist and Photographer Anaelle Cathala.



*Collage Art | Interview*

june 018

Collage art can be traced back as late as the early twentieth century. Stemming from the French word, papiers collés (or découpage), it refers to the process of pasting together paper items onto a surface. Gradually the practice has introduced other materials including three-dimensional pieces and most recently, with the development of photo editing software, digital collage work has created its own place in the world of art. 


©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

  Through the piecing together of various images and materials a new image is formed which embodies its own unique identity. At times the smallest area of an image can be densely packed with new information and dialogue. The result is a work that can be subtle and dynamic all at once.  

Anaelle Cathala is a Paris based artist currently working in collage. Her work explores the built environment both at an architectural and city scale. Anaelle speaks about her work and inspiration via email with Le Mile. 


written + interview Michelle Heath


Le Mile: You are a self-taught artist, what inspired your path into the Visual Arts?

Anaelle Cathala: I don't really know what or how ...  I love art. I've always wanted to create. I searched through mediums, for the medium that would work for me ... but it was not particularly easy for me to find it. It has been complicated. And I did not allow myself. For me, it was always others who were the artists, not me. I did not go to an art school and I did not feel legitimate enough ... while it is only there, in art, that I feel in the right place. But I stopped trying to intellectualize all that. Just do, dare, work, try.  And the tide is reversed. Nothing precise led me to this but everything has led me there. 

Le Mile: You began as a Visual Artist working with photography before moving into collage work, is there a reason or story behind that transition into collage work? Why image collage work?

Anaelle: I did analogue photography for many years. I love it and I need to do it all the time and everywhere. However, it is "not enough" for me. I do not feel I am purely a "photographer." Since the beginning I have been working to do something else with these images. Project them, paint them ... I try to use them in many different forms and methods of my work. For the moment, this collage collection is my most accomplished and personal work. Working in collage interests me with its notion of infinite possibility. I am really caught up with the idea of ecreating new realities, new spaces, new dimensions. I sometimes even feel like just putting things in their place, putting my finger lightly on the gift of ubiquity, of being everywhere at once.

"Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent."


Le mile: Typically collage work is created using found images or objects, why do you choose to use only your own images? Do you find this informs or influences your photography or are the two practices exclusive of each other?

Anaelle: The first collages I made were not just with my photos but with images cut from magazines. However, it wasn’t the right fit for me and I did not find what I wanted. The approach did not suit me. The rendering did not suit me. Then one day, I realized that I had all the necessary material in my hands. You do not always immediately see what is so obvious … All the photos in this first series of collages were made prior to the idea of making ollages with them. So, there was no influence on them when they were taken.  And I will continue to do it that way. At least in a conscious way! I prefer to continue taking photos in an instinctive way, as I always did, and then to create my collage artwork afterwards. 

Le Mile: Your work has themes of architecture and urbanism: what is it about these realms that interest you?

Anaelle: Because these are areas that fascinate me. I have always been fascinated by architecture and urbanism. I live in an urban environment; therefore, I am necessarily fed by it from my confrontation with it every day. This really raw aspect pleases and touches me. Just as much as nature. And I like to confront them. I see obvious connections between all of this. In the sensations that it can provide. 

Le mile: Your collages are both realistic and abstract, what do you wish to communicate or portray with your work? 

Anaelle: I do not really think about what I want to communicate. But I think it's just my relationship to life and things. A precise notion of reality that I question a lot. Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent. That's what I like. 


Le Mile: Are your images from anywhere in particular or from various locations?

Anaelle: My images come from everywhere and from a lot of different moments! Absolutely everything is mixed!


Le Mile: Many collage artists past and present have incorporated a three-dimensional, almost sculptural element to their work. Do you foresee yourself taking that path at any point? 

Anaelle: Sometimes I think about this type of work but I don't yet know at all when or how ... It's at the research stage for the moment.


Le Mile: You are originally from the south of France but live and work in Paris now. What is it about Paris and its art scene that helped you decide to select that as your home?

Anaelle: I moved to Paris at the age of 21 because I have always loved this city. Because I love big cities. I don't feel right in small towns. I need to be in a big city that is teeming with either nature, space, or emptiness. No half-measures. Ideally, I need it all alternately, for my work and for my mental health! The artistic scene is not directly what made me settle here but it is part of the package. 


"I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out.


Le Mile: Where do you think your work will take you in 2018, both physically and in the production of your work (themes, content, etc.)?

Anaelle: I will, of course, continue to develop and work in depth on my collages because I have really found myself in this activity. Other series are under way. I also have a series of paintings of my own pictures in progress. I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out. I think we must attempt to remain free to do what we want. And try. All that we want to. I am now represented by the ALB Anouk le Bourdiec Gallery in Paris and that brings about great upcoming events. Physically, I want to move around and travel anywhere and as soon as possible and, if it is for exposure, it would be fabulous!  




Blue Magic: Cuba by Alban E. Smajli

Blue Magic: Cuba by Alban E. Smajli



*Blue Magic: Cuba*

april 018

written Mikal Shkreli

We descended onto the island, with some expectations and preconceptions of what we were about to experience. However, what we didn’t realize was the reality of the stories we heard, existing in the multifaceted, aesthetic stimuli that enlivened our senses, that lead us to the same truth; we are now in Cuba. Like a safe place in the fast-changing world, Cuba exists as an island where manmade time stands still and nature takes over the measurements. 


 A rather large island, Cuba is a living memory of a world where humans developed towns and villages in accordance with nature; in the pastel colors and in the ease of shapes in the architecture that reflects the wind’s travels as it carries the scent of the ocean. I found our presence to be humble, honest, sincere, and real. As the birds fly overhead and the ocean waves lap onto the shore, the steady hum of diesel fueled cars and distant music echo in harmony together under the ever-present sun, which watches over this land. 

The ground feels more like the real earth, and the energy is steady yet moving, as the hummingbirds flutter nearby, carrying their hurried energy beyond blooming flowers and past car engines. We walk on the ground, with unsettled dirt from the driving cars on the street.

Of course, the scent of smoked meats and grilled onions passes through the air as well, and again, this harmony of human existence, with its rightful melodic accompaniment in the song of nature, is joyfully played, without effort, without stress, but with the natural highs and lows that we all repeat on earth as the sun soars from one end of our vision’s sight towards the next. 

The view might be iconic, as the type of cars with small subtleties in detail such as the round rear view mirrors distract us from the larger picture. However, this is life, and beyond the stillness in time for the women pushing strollers, the men in jackets walking by governmental buildings, and the men selling fruits on the street, Cuba is home. We take a taxi towards the water, speckled with tiny boats that float by the dock without anyone in them, being governed by an old castle of stone that prominently waves the national flag. Walking back towards the larger roads, we pass small streets with houses dressed with balconies, lined with women drying towels, sheets, clothes, as the sweat accentuates their furrowed foreheads and falls down the crevices of their plump faces. 

In the present moment, the feeling of eternity remains in the ever present ‘now’, and somehow in contrast, every passing hour has a complete different feel than the one prior. Almost a miracle, the sun seems to race from the sky and fall into the ocean, bringing with it, adornments that change color, change scent, change their energy that fills up the air we breathe when we continue to explore Havana. The houses too change their appearance, and their solid structures that stood strong in the sun, are now majestically placed to reflect the light of the moon on their colors, which now only seem to be in hues of blue, in this magic hour of dusk. At night, the heat stops rising from the ground, and the scent of the white mariposa, the butterfly jasmine, along with the cool, ocean air, sweeps through the streets that have become even more quiet. The air brings with it scents of stone, of metal, of a history that took a long time to build, and that happened to stand still like tombstones in a forgotten graveyard. We find a tree with oranges and can smell their sweetness from the outer skin. A baby cries nearby and we are reminded, that in this particular world that took time to build, had stopped its growth in reference to most of the world’s change, but what does take the lead, is nature.


Alban E. Smajli
Cuba, 2013
Courtesy the artist


LEXUS Design Award - Grand Prix Winner 2018

LEXUS Design Award - Grand Prix Winner 2018



LEXUS Design Award

april 018

Lexus International has announced the Grand Prix winner of the Lexus Design Award 2018―Testing Hypotheticals by Extrapolation Factory―leading this prestigious international event to a pinnacle of excitement. Lexus Design Award 2018 drew a record 1319 entries from 68 countries under the theme of "CO-".  


 "This year's winner permeates the current thinking about the role of design in our evolving and technologically shifting societies. Products played less of a role, and design education/teaching and thinking are at the forefront. How citizens and designers interact with products, processes and future is increasingly critical to mediating this influence of design in our increasingly future-orientated and technologically evolving world. The chosen design shows methods and techniques for engaging the public and designers in role playing possible futures and negotiating the influences of our technological world." said David Adjaye, Lexus Design Award 2018 judge and architect.

Elliott P. Montgomery of Extrapolation Factory commented, "It was truly fantastic, and the experience was incredible to have worked with our mentors Formafantasma. We could not have done this without the support of Lexus."

Since 2013, the Lexus Design Award has supported the next generation of designers from around the world. For our sixth year, 2018, the Award's theme is "CO-", a Latin prefix meaning with or together. Lexus believes that great design can ensure the harmonious coexistence of nature and society. In that sense, "CO-" is an approach that allows the brand to explore its true potential and that of the environment by creating new possibilities through collaboration, coordination and connection.


From among the wealth of "CO-" design submissions, our elite judging committee has selected 12 finalists, four to be prototyped and eight to be shown as display panels. These will be revealed to the international design community at Lexus' "LIMITLESS CO-EXISTENCE" exhibition, held 17-22 April 2018 in the Cavallerizze in Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci during Milan Design Week, the world's supreme design event.

For this exhibit, Lexus has called upon Japanese architect Sota Ichikawa to be the overall concept space designer. In the main installation, Ichikawa has used innovative methods to represent the ultimate experience of LIMITLESS CO-EXISTENCE. The Lexus LF-1 Limitless concept, earlier introduced at the North American International Auto Show, is also featured using Ichikawa's unique method.




C24 Gallery presents sculptures by Brian Tolle marking his inaugural exhibition with the gallery.

C24 Gallery presents sculptures by Brian Tolle marking his inaugural exhibition with the gallery.




march 018

C24 Gallery is pleased to present a solo exhibition of sculptures by Brian Tolle marking his inaugural exhibition with the gallery. The exhibition brings together Tolle’s iconic public work, Eureka, on view for the first time in the United States and in a gallery setting, paired with his Levittown sculptures.  


 A highlight of the exhibition is the monumental installation Eureka. At approximately 36 feet high, when standing, the sculpture is a 3D rendering of the façade of a 17th-century Flemish canal house as it might exist in wave form. Thus, it becomes an uncanny reflection of the kinetic water below it. Originally commissioned by curator Jan Hoet for his landmark exhibition Over the Edges (2000), as a site-specific public installation in Ghent, Belgium, the sculpture is re-contextualized in the gallery space. Lying flat on the gallery’s atrium floor Eureka confronts notions of place and process thereby questioning the function of art in public spaces versus art in specific institutions. Drawing ideas from a broad-based conceptual analysis, Tolle creates a dialogue between the contemporary and the historical and blurs the border between architecture and its evolving environment.

A keen observer of domestic life and identity, Tolle furthers his interest of politics of place in his Levittown sculptures. The sculptures are inspired by the planned housing community, Levittown: the historic town in Long Island, NY, which became the archetype of American suburban life in the early 1950s. Each of Tolle's eleven sculptures is a precise scaled model of an original Levittown home -- cast from the same mold varying only in color and displaying the architectural details of the original structures. The sculptural houses themselves resemble deflated or melting membranes, and are supported by various appropriated mementos of suburban life - found toys, tire swing, shopping cart, a plastic nativity set, and a recliner. These iconographic items rest underneath and inside silicone rubber skins of the houses, emphasizing a dialogue between sites and domestic artifacts.

As the title of the exhibition suggests, the artworks presented in Bent provoke a re-reading, or discord between reality and fiction. The formal play that Tolle visually articulates between shapes and textures, private and public spaces presents a challenge to standard architectural, as well as behavioral conventions and norms.


C24 Gallery, NEW YORK
January 11–February 24, 018
C24 Gallery


Zoe Leonard exhibits at Whitney Museum with Survey.

Zoe Leonard exhibits at Whitney Museum with Survey.




written Nikkolos Mohammed

march 018

Zoe Leonard: Survey is a reflection of her body of work, which focuses on travel, editioning, excess and repetition within daily life; questioning identity within the landscape. Zoe's artistic practice demands you to pay attention to the mundane through a medium of observation - photography. Her poetic eye of universality with artwork reveals an idea of migration and documentation of presence.


 While our current political climate spotlights topics such as DACA (Deferred Action of Childhood Arrivals) and its expiration date, Survey is a very timely show. Currently, there is plenty of conversation which questions whether migrants are good or bad. With the celebration of America and the origins of its' homeland, one might question who is truly a tourist? Zoe Leonard’s body of work in Survey goes back as far as 30 years and questions presence and contribution in the now; present-day. Another language in her work is the idea of sharing. Ephemera of postcards, photography, luggage and store-fronts are all information to be shared as a reflection of contributing to existence within a place and a certain time. Our knit identity is a collection of experiences and more deeply, our experience in different places; an idea conceived in Zoe Leonard’s practice.

Survey opened at the Whitney Museum in New York on March 2nd, 018 and is organized by the Museum of Contemporary Art, Los Angeles, where it will make its' West Coast debut following the Whitney’s presentation. The exhibition is the first to assess the extraordinary range of the artist’s achievements over more than three decades of her career to date. 


MAR 02 –JUNE 10, 018


Zoe Leonard
detail of You see I am here after all, 2008.
p3,851 vintagepostcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall.
Installation view, Dia: Beacon, Beacon, New York, 2008.
Collection of the artist; courtesy Galerie Gisela Capitain, Cologne.
Photograph by Bill Jacobson, New York



COS collaborates with artist Phillip K. Smith III for Salone del Mobile 018.

COS collaborates with artist Phillip K. Smith III for Salone del Mobile 018.



COS x Phillip K. Smith III
*Salone del Mobile 018*

march 018

For this year’s edition of Milan Design Week, London-based fashion brand COS will present a large-scale sculptural installation by American artist Phillip K. Smith III, marking COS’s seventh consecutive installation during Salone del Mobile and its first collaboration with Smith.  Since 2012, COS has presented unique and innovative collaborations with artists, designers, and architects in Milan during Salone del Mobile. Past collaborators include Gary Card, Bonsoir Paris, Nendo, Snarkitecture, and Sou Fujimoto, in addition to Studio Swine, whose installation with COS, New Spring, won the Milano Design Award for Most Engaging Exhibition during Milan Design Week last year. 


 Inspired by Italian Renaissance architecture, the Milanese sky and the understated simplicity of the COS design aesthetic, Phillip K. Smith III will create a site-specific outdoor architectural sculpture in the 16th century courtyard and garden of Palazzo Isimbardi, designed to offer an individual experience to each visitor, through its interaction with light and time.  

At COS, we have been inspired by the way Phillip K. Smith III’s installations interact with their natural surroundings allowing us to experience spaces in new ways, whether in deserts or on beaches, and are eager to see how his work responds to the environment of Milan. It is from these experiences of art, which reshape the way we see the world around us, that we derive so much of our inspiration at COS,” said Karin Gustafsson, Creative Director of COS. 

Phillip K. Smith III noted of the installation, “My work is created in direct response to the surrounding environment, becoming a canvas that interacts with both the urban and natural landscape. I’m thrilled to partner with COS to create this unique sculptural experience which will reframe the historic space. Characterised by ever-changing spatial and temporal elements, every visitor’s experience of the installation will be entirely individual.”  

Palm Springs-based artist Phillip K. Smith III is known for his immersive, light-based installations that employ light, space, colour, the environment and change in order to inspire viewers to reconsider their surroundings. Smith’s works is intensely physical, seemingly ephemeral and highly meditative creating unique spatiotemporal experiences via shifting light, the changing colours of the environment and the movement of the viewer.
Through the atmosphere and pacing of his installations, Smith challenges viewers to slow down and align themselves with the work in order to see and hear the beauty that is in front of them. Phillip K. Smith III received his Bachelor of Fine Arts and Bachelor of Architecture at the Rhode Island School of Design, completing a European Honours Programme at the school in Rome, where the density and complexity of the city’s visual character informed his work around human connectivity, place and perception. 



Blondey Mccoy unveils three Burberry murals in Manhattan

Blondey Mccoy unveils three Burberry murals in Manhattan



Murals in Manhattan

november 2017

British artist, designer and pro-skater Blondey McCoy has created three hand-painted murals in the Flatiron and Soho districts of Manhattan, designed exclusively for Burberry.

Blondey McCoy unveils three Burberry murals in Manhattan - Soho, Lafayette Street and Spring Street x LE MILE Magazine

The murals mark the first time Blondey's work will be showcased in New York and include his largest artwork to date. The three murals are inspired by the dichotomy of modern life and the traditions of the holiday season
and feature Blondey's signature mix of eclectic imagery and striking motifs alongside references to Burberry and British culture. This collaboration marks the evolution of the relationship between Burberry and Blondey, who most recently appeared in a portfolio of images for the brand captured by British photographer Alasdair McLellan. In September 2017, Blondey created an artwork for Burberry on the largest paintable wall in London, situated near the brand's show venue in Clerkenwell.


'Blondey is an extraordinary talent and I am blown away by the incredible artworks he has created for us in New York.
The passion, energy and skill that go into everything he does are remarkable and his approach to design, from inception to the techniques he uses to bring them to life, transcends his years...He truly is one in a million, and I am so proud to be collaborating with him on this very special project.'
- Christopher Bailey


'Christopher and I have kept in constant contact since our first mural in Clerkenwell, whose short but sweet lifespan only made it more pressing that we work together again. We decided to do three more, centred around the holiday season in New York, which is quite fitting as my favourite Christmas song is "Fairytale of New York". Over the last couple of years I have been collecting antiques and objects, some more sentimental than others, and incorporating these into my works. These new murals are a composition, a curation of some of these objects that sit aside references to Burberry and British culture.'
- Blondey McCoy

Photographer Michael James Fox
Artist Blondey McCoy 



A Modern View on Timesless

A Modern View on Timesless




august 2017


TIMELESS /ˈtʌɪmləs/ (adj) - not affected by the passage of time or changes in fashion. 


Italy is one of the crown jewels of Old Europe, a country that is unique and diverse from both a geographical and cultural point of view. One must live it to understand it right, to understand the way the time has passed the places, the streets, the way the time has shaped the forms, the values and the attitudes, the way the traditions have remained the same and on the other side, the way it all has stood the test of time. 

In today’s online world it’s becoming more and more difficult to recognize the origin of an object, to evaluate the quality and to understand the style. This fact creates a solid ground for the feeling of nostalgia to grow and develop. The word “nostalgia” comes from two Greek roots: νόστος, nóstos (“return home”) and ἄλγος, álgos (“longing”). Professor Svetlana Boym of Harvard University defines it as a longing for a home that no longer exists or has never existed. Nostalgia is a senti- ment of loss and displacement, but it is also a romance with one‘s own fantasy. In her works one can see that the feeling of nostalgia is not only backward-looking, but that nostalgia can be also forward-looking, prognosing. After reading Boym’s works and writing my own Bachelor’s about menswear and nostalgia, I would have never thought that years later, my hypothesis of nostalgia would reappear in my life not only within the texts and images, but also in a real and very original way. So, one day... 

Caraceni Sartoria Atelier

Caraceni Sartoria Atelier

One day I met by chance a Japanese guy, Kensuke Takehara. Ken has been living in Milan for the past 7 years, and he has worked as a tailor in one of the oldest and most respected tailor houses of Italy – Sartoria A. Caraceni. The guy knows probably more about Italian suit aesthetics and speaks better Italian than an average local. Why? He says that he had a strong vision and a very good teacher – Francesco Severgnini, one of the few gentlemen who still wears and is true to traditional Milanese style. The question is still “why”?
Wearing a proper suit is “forma di rispetto”– a certain form of respect. It is a gesture showing respect towards the occasion, the place and the people, and is most certainly, a bow towards the art of Italian tailoring. Francesco is in a class of his own, always dressed in his own – Severgnini Milano, with perfectly picked color combinations, one can inspect the best of masculine elegance in every detail of his look.

While catching up with Kensuke, he reproves his student for combining modern pieces like Supreme, Converse and Knickerbocker Mfg. Co. with a classic suit by De Petrillo Napoli. “Napoli!? I’m from Napoli! From the same place where this suit originates from!” says our photographer, Davide Annibale. Davide has been travelling the world to capture the nostalgia and the real essence of the streets of Paris, New York, Chicago and Milan. But he has never lost his Neapolitan identity. He says that growing up in Naples was the best school one could ever have and that it made him extremely aware of the people around him in every sense. “Naples is the place where you understand what it means to be smart, ‘italian smart’, and the place where you simply appreciate the history, because it’s still there very strongly,” he explains. That fact can be seen also in his works as his visual stories are ageless. Just as with a classical sartorial piece, either it’s sewn today or 70 years ago – it is timeless. 

Kensuke Takehara

Kensuke Takehara

Francesco Severgnini

Francesco Severgnini

Timeless like the creations of Sartoria A. Caraceni tailoring house. “Nothing has changed since we started. All the styles, the fabrics, the linings, the cuts and the stitches – everything is still made by hand by the best tailors of Milan, out of the best Italian and English fabrics,” tells Carlo Andreacchio Caraceni, accompanied
with a warm smile while continuing his work. He adds that though all the styles have remained the same since the very beginning, he himself is not a nostalgic person. He is rather positive and lives in the present moment: “Every day I make jackets, for me this is life, this is what I like to do and this is the present and the most important.” Speaking of importancy, the house of Caraceni has been responsible for the looks of internationally well-known actors, statesmen, counts and other significant personalities who have shaped the culture and the society. Having tons of stories to tell that happened in and outside of the tailoring house, from particular Japanese clients to tailoring a frac for the Nobel Prize winner, Italian poet Eugenio Montale, Mr Caraceni could go on with the stories and we could make an outstanding book of or a movie scenario. When I asked him, whether a gentlemen with an incredible life path like his believes in a chance or in a fact that everything happens for a reason, he says that he believes that everything happens for a reason. “Everything has a motif and I’m very sure of that,” he adds with a mysterious look and for a ‘dolce’ gives a tour in the tailoring house that feels like a squareshaped mini labyrinth. 

M. Carlo Andreacchio and Massimiliano Andreacchio Caraceni are the men behind a family-run tailoring house Sartoria A. Caraceni, that has been handed down over 70 years, since its establishment in 1946. The house that has been famous for cutting techniques and has an expertise of one unique technique in particular that is passed on to only one person per generation. Speaking of uniqueness, Alessandro Squarzi might be one of the few Italians who has the most unique col- lection of vintage menswear, not to mention the fact that his own wardrobe is a size of 500 square meters. Recently named as number one best dressing man in the world by Esquire magazine, vintage pieces and timeless style are his passion for life. “I am out of fashion,” says the man, “and I am very nostalgic, I love old military and leather jackets, I love old denim.” He says that it’s easy to wear a modern piece, but to mix ageless pieces with modern requires a good taste and a character to wear it. Clothing style is simply a self-expression. A significant part of Alessandro’s style and how a gentleman could be recognized is because of his White Pant Credo. “I come from Rimini, a beach city where a pair of white pants is a must. And I like to wear my white pants like denim, I like them to look warn, to show the history of a wearer, to be timeless,” says Alessandro and shows his soon-to-be-opened store in Porta Venezia – Fortela. “Fortela is timeless, has no seasons and all the models are the same,” describes Mr Squarzi. In Fortela he will enliven the traditional style of a shop, where you have a tailor always present upstairs and warm timelessness greeting everyone who will enter the store that feels more like a familiar home rather than a shop. 

Alessandro Squarzi

Alessandro Squarzi


Italians say often “la casa mia e la casa tua” meaning my house is your house. That is probably one of the best saying to summarize Italian way of doing things. Once you’re invited, you’re part of the family. And Milan, out of all the fashion capitals, is most certainly one of the most welcoming. This international city still holds its traditions strong, takes care of the styles and heritage, and passes the stories and secrets from one generation to another. From one persona to another. People you meet here all carry and care about the heritage, the knowledge and the experiences shared. Italian mystery could be solved by viewing the traditional menswear and the simple belief that everything happens for a reason. The essence of timelessness has been caught and the proof lies in its history. 


CREDIT INFORMATION | © Davide Annibale