An interview with Kade Gottlieb
Gottmik is looking after Kade
interview + written AMANDA MORTENSON
Gottmik buys friends’ magazines at the airport and sends them a picture. At thirty, Kade Gottlieb is watching people he has supported for years take jobs at fashion houses and exhibit their art. Fashion Week means going to see their collections, with a pride that has begun to replace the nerves of his first invitations after RuPaul’s Drag Race. He remembers being grateful simply to be allowed in.
Gottmik wears a cap by BENNY ANDALLO, vintage CHRISTIAN DIOR by John Galliano suit courtesy of LOVERS LANE VINTAGE, boots by ILIAS LITTLE SHOE BOX, gloves by ATSUKO KUDO and choker by MARKO MATYSIK. Keke Osei wears jacket and boots by GMBH, leather trousers by ENAMI and gloves by ATSUKO KUDO.
He comes to this interview after a break from social media, having spent more time creating without immediately sharing the results. The makeup artist and drag performer has been painting. His Pinterest boards include images of rebirth across cultures and eras, with peace making an appearance for the first time. He missed his fans and wanted to reconnect. He also liked being able to live without making everything available to an audience. “I’ve always put Gottmik first and forgotten to take care of Kade,” he tells LE MILE, “but Kade is the foundation of everything.” That means being more selective about work. Saying yes to too many projects had left him unable to give any one of them his full attention. He is learning to protect the time each deserves.
As a judge on King of Drag, he watched the kings approach masculinity with humour and reconsidered the unwritten rules queer performers sometimes impose on one another. Their freedom felt particularly personal to Gottlieb, a trans man who admits he has spent much of his own life taking masculinity far too seriously.
ottmik wears a vintage ALEXANDER MCQUEEN jacket and skirt courtesy of LOVERS LANE VINTAGE and heels designed by SAM MACER and 3D-printed by YUMA BURGESS.
Gottmik wears a vintage ALEXANDER MCQUEEN jacket and skirt courtesy of LOVERS LANE VINTAGE and heels designed by SAM MACER and 3D-printed by YUMA BURGESS.
Keke Osei wears a latex suit designed by MONIQUE FEI and printed by KATIE SHANNON, shirt and tie by ATSUKO KUDO, vintage GUCCI loafers and a leather lead by FLEET ILYA.
Amanda Mortenson
After taking a break from social media, what felt worth coming back for?
Kade Gottlieb
I came back for the art and for my fans! I’m so lucky to have such an amazing support system that has supported me through some of my toughest times, and I couldn’t wait to reconnect with them. I’ve been spending a lot more time creating without feeling the need to immediately share everything, and it’s reminded me why I fell in love with doing this in the first place. Connecting with people around the world through my work is the most rewarding and inspiring thing for me and its something id never want to lose!
What did you not miss?
I think we’ve gotten so used to sharing every second of our lives that we forget how important it is to actually live them. Not everything needs to be content, and I’ve really learned to appreciate that ( my nervous system thanks me every day). Taking a step back online has brought so much light and love into my life that I didn’t realize I was missing.
You’ve always mood-boarded your life. So what’s on the board now?
I do! My nervous tic is literally making Pinterest boards. I could make one every second. Right now, the mood board of my life is full of painting, iconography from different cultures and historical time periods that represent rebirth and growth. My life mood board for the first time also has peace, which is very new I’ve always put Gottmik first and forgotten to take care of Kade, but Kade is the foundation of everything. I’ve been exploring themes of transformation, identity, and time through my paintings I’ve been working on. I’m really interested in the idea that you can constantly reinvent yourself without losing the things that make you who you are.
Where do you still feel like a beginner?
I still feel like a beginner in so many areas and in so many ways. Whether it’s drag, makeup, painting, or anything I’ve worked my whole life to develop, I’ve learned that there’s always something new to learn. The second I feel too comfortable with where I am, I know it’s time to push myself, learn more, and grow as an artist.
Gottmik wears a vintage tank top and corset by KIANJALIEV ROMAN, jewellery by VICKI SARGE and vintage GIVENCHY earrings courtesy of 4ELEMENT.
Keke Osei wears blazer and skirt by KIANJALIEV ROMAN.
And what are you bored of being good at?
People pleasing! In my career and in my social life, I’ve always struggled to say no, to the point where it ends up hurting me in the long run. I love helping the people around me and doing everything I can to be the best I can be for whatever job I’m working on, but there has to be a point where you put yourself first. Otherwise, you end up with a bunch of different projects you tried to do at once, and none of them end up getting your full attention and being 100%.
Judging King of Drag, what did the kings make you reconsider about your own drag?
I’m always talking about crashing the cis-tem that puts us in these small boxes as queer artists, and the kings on King of Drag reminded me that sometimes we create those same boxes within our own community. Drag is so much bigger than the rules we have created around it. Watching the kings approach masculinity with so much creativity, humor, and freedom was really inspiring to me as a trans man who has spent most of his life taking masculinity way too seriously. I’ve always loved challenging gender norms through my drag and seeing the kings do that from completely different perspectives reminded me that there’s still so much unexplored territory in this art form. I’m so lucky to be a part of it. They’re literally making history!
What still makes a look unmistakably Gottmik when the white face disappears?
The attitude. The white face is obviously iconic to my drag, but Gottmik has always been about more than makeup. It’s the silhouettes, the references, the tension between masculinity and femininity, and that little nod to darkness. I think you should be able to recognize my point of view before you even recognize my face. Even though that mug is stamped and locked in beyond.
When a fashion house comes to you now, what has to be more interesting than simply giving you access?
I’ve always dreamed of the fashion opportunities I’ve been given over the past few years. It still feels like a dream when I look back sometimes, and I’m so grateful for every moment. I just turned 30, and it’s such a cool age because you start to see all of the creative friends you’ve supported since day one get major jobs at huge design fashion houses, editing positions at top magazines, opportunities to travel the world and exhibit their art, and just grow into the artist they’ve been working their lives to become!
When I first got off drag race I was young, excited and naive just being happy to be in that world at all, but now seeing how hard my friends have all worked and getting to go to fashion week to see their collections, go to their art shows, send them a picture when I buy their magazine at the airport is just such a crazy feeling. and having access to these spaces makes me feel more proud than that nervous, excited, imposter-syndrome queen going to her first Fashion Week. I’m so proud and lucky to have such inspiring people around me.
Gottmik wears a vintage MUGLER dress courtesy of LOVERS LANE VINTAGE, gloves by DENTS, stockings by WOLFORD and boots by ILIAS LITTLE SHOE BOX.
Gottmik wears a leather corseted dress by MATHIS LAURENCEAU, pumps by ILIAS LITTLE SHOE BOX, vintage GIVENCHY earrings courtesy of 4ELEMENT and a leather collar by FLEET ILYA.
Gottmik wears a helmet by STASHA PIGKOU, heels by RÉMI VERGNANINI and cuffs by MORITZ IDEN. Shoe-suit FASHION ARCHIVE.
Which designer would you trust to dress Gottmik without seeing the look first?
Alive: Tom Ford, Matières Fécales or Galliano
Dead: McQueen or Mugler.
If “RIOT” is taking you towards drag metal, what’s still missing before you get all the way there?
I think I’m still figuring out how far I can push it. I made “RIOT” about five years ago now, when I first got off Drag Race and I had no idea what I wanted my sound to be. I’m obsessed with the intersection of beauty and aggression, which you can see visually in my drag, so it’s been such a fun journey trying to find that same feeling sonically.
Music is the most amazing release for my theatrics, aggression, glamour, and artistry, and being able to perform my own music live has been a huge game changer for me. Hearing my fans sing parts of my songs with me is one of the best feelings I’ve ever experienced.
After producing the Knockout Tour yourself, what would you never hand over again?
My creative vision. Producing a tour really taught me how much goes into bringing an idea to life, from the tiniest details to the biggest decisions that makes you feel like your whole life depends on it. It’s literally not possible to do everything yourself, so you need good, hardworking people around you who care about the project just as much as you do. I learned so much about trusting my instincts, how to properly communicate what I want, and surrounding myself with people who understand the bigger picture. Collaboration can be everything, but knowing when to stand behind your own vision is just as important.
What have you become much better at saying no to?
Things that don’t align with the person I want to be or the work I want to create. I think for a long time I felt like I needed to say yes to every opportunity, every project, and every expectation, but lately, I’ve realized that being intentional with my time and energy is just as important as being hungry and ambitious. Saying no to something you’re not passionate about is what makes room for you to put all of your energy into the things that you care about the most.
A year from now, what would actually have to be different for this to feel like a new chapter?
I think real growth is something you show through your actions, not something you can just announce. I’ve been taking a lot of time to reflect on my life, my priorities, and the kind of person and artist I want to be, while staying connected to the person I’ve always been at my core. A year from now, I hope I can look back and see that I’ve genuinely put in the work and put that work into practice.
Creatively, I want to be making art that challenges me and pushes me into spaces and opportunities beyond what I could have dreamed of, alongside the supporters who have been with me from the beginning. I want to feel more grounded, more present, and more aware of how my actions affect others. I want to be proud of the way I’ve continued to grow, and I’m very excited for this next chapter wherever that may take me!
Gottmik wears jacket, bodysuit and skirt by VALENTINO, vintage SAINT LAURENT earrings courtesy of 4ELEMENT and latex boots by NATACHA MARRO.
Gottmik wears a corselet by SAM MACER, thong by INTIMISSIMI, stockings by WOLFORD, necklace by VICKISARGE and heels by POSTER GIRL. Veil, leggings and gloves FASHION ARCHIVE.
Gottmik wears leather body armour and face mask by WHITAKER MALEM and heels by GUESS USA.
talent GOTTMIK
photo & creative direction BRYAN TORRES
styling JADZIA SCOTT
styling assistant ALYSHA DAYNAPATEL
art direction MICK O’CONNELL
producer AMAL OMARI
make up GOTTMIK
hair JACQUELINE EZEUKO
wigs JEAN BAPTISTE SANTENS
grooming MEG MCCONVILLE
nails GIULIA OLDANI
digital DARCY CAMPBELL
photo assistant SOPHIE CHERRY
photo & lighting assistant ADAM ELDER
gaffer ANDREEA MIGHIU
production manager GINA BELL
production assistant ANDREA PERIS
post-production NAZA MEIJIDE
copyright LE MILE Magazine / Bryan Torres