Gab Bois - Interview

.aesthetic talk
GAB BOIS
*Endless Playground

written + interview TAGEN DONOVAN

Gab Bois possesses a rare and almost alchemical ability to take the mundane and twist it into something extraordinary, something that lingers in the mind long after you’ve looked away. Bois’s work doesn’t just sit quietly in the background—it demands attention, not through loudness, but through its quiet valour.

By taking the everyday, the objects we barely glance at, and reimagining them into striking, surreal creations that challenge not just our ideas of design and functionality, but our very perception of reality itself. A pair of boots crafted from old keyboards, earrings fashioned from I-phone cameras—these are not just whimsical ideas; they are provocations, invitations to see the world differently.

What makes Bois’ work so compelling is not just the cleverness of her visual puns or the precision of craftsmanship, though both are undeniable. It’s an innate ability to weave together humour, intrigue, and a deep sense of aesthetic playfulness. Each piece exists in a space where the familiar becomes strange, and the strange becomes oddly familiar. It’s a space that feels both futuristic and nostalgic, as if she’s tapping into a collective memory of childhood make-believe while simultaneously pushing us toward a new way of seeing. Each image doesn’t just ask, “What if?”—it insists, “Look again.”

Gab Bois
seen by Joseph Davies

(c) Gab Bois

Bois’ artistic journey is one deeply rooted in curiosity, a trait that pulses through each visual story she creates. Growing up in a creatively rich environment, Bois was exposed early to the power of visual storytelling. Her father, a painter, introduced her to the language of imagery, a language she now speaks fluently, though in her own distinct dialect. Through this creative trajectory, Bois has etched out her own niche of visual expression, a vast terrain where possibilities stretch into eternity, folding worlds within worlds. Within these spaces, Bois orchestrates a new vocabulary, whereby a cocktail dress made of Scrabble tiles isn’t just a playful costume—it’s a commentary on language, identity, and the ways we construct meaning.

Her visual style is a melting pot of influences—design, fashion, pop culture, and advertising—yet it feels entirely her own. Growing up in the age of selfies and self-representation, Bois has a keen understanding of how images function in our digital age. Extending an open conversation with the viewer, lending itself to an intimate exchange that bridges the gap between artist and audience. There’s a sense of shared understanding, as if to say, “You’ve seen this before, but have you really looked at it?” Through this connection, Bois invites us into her world, a world where the ordinary is anything but.

At the heart of Bois’ practice is a fascination with paradox. A practice that exists in the liminal space between reality and simulation. She plays with these tensions, creating pieces that feel both timeless and of-the-moment. In a world dominated by endless scrolling and fleeting attention spans, we are invited to pause and engage, even to reconsider the forms we encounter every day but rarely truly see.

“It feels like my playground is constantly getting bigger, giving me the opportunity and privilege to work with whatever materials my concepts call for.”

Gab Bois speaks with Tagen Donovan
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

(c) Gab Bois

(c) Gab Bois

(c) Gab Bois

Tagen Donovan
Let’s start at the beginning. How did your early artistic influences shape your creative perspective, and in what ways has this visual language guided your approach to storytelling?

Gab Bois
My creative practice has always been deeply rooted in the sense of wonder I felt as a kid, my wonder of objects and curious perspective of the world. I’ve tried to construct a visual language that blends elements from my childhood play and my teenage Tumblr days, in which I continue to tell a story.

The idea of working with what you have in front of you is a recurring theme in your art. Do you see this as a direct extension of your childhood experiences, or has it evolved into something more conceptual as your practice developed?

I’d say it’s a product of both. My creative practice has always been shaped by my surroundings—a continuation of childhood days spent playing outside and collecting objects. Over time, though, my career has given me access to more resources. It feels like my playground is constantly getting bigger, giving me the opportunity and privilege to work with whatever materials my concepts call for. The spirit of my practice is still the same: playful and rooted in my environment. But the process has definitely evolved, especially when working with briefs and as part of a team.

Your work often features a blend of humor, discomfort and beauty found within the mundane. How do you select objects for your pieces? Is it a meditative process or something more instinctive?

It’s definitely an instinctive exercise—I’m drawn to objects that catch my eye aesthetically. Since my practice is grounded in time and place, I usually gravitate toward objects or themes that feel current, whether they’re seasonal or flooding my explore page.

Blending elements of conceptual art, sculpture, and fashion with a playful and thought-provoking edge creates the tapestry of your practice. If you were to describe the genre or identity of your art, how would you define it? Or is there an element of transcending labels and boundaries?

I don’t usually try to describe my work, but I love when people who know art history connect it to other movements or genres. I don’t really have the knowledge—or the urge—to place myself within the larger art landscape, though I’m not opposed to it. I’d say my work is conceptual, and my practice is more about a general vision than sticking to a specific medium. I see it more as a special sauce that I can adapt to any dish.

In the age of the infinite scroll, your work creates moments of reflection, inviting viewers to pause and view the ordinary through a different lens. All while tapping into our innate sense of curiosity amidst the rapid consumption of content. How intentional is this aspect of your work?

Thank you for framing my work this way—that is very kind. Creating work that calls for a moment of reflection or pause is definitely something I aim for. I think everyone has a personal gallery of images that stick with them—or at least I do. If my work becomes part of someone else’s mental gallery, that is awesome. But if people keep scrolling past it, that won’t stop me from making more. I’m well aware that most of us are overwhelmed by images daily, and I can’t control if my image will cut through this. What I can control—and what I think has been a strength of my practice—is building a distinctive visual universe.

Captions evolve into titles for each piece, while the comment section transforms into a dynamic space for recontextualisation and community dialogue. What is it like to witness, in real time, how your work sparks conversations and invites fresh interpretations from your audience on social media? Have you ever been surprised by how it's interpreted?

It’s funny you say that because I feel like this was especially true when I first started sharing my work online. People were very engaged and the comment section was very dynamic, so many people shared strong feelings, positive or critical. The Instagram landscape has changed a lot in the past few years, and I’ve noticed people interact much more with reels than with still images now. My comment section feels a lot calmer now. It’s mostly a mix of love, clever puns, or references of work that people are reminded of, which I enjoy learning about.

You’ve previously mentioned your father’s ability to“talk with images”,which resonates with your own approach to creating art. Do you see your work as a continuation of this legacy, or have you reinterpreted it in your own way?

Great question. I see it as both. Having a child is merging your essence with someone else’s, creating something entirely new, never just recreating yourself. In that sense, I owe a lot of my creative practice, passion for art, and craft to my dad. That said, our artistic processes and inspirations are quite different, though there is most likely overlap in the way we both approach art on an internal level.

The theme of this issue is EPHEMERAL—the fleeting, raw brilliance of the present. How does the concept of impermanence manifest in your work, especially in a world where images and ideas are so quickly consumed?

I like to think of my work as surreal time capsules, each piece captures my inspirations from a specific time and place. I also draw a distinction between the physical object and the photo or video of it, seeing the act of capturing the object as the time capsule itself.

I am very inspired by the Tibetan Buddhist practice of creating sand mandalas. I like to be as invested in the process as in the final tableau, but not so much in the outcome once the work leaves my hands. I don’t mind spending hours on something that might be shared and then forgotten. In my experience, something doesn’t have to be framed or looked at every day to be real or valuable.

In your "Canapés" collection, you transformed everyday food items into wearable art. What challenges did you face in translating your photographic concepts into physical fashion pieces?

When creating Canapés, my intention was to explore both the design and production processes of wearable accessories, while considering functionality alongside aesthetics. One of the biggest challenges I faced was the balance between form and function. In my creative practice, I’ve always prioritized form, but I quickly realized that to make these pieces wearable and functional, I’d have to make certain compromises. I learned that when something is comfortable and practical, it enhances its overall appeal and becomes more beloved. In the end, the compromise doesn’t end up being a compromise at all.

Follow @gab_bois

What’s perhaps most striking about Bois is her ability to move fluidly across disciplines—without losing the thread of her conceptual vision. Entirely self-taught, a fact that underscores the raw, instinctual nature of her creativity. Bois’s work feels alive, as if it’s constantly evolving, driven by an insatiable curiosity and a passion for bringing ideas to life. This evolution is evident in her recent projects, which expand her practice into new territories. While experimenting with interactive elements, designing wearable objects, and exploring new media to push her artistic vision beyond the confines of the screen.

Le Mile’s EPHEMERAL issue explores themes of impermanence and raw creativity, Bois’ work feels particularly resonant. It’s a celebration of the fleeting brilliance of the present, a reminder that even the most ordinary objects can become extraordinary if we’re willing to see them in a new light. In this exploration of her practice, we delve into the inspirations that fuel her creativity, the evolving relationship between physical and digital creation, and how she navigates the impermanence of contemporary visual culture. But perhaps more importantly, we consider what her work asks of us. It’s not just about appreciating her art; it’s about questioning our own perceptions, about finding the surreal in the everyday, and about embracing the playful, curious spirit that drives her practice. Gab Bois doesn’t just create art—she creates moments of wonder, and in doing so, she reminds us that the world is far stranger and more beautiful than we often allow ourselves to see.

(c) Gab Bois

(c) Gab Bois

In 2020, you released a book with Anteism, and you’re now preparing to launch a new project with Baron Books. Both editions embrace a sense of play, from simulated phone cameras in your first book, inviting readers to take selfies within the gaze of the book itself, to the interactive sticker cover art in your upcoming release, directed by Max Siedentopf, which encourages direct participation with the artworks. How do you approach the design of these interactive elements, and what role does the concept of play hold in shaping your broader artistic vision and practice?

Play is truly at the heart of my practice and my studio’s vision. There’s always an element of surprise, because we’re creating things that don’t yet exist, and we can never fully predict how a work will be experienced in the real world. It is so exciting to see our vision come to life, fully formed by each decision made and each source of inspiration gathered along the way.

I see our studio as a playground, where we have the freedom to experiment and explore. We are so lucky that we don’t have to get bogged down by many constraints in our personal projects. We might still get hurt on the playground by making bad decisions, but we always learn and hop back into the swing of things.

When creating, do you think more about how your work will exist in its immediate context or how it might be archived and remembered in the Future?

Again, both. I’m always aware of how my work will exist in the present moment, but I’m also curious and excited about how it might be perceived, archived, and repurposed in the future.The future informs how I capture and display my works in the present: photographing an object in its best light, preserving it as a high quality image and as a physical object when possible. A photo can withstand time, even if the physical object deteriorates.

What's next for you? What are you excited to explore in 2025?

On a personal level, I’m really excited to dive deeper into creating video works and exploring storytelling as a vehicle for my ideas. For my studio, my team and I love experimenting with different mediums and forms of work, and our goal is to keep raising the bar for what we can achieve and what terrains we can move into. This year, we aim to continue pushing towards constructing a tangible presence of our work and vision, and we have lots of exciting products and projects rolling out this year that reflect this ambition.

“We might still get hurt on the playground by making bad decisions, but we always learn and hop back into the swing of things.”

Gab Bois speaks with Tagen Donovan
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

Franco Masini - Interview

FRANCO MASINI
*Between Cities, Scripts, and Style

written + interview ALBAN E. SMAJLI

Franco Masini moves with intent to generate monumentum. Actor, producer, reader of places, collector of moments—he expands his practice through curiosity and risk.

His latest project, a theatre production he’s independently bringing to life, marks a shift toward authorship. Ownership of process. Control of tone. A story he performs and constructs. Fashion is part of his language. He responds to designers like Adrian Appiolazza and Jonathan Anderson for their ability to distort form with precision. He keeps a close eye on Matias Carbone, an Argentinian voice now emerging across Europe. Masini assembles identities. and his wardrobe edits itself in real time.

watch FILM

full look MOSCHINO
tie FURSAC

blazer TRANSE PARIS
vest IGOR DIERYCK
jewelry ALT PARIS

Alban E. Smajli
Your career moves like a shifting lens—what’s in focus for you right now?

Franco Masini
I love the movement of my career. I think it’s really important to stay focused on new things and to have opportunities to learn and grow as an actor. My next step is to produce a new theatre show—I’ve already acquired the rights.

Which designers are speaking your language this season, and what are they saying?

There are many new designers doing amazing work. I really like Adrián Appiolaza and Jonathan Anderson—they’re very creative and always producing unique and thoughtful pieces. I also really like Matías Carbone from Argentina, who is expanding his brand into Europe.

If your wardrobe were a film, who’s directing?

My wardrobe has many different elements. I think it would need a very unique director. I enjoy changing styles, designers, and colours, and creating my own “Franco” style. I get bored easily—haha!

Art and fashion exist in dialogue. Where do you see the conversation heading?

Art and fashion are two things I really enjoy. I love how creators express their own perspectives through clothing.

Museums capture time, fashion rewrites it—what recent art exhibition has stayed with you?

I really liked ARCO in Madrid—a week of contemporary art, with so many creatives and amazing artists.

What does personal luxury look like for you beyond the obvious?

Personal luxury, for me, is in meaningful moments with the people I love—like visiting new places, discovering new countries, or sharing great food with friends. That’s the best.

What city makes you feel most like yourself?

I think Buenos Aires is the place—full of movement, art, cinema, friends, and always something to do. Madrid feels like my second home. It’s also incredible.

Morning ritual or midnight impulse—when do you feel most alive?

I feel most alive in the morning. I love waking up, going for a run near the river, and then having breakfast with a book. I really enjoy reading in the morning.

If you could archive a single look from your life, what would it be?

That’s hard to say because my life is in constant motion—and I love that. I’m always meeting new people, living in new places, exploring new cultures. I appreciate my job because it allows me to reach so many parts of the world.

What’s the last thing that truly surprised you?

The last thing that surprised me was meeting Adrien Brody at Paris Fashion Week. I really admire his work, and it was great to talk with him. We were seated in the same row. I’ve seen all of his movies.

full look JACQUEMUS
jewelry ALT PARIS

full look MOSCHINO
jewelry ALT PARIS

He begins his days by the river, running along the water as the city slowly wakes. What follows is quiet and deliberate: coffee, a book, the kind of solitude that aligns the mind before the rest of the world demands attention. Mornings carry a clarity that sets the pace for everything that comes after—travel, conversations, creative shifts, the layering of roles and identities. Buenos Aires flows through him with instinctive rhythm, while Madrid offers a different current, equally present in his internal map. Each place contributes to the structure he’s building—fluid, expansive, unfinished by design. His idea of luxury moves away from display and towards sensation. A shared plate with friends, the atmosphere of a new neighborhood, the texture of unfamiliar languages and streets—these are the moments that stay.

The value is in gathering feeling, in building a personal archive made of people, places, and presence. At Paris Fashion Week, he found himself seated next to Adrien Brody. A quiet dialogue unfolded—film, performance, process. Nothing staged. Just two people exchanging thoughts in a shared space, surrounded by movement but anchored in something still.
Franco Masini lives in progression. Style evolves, environments shift, energy recalibrates. What stays is the drive to create—not as an end point but as a state of being, a continuous act that shapes and reshapes itself in response to what enters, what unfolds, and what he chooses to carry forward.

full look ARTURO OBEGERO
shoes CAMPER
jewelry ALT PARIS
watch CARTIER

full look EVAN BENJAMIN
socks + shoes MOSCHINO

credits
photographer LOUIS TERAN
stylist SIMON NNDJOCK
talent FRANCO MASINI
set designer CLARA DE GOBERT via APICORP AGENCY
movement director ROBIN LABARRERE
hair PAUL GOMEZ
make up MANON CANA via BUREAU ALAGNA
nails MAHARA DIARTE-ZEROUALI
casting director MARVIN LATOURNALD with MODELS LANE
production TABATHA RUSSO at BUREAU ALAGNA
photographer assistant STEVEN BAILLIN

special thanks to Tatiana Dumabin

Neil Zhao - Interview

.aesthetic talk
NEIL ZHAO
*The Material Alchemy

written + interview TAGEN DONOVAN

Neil is a designer redefining contemporary fashion with his sharp, conceptual approach to materiality and form. His work transcends traditional boundaries, transforming overlooked objects into thought-provoking statements that blur the lines between fashion, sculpture, and cultural commentary.

By challenging convention, Neil invites audiences to reconsider the value and potential of everyday materials, sparking a deeper reflection on the intersection of utility and aesthetics. At the core of Zhao’s work is an exploration of permanence and ephemerality—how garments, trends, and even the industry itself exist in a state of constant flux. His designs embrace the tension between the fleeting and the enduring, questioning what it means to create in a world where change is the only constant. This philosophy is embodied in Zhao’s acclaimed Tyre Bag, a piece constructed from industrial material and repurposed into a high-fashion object, subverting expectations and revealing the beauty in the mundane. Across his collections, Neil employs techniques such as layering, deconstruction, and exaggerated repetition, crafting garments that mirror the transient nature of contemporary culture.

Bastien Dausse
seen by Cécile Prunet / (c) Cécile Prunet

As the fashion industry navigates an era of profound socio-political, and environmental shifts, Neil stands among a new generation of designers reshaping its trajectory. His work responds to the moment yet resists easy categorisation—offering a perspective that is as inquisitive as it is uncompromising. By pushing the boundaries of materiality, Neil not only captures the spirit of the times but also challenges the industry to rethink its assumptions about creativity, consumption, and sustainability. In this interview, we explore Neil’s creative process, his evolving relationship with fashion, and what it means to design in an era defined by constant change. Through his innovative vision and commitment to reimagining the ordinary, Neil offers a fresh perspective on the future of design.

“For me, lasting means never settling for what is safe or what already works. Reinvention is key.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

(c) Neil Zhao

(c) Neil Zhao

Tagen Donovan
Your use of the unexpected pushes the boundaries of what fashion can be. How do these choices speak to the theme of impermanence, and what do they reveal about the lifecycle and reinvention of everyday objects?

Neil Zhao
I'm captivated by the mundane and the present moment. My latest collection, showcased last November, reflects this fascination. Currently, as a second-year fashion design student, I'm fully immersing myself in this unique phase—observing my environment and drawing inspiration from it. This might be my only time as a fashion design student, and I aim to capture this transient experience.

Viewing fashion through an anthropological lens offers unique insights. How does this approach help you decode the cyclical nature of the industry?

At its core, fashion reflects human nature—people crave novelty, whether driven by seasonal trends or the pressures of capitalism. Yet, while fashion constantly reinvents itself, certain staples remain.

Blazers, jeans, and button-down shirts don’t disappear; instead, they evolve. Each cycle brings a fresh perspective—through cuts, fabrics, or styling—breathing new life into familiar silhouettes while maintaining their essential form.

With roots across Australia, China, and Norway, how has this multicultural backdrop shaped your perspective on cultural aesthetics?

I think my background has given me a sharper sensitivity to cultural nuances. Having lived in each of these countries for at least six years, I’ve become attuned to the subtle, often unspoken differences between them. It’s not just the obvious distinctions—like food, language, or greetings—but also the ways people from different places naturally respond to certain situations.

At the same time, I find it fascinating to observe the common threads that connect people across cultures. Despite their differences, there are shared instincts and behaviors that transcend borders, revealing an underlying universality in how we interact and relate to one another.

Your work is guided by conceptual underpinnings. In your 2023 RESET showcase at Central Saint Martins, you layered multiple jackets atop one another, creating a striking visual. How does this technique of superimposing reflect the transient meanings of contemporary fashion?

I’m fascinated by the fact that every time I walk into a mall, I see the same garments on the racks—again and again. There’s something compelling about that repetition, the way fashion continuously recreates the same pieces with only slight variations.

It’s intriguing how trends evolve, yet certain silhouettes, fabrics, and styles resurface in endless cycles, reinforcing the idea that fashion is in a constant state of reinvention rather than true transformation.

Your first presentation at Sarabande’s East London Space, If You Don’t Get It, It’s for You, reimagined pin cushions, buttons, and fabric swatches as garments. Could you elaborate on the symbolism behind this collection?

These are the tools of fashion—the things that all of us at my school share in common. Beyond that, we are very different. We come from different countries, subcultures, and ethnicities. We may dress differently, but we all share the same workspaces, hang out in the same smoking areas, go to the same bars, and talk to each other. This kind of community, where such a diverse group of people are brought together through a shared craft, is something you wouldn’t see anywhere else outside of a fashion school. And I find that really interesting.

Fashion often captures the spirit of its time. How does the zeitgeist inform your creative process, and how do you balance creating designs that feel relevant to the present while embracing their inevitable transience? In such a fast-paced industry, do you believe timelessness is still possible?

I’m deeply interested in what’s happening right now. However, it’s hard to pinpoint exactly how the zeitgeist influences my practice—it's difficult to recognise when you’re living through it. That’s what I find exciting about it. I want to look back at my work and see that it was truly reflective of its time.

As for timelessness, I don’t really believe in it—at least not at this point in my career. Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work. But who knows? Maybe one day I’ll want to create something timeless, too.

What does “lasting” mean to you in an industry defined by constant change?

For me, lasting means never settling for what is safe or what already works. Reinvention is key. I admire artists who completely depart from their previous work—sometimes it works, sometimes it doesn’t, but that’s what makes it interesting. The ability to take risks and keep evolving is what makes something truly lasting.

Lastly, what’s next for you? What are you excited to explore in 2025?

I want to reinvent myself—try something new. Of course, I’ll hold onto the things I love and stay true to myself, but I’m curious to see how I can use my sensibilities to create something that feels fresh and different.

Follow @kan_du_choke_meg_litt

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also read
.aesthetic talk STIJN KOKS *Fashion, Process, and the Power of Objects

(c) Neil Zhao

(c) Neil Zhao

“Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

Bastien Dausse - Interview

.aesthetic talk
BASTIEN DAUSSE
*Choreographing New Realities

written + interview SARAH ARENDTS

Bastien Dausse is redefining the laws of physics on stage, where gravity becomes just another element to manipulate. 

From his early days at the Bordeaux Circus School to co-founding Compagnie Barks, he has pursued a relentless fascination with weightlessness and the surreal. His performances challenge our perceptions, blurring the lines between reality and illusion, and inviting audiences into a space where the impossible feels within reach. Dausse’s vision keeps expanding, crafting performances that provoke deeper thought and leave audiences with a lingering sense of curiosity and wonder.

Bastien Dausse
seen by Cécile Prunet / (c) Cécile Prunet

“My fascination with weightlessness stems from a childhood dream of defying the physical limitations imposed by gravity.”

Bastien Dausse speaks with Sarah Arendts
for LE MILE Issue N3. 37 - AGE OF CHANGE

(c) Marc Lahore

Sarah Arendts
Your work often defies gravity and challenges conventional physics. What inspired your fascination with weightlessness, and how do you envision this theme evolving in your future performances?

Bastien Dausse
My fascination with weightlessness stems from a childhood dream of defying the physical limitations imposed by gravity. Watching martial arts films and seeing characters perform seemingly impossible feats ignited a desire in me to explore and push those boundaries. This theme of defying gravity has always been a central element in my work, representing both a physical and metaphorical escape. It's a research theme I'm particularly interested in at the moment because I feel there's a kind of universality to it—the universality of the relationship with gravity. I enjoy the thought that the audience can relate to what I present on stage.

For the future, I have quite a few ideas where weightlessness is no longer central. Instead, I will concentrate more on the design and reflection of new types of scenography and choreography. Even if I think that gravity will always underlie my work.

"Moon" features a series of anti-gravity devices. Can you walk us through the creative process of designing these devices?

The creative process for designing the anti-gravity devices in "Moon" began with the idea of a specific motion or sensation I wanted to achieve, such as simulating lunar gravity or walking on a wall. From there, I engaged in extensive experimentation and research, often working empirically to find the most effective solutions. This involved numerous trials, modifications, and sometimes completely reimagining the devices. The design process is iterative, requiring patience and a willingness to learn from each failure. Once the devices were perfected, the choreographic work could begin. I then spend several weeks working on a new acrobatic and choreographic vocabulary specific to each object I design.


Your performances often play with the audience's perception of space and reality. How do you approach the psychological aspects of your work, and what unexpected reactions from your audience have left a lasting impression on you?

The psychological aspect of my work comes quite naturally into my creative process. It's like a continuation of my approach. I strive to create experiences that challenge the audience's perceptions and invite them to see the world from a different perspective. I always get a lot of feedback from the audience after my shows, as if there was a need to share an experience, and that gives me great pleasure. Recently, several people have told me that they felt as if they were dreaming while awake, like a breath in their daily lives, and that my work had a calming effect. It really touched me that my work could touch people on an emotional level.

From your training at the Bordeaux Circus School to co-founding Compagnie Barks, how has this personal odyssey sculpted your artistic vision, and what core messages are you driven to communicate through your work?

I think that my training in Acro-dance at the Bordeaux Circus School, then at the Fratellini Circus School in Paris, laid the foundation for my artistic vision by providing a comprehensive education in circus and choreographic arts, emphasizing both technical skill and creative expression.

I'm also keen to see different kinds of shows and exhibitions regularly to keep my curiosity alive. Co-founding Compagnie Barks with François Lemoine allowed me to further explore and refine my artistic ideas in a friendly and collaborative environment.

In these times of profound societal change, how do you see your work not just reflecting but actively contributing to the transformations happening around us?

I see my work as a moment of escape from harshness and, I hope, as a way of provoking thought and encouraging people to envision new possibilities. Perhaps it inspires a form of lightness, a need to see the world more playfully, and to find creativity in everyday life.

Your performances transform and breathe new life into familiar spaces. How crucial is the environmental context to your work?

Each performance space offers unique challenges and opportunities, influencing how I design and execute my work. By adapting to and transforming familiar spaces, I aim to create a dialogue between the performance and its surroundings, encouraging the audience to see both the space and the performance in a new light. I like to be not just a performance that fits into a place, but one that fits with the place.

You’ve often highlighted the role of failure in sparking innovation. Can you share a specific moment when a misstep or unexpected challenge led to a breakthrough in your creative process?

One memorable moment of failure that led to a breakthrough was during the development of an anti-gravity device. An early prototype failed to provide the desired effect, leading to frustration and a sense of setback. However, this failure forced me to rethink my approach and explore alternative solutions. This process of trial and error ultimately led to a more innovative and effective design, demonstrating that failure can be a powerful catalyst for creativity and progress.

Your work consistently redefines the boundaries of contemporary performance art. As you peer into the future, what radical vision or wild ambition drives you, and how do you see your legacy disrupting and reshaping the artscape?

I feel I've barely scratched the surface of the subject at the moment. I have the impression that there are still an infinite number of possibilities and ways of developing my subject, perhaps by using new materials and new technologies. But also by creating more immersive experiences and involving spectators even more in the sensation I want to communicate. 

I hope that my work will open up the field of possibilities for other circus and choreographic artists, inspiring them to take an even greater interest in objects and design to enhance their relationship with the body and performance. In the same way that so many visual, choreographic, photographic, and circus artists have inspired me and shown me that it's possible to create differently.

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also read
.aesthetic talk STIJN KOKS *Fashion, Process, and the Power of Objects

Table et chaises, Bastien Dausse
seen by Marc Lahore

“Recently, several people told me they felt as if they were dreaming while awake, like a breath in their daily lives.”

Bastien Dausse speaks with Sarah Arendts
for LE MILE Issue N3. 37 - AGE OF CHANGE

Stijn Koks - Interview

.aesthetic talk
STIJN KOKS
*Fashion, Process, and the Power of Objects

written + interview SARAH ARENDTS

Stijn Koks builds worlds. Objects hold weight, fabric carries memory, silhouettes tell untold stories.

His work moves through instinct, shaped by process rather than control. Knights of Nostalgia extends this language—sci-fi headpieces, repurposed textures, the raw and the unreal. Film becomes a pulse, turning garments into atmospheres. Koks reworks discarded pieces, not to recycle, but to shift meaning. In this interview, he speaks about movement, material, and the tension between impulse and precision.

watch KNIGHTS OF NOSTALGIA

“It’s a childlike imagination. Playful, but with depth. Irony never outweighs sincerity.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

Sarah Arendts
Your designs feel like relics of a past that never existed—surreal and nostalgic. Is your work about rewriting childhood or weaponizing it?

Stijn Koks
Weaponizing it. Reclaiming its imagination, but with a mature edge. It's about tapping into the raw, unfiltered emotions of that time—when everything was heightened, strange, and full of possibility—and turning them into something more potent, even unsettling. Harnessing childhood elements is not just a sweet reminder of the past, but a tool for imagining the future.

"Knights of Nostalgia" feels like a playground for the imagination. What’s the first thing you built when the idea hit you, and what did you destroy along the way?

I started with sci-fi-inspired headpieces, repurposing old cowhides and jeans—blending raw with refined. The goal was to create something that felt both nostalgic and futuristic? ‘Vintage sci-fi’ might be the best way to put it. I relied heavily on intuition throughout this collection, which sometimes led me to ideas that will never see the light of day. Still, I already have a million things I’d do differently next time, but I wouldn’t have reached that realization without going through this first. Because the process was so instinctive, editing became a constant push and pull—stripping things until the collection as a whole felt right (for now).


Fashion is often called armor, but your pieces feel more like portals. Are you dressing people to escape or confront the world?

I’d say confront, I don’t think there is much happiness in escaping. If I could spark a little imagination, that’d be great. It’s about navigating the complexities of the world, not running from them. There’s strength in facing the chaos head-on, and wearing something that makes you feel invincible. These pieces are tools for transformation, not retreat—focusing on things we can engage with, rather than escape from.

Walter van Beirendonck and Henrik Vibskov are both titans of the absurd. What lessons from their studios have you carried into your own chaos?

Mainly, the pace. At that level, creativity isn’t just about ideas—it’s intertwined with the business side of fashion. In art school, there’s endless room for absurdity, but in the industry, that space shrinks. Yet, they both find a way to make it work regardless. What intrigues me is the constant tension between artistic integrity and commercial viability. If you lean too much into what sells, you risk diluting your authenticity.

They were careful to preserve that balance. It reminds me of that Henry Ford quote: “If I had asked people what they wanted, they would have said faster horses.” I have zero interest in cars but that quote is cool.

Which designer or brand feels like a kindred spirit to your vision?

It shifts all the time but currently I like ERL. They have a nice, nostalgic, playful feel.

Your work demands a kind of physical interaction—it’s loud and textured. Do you think fashion in the metaverse can ever match the tactility of the real?

No. I’m currently in the middle of creating a large installation for my upcoming show, working with wooden branches and metal elements—letting the process take the lead. It’s all about problem-solving in real time, finding ways to connect and shape different materials as I go. I start with a general idea, but the execution is always shaped by the process itself. The same applies to my garments—the concept evolves as I dive deeper into creation. Along the way, you discover better ways to bring an idea to life, and materials often behave in unexpected ways. That kind of tactility simply doesn’t translate to the digital world. Sure, it’s fun to customize your metaverse avatar, but isn’t it cooler to be the actual avatar in real life?

Recycling, repurposing, rebuilding—your process feels part alchemy, part storytelling. Do you see discarded objects as ghosts waiting to be reanimated?

Absolutely. That’s where the idea of readymades comes in—transforming everyday objects, often discarded or overlooked, into something more profound just by shifting their context. A broken chair or a chandelier, for example, both hold certain references and could become vessels for something new—or something funny and unexpected, triggering a fresh perspective. That said, not everything carries that kind of value. Some things are just trash.

The film for "Knights of Nostalgia" is pure fantasy, but it’s also a manifesto. How do you use moving images to expand the language of your line?

The film for Knights of Nostalgia is almost the soul of the collection—like a visual pulse that injects life into the narrative. Moving images allow me to create an atmosphere that transcends static imagery or theusual fashion show format. Through film, the viewer can engage with the collection on a deeper, more visceral level. Fashion is fundamentally storytelling, but film gives that story a fluidity—it’s where fantasy and reality blend, and I get to play with those boundaries. It’s the ideal medium to expand the collection’s universe, capturing not just the look, but the mood, the atmosphere, and the symbolism. The movement, the soundtrack, the pacing—all contribute to turn the collection from something you wear into something you feel. Shoutout to the team for bringing this attitude to life.

There’s something wildly anarchic about pulling childhood toys into adult wardrobes. Are you reclaiming innocence, or are you throwing it into the fire?

I could never part ways with my action figure collection. Showing them off feels right, almost like paying tribute to a part of myself that shaped who I am today. I don’t think you ever truly outgrow your toys; they’re woven into the foundation of who you’ve become. The toys you played with as a kid reveal a lot about your personality, your interests, your imagination. So, why not embrace that? Incorporating them into adult life feels less like clinging to innocence and more like honoring the things that made you, you.

How do you stop irony from swallowing sincerity?

I’m always trying to strike a balance between kitsch, a bit of wittiness, and a level of maturity. I’m not interested in childishness, but rather in a childlike sense of imagination—something playful without losing depth. Back in art school, I was constantly experimenting, mocking certain aesthetics while exaggerating others, trying to find that sweet spot. It’s a careful process of navigating irony without letting it overpower the sincerity I want to preserve. So, I’d say it’s a fine line that I continue to explore.

Since your silhouettes blur edges and identities, breaking free from binaries, does gender even exist in your design vocabulary?

So, if I’m a rabbit walking into a local giraffe store, and I find this knitted balaclava made for zebras—it has two holes for ears, two for eyes. I have four legs, so it suits me as an oversized Raf Simons sweater. I’m walking out of the store with the zebra balaclava. I guess, as a designer, all I’m doing is giving suggestions based on how I feel at the time. A particular casting doesn’t exclude any other wearers—someone else might pull off the look even better. I can only encourage that.

What’s the last fashion show or collection that stopped you in your tracks, and why did it feel so electric?

I’m afraid I’m stating the obvious, but Maison Margiela’s Artisanal 2024 show was absolutely mental. Storytelling at its finest, and truly beautiful.

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

STIJN KOKS
Portrait

“There’s no happiness in escape. Strength comes from facing the chaos head-on. They’re tools for transformation.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

credits
director JEROEN KOOISTRA
creative director STIJN KOKS
production company UNDERSCORE
producer WILLEM BEELAERTS VAN BLOKLAND
D.O.P. BOYD BAKEMA
1st AC TOM SELBECK
steadicam JARON JOOSTEN
gaffer BORIS PETERS
bestboy LENNERT ROIJACKERS
edit STAN VRIEND
grading BOYD BAKEMA
music TOM BRUINS
music mastering TIJMEN VAN STEKELENBURG

models
CARLOS KOK + MEGAN IRUSTA CORNET + KRISTJÁN STEINN KRISTJÁNSSON + COOSJE FROENTJES
styling assistant SOPHIE KOKS
production assistant JADE KLOET
all lookbook images seen by JELLE KOITER

Sofia Lai - Interview

.aesthetic talk
SOFIA LAI
*Out of Body

written + interview Hannah Rose Prendergast

This is not a missing-person case. Sofia Lai's sculptures are placeholders for strangers and loved ones alike. Constructed from memories of yesterday and yore, the Italian artist has an eerily complete way of collapsing time.

After relocating to London in 2015, Lai realized nothing makes you feel more unseen than moving to a megacity. So, she decided to induce moments of deja vu or the already-seen through assemblage. It’s a bonding experience that is both traumatic and joyful, a little like the pile of clothes on your chair that comes to life in the dark.

As a stylist, Lai’s shapes are less haphazard and more thoughtfully layered to reflect human diversity. You can’t walk around in someone’s skin, but Sofia Lai’s sculptures will get you pretty close.

Sofia Lai

“The notebook I carry with me contains all my dreams, nightmares, thoughts, to-do lists, and scribbles. It is everything that goes through my mind that I wish to look back on one day.”

Sofia Lai speaks with Hannah Rose Prendergast
for LE MILE Issue N3. 37 - AGE OF CHANGE

Hannah Rose Prendergast
What was your introduction to the arts as a child?

Sofia Lai
The arts have been a part of my life for as long as I can remember. Throughout my childhood, the arts helped me to express myself and my worldview. Craft allowed me to explore my creativity and create something tangible that words alone could not.

You’re originally from Florence, Italy, but you moved to London in 2015. How did your sense of place develop over time? When did you start to feel grounded?

Sense of a Place is an ongoing project. My definition of groundedness changes day to day based on how I get to know the world and those around me. The place I live is not central to it; it is the people I live with, how I feel, and the appreciation of everyday life. Most days, I do not feel grounded anywhere, and this is what my practice revolves around – the feeling of discomfort that reverts to something negative and then towards something positive in a way that allows everyone to discover and reevaluate what matters in life.


Could you walk me through your sculpting process? Do you always cast your body as the mold?

My creative process starts with daily notes about how I feel and what I see. The notebook I carry with me contains all my dreams, nightmares, thoughts, to-do lists, and scribbles. It is everything that goes through my mind that I wish to look back on one day.

These could be keywords that refer to abstract experiences, such as seeing a stranger talking on the phone or noticing the distinctive shape of a bag hanging on a tree. Sometimes, those notes stay in my head for months without making sense before I can translate them into tangible concepts and elements such as sculptures. I start with my own body as a known tool. My ability to put myself into works created by others is what makes me an artist.

What is the lifecycle of one of your sculptures? Do you ever re-use them?

It depends on the sculptures and how I view them. Because my creative process is deeply rooted in my surroundings, I sometimes cut some of the sculptures and reuse them in a new way. Similarly, the clothes vary depending on the type of character and identity I want to create.

What is important about the presentation of these pieces? For example, you use a hanger sometimes to set things off.

I am interested in forming an identity through specific shapes and volumes created by posing and outfits. Finding the right objects and garments took me some time to accomplish. I use hangers rather than very heavy sculptures that stand alone because I'm trying to replicate the softness and swiftness of specific movements I have in mind for that character.

How do you know that your character has the right outfit?

Having no specific method of knowing when the outfit is right, I know by seeing and incorporating clothing elements reminiscent of something or someone for each sculpture.

How does having insomnia inform the nightmarish quality of your work?

I've always associated insomnia and nightmares with something negative and abnormal. Only in the last couple of years did I realize how unique and positive my "absurdity" could be. We all try to fit into a world that constantly scares and overwhelms us. It was about accepting myself for who I am and separating myself from the idea that people would not understand me if I were so unique. In our community, we all experience struggles in some form, and sharing our weaknesses with others helps us turn them into strengths. Art, for me, is an entity through which I can transfer my feelings towards others.

The bodies’ arresting posture reminds me a little of crime scene photos. Have you ever thought of this?

I did not! However, I love that everyone perceives my work differently and makes multiple connections. I'm seeking an emotional connection with the viewer, and I'm glad my sculpture can shape-shift depending on the person looking at it. The beauty of art is that it is subjective and open to interpretation. Every viewer brings their own experiences and emotions to the artwork, and no two people will have the same reaction.

How has sculpting made you appreciate your body?

Accepting my body is still a work in progress as it relates to accepting the complexity of myself as a human. The body is often the first tangible representation of who we are, and it can be difficult if the thoughts and feelings within are not fully accepted. Discomfort is not simply a negative component we all experience but also a strength that allows us to analyze our behavior and improve ourselves.

Part of your inspiration comes from the people you love, including your sister and grandmother. How have they supported your vision?

I've always been supported in multiple ways by all the people that I love. I have learned that you should be open-minded and able to see and understand the different ways people can share their support. Being grateful and appreciating what you have are key elements for artistic growth. I couldn't be me and do what I do without the support I have around me.

What next for you, Sofia?

I am working on a series based on my past, present, and future experiences. I hope to share this journey with everyone soon.

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also read
.aesthetic talk KYSHAN WILSON *The Multifaceted Prism of

“We all try to fit into a world that constantly scares and overwhelms us. It was about accepting myself for who I am and separating myself from the idea that people would not understand me if I were so unique.”

Sofia Lai speaks with Hannah Rose Prendergast
for LE MILE Issue N3. 37 - AGE OF CHANGE

Borgial - Interview

.aesthetic talk
BORGIAL
*Ancestral Echoes

written + interview Amanda Mortenson

Borgial’s art defies easy categorization, drawing from a rich well of personal and cultural narratives.

Born in Congo and now based in France, he channels his heritage and experiences into powerful works that resonate with ancestral spirituality and esoteric traditions. His sculptures and performances are engaging experiences, each piece serving as an archaeological dig into his African roots and the complexities of identity. A visceral exploration of memory, mythology, and the profound connections between the physical and spiritual realms, his work crafts a dialogue between past and present, inviting us to engage with the raw, elemental forces that shape our existence.

Through a unique blend of materials and symbolism, Borgial creates a space where art becomes ritual, a pathway to deeper understanding and transformation.

Borgial by Kaj Lehner

“My romance with art has always been a secret place for me to connect with the wholeness of my imagination, in the childish yet visceral idea of me being a wizard.”

Borgial speaks with Amanda Mortenson
for LE MILE Issue N3. 37 - AGE OF CHANGE

Amanda Mortenson
Hi Borgial, your work often involves the mythification of the individual, intertwining personal histories and broader cultural narratives. Can you elaborate on how your personal experiences and your African roots influence your art?

Borgial
I was born in Congo and left my country with my family due to the political instabilities resulting from the repercussions of civil war. As a migrant, being uprooted always leads to an identity crisis. My romance with art has always been a secret place for me to connect with the wholeness of my imagination, in the childish yet visceral idea of me being a wizard. Magic is, in fact, a huge part of my Congolese legacy. My grandfather transmitted spiritual gifts and practices to my dad, who then passed them on to me and some of my siblings.

This sense of spirituality is a significant part of my artistic practice. In my sculptural work, I try to recreate a certain archaeology of what remains of my Africanity (from both the collective and individual experience of it): all the memories, mythologies, and narratives that have taken shelter in my physical and etheric bodies throughout this cultural shift of moving to France. These sculptures and installations are the archaeology of my own history. Due to the Congolese civil war and political instabilities, we lost much of our past (photos, objects, and even memories often due to trauma)—therefore, the idea of archaeology is very important to me.

In my performance work, I engage in exercises (which I often consider rituals) to reconnect with emotions and a profound ancestral spirituality. I strive to reconnect my body with something greater than myself. Performance art serves as a form of personal therapy.

In your installations and performances, you use a variety of materials—each carrying specific symbolic weight. How do you choose these materials, and what do they represent in your work?

I started with fabric. I’ve always maintained a connection with the idea of fashion because it bridges my Congolese and French cultural experiences. It’s like a common thread linking these two narratives. In 2020, I created my first wooden sculpture piece named "Piedestal I." an elevating pair of sculptures and performative objects that embodies the boldness of self-expression. Carving and working with wood felt natural to me—it was organic, physical, and involved endurance and self-realization. With every small gesture I made, I felt as though I was unearthing the history of my ancestors and getting closer to a shared reality. Since then, I have chosen wood as my primary material for sculpture.


Having moved from Congo-Brazzaville to France, how do you balance or navigate the influences of these diverse cultural landscapes in your art?

It’s not easy. It’s a long process. I feel like the life of an artist involves a lot of doing, then questioning the deeper meaning of what we have just done—in order to refine and clarify future attempts, as we weave an entire narrative and identity through the process of art. The more I grow (both personally and in my practice), the more I strive to reach a universal form of expression. One that could blend all the cultures within me and be understood by anyone, regardless of their cultural background. An art that emanates something raw, primitive, and visceral.

This requires staying grounded and close to my origins while also being grateful for every expansion that life provides. This idea of elevation while constantly taking root was the concept behind my piece "Piedestal I." I am currently working on developing a series of these pieces, as I have realized that this theme will always be a part of my life.

all images seen by
KAJ LEHNER

You have a keen interest in esoteric traditions such as alchemy and astrology. How do these disciplines inform your creative process and the thematic content of your work?

I’ve always believed in the magical realms of life—invisible forces and all. I think the deep study of these disciplines helps me bring rationality to my Piscean imagination (Pisces moon here). Alchemy, astrology, and numerology help me understand the subtleties of life and connect with ancestral knowledge. I delve into their iconography to find elements that can enhance my artistic vocabulary. It’s a lot of food for thought for me. It’snot my whole life, but it greatly nourishes my knowledge and comprehension of life. I’m sure it plays a bigger role on an unconscious level of my brain, but I haven’t fully understood it yet.

As an artist, what role do you think art plays in societal change? Do you believe art has the power to influence or reshape cultural or social norms?

I do believe so. In society, art represents the idea of freedom. It has the power to explore diverse realms and intertwine reality with imagination, thereby shaping new realities. To me, it’s one of the most powerful things. I also believe it has become more challenging since social media has gained so much influence on people's lives. It’s both a blessing and a curse.

I know there are many people out there using art to make the world a better place, and I’m very grateful to witness and be inspired by that. One of the latest inspirations I've found is Gilberto Gomes Leal, who explores movement as a powerful and healing tool for both the individual and the collective. I am very inspired by these people and initiatives.

How do you perceive the current shifts in our society? What changes are most significant to you personally or artistically?

Technology. Social media still represents a significant shift for me. I’ve always been quite mistrustful of it, yet it is a tool for promoting my art. I also see the way it impacts people’s mental health.

With the rapid changes and transformations happening today, how can your art contribute to or enhance the public discourse on these shifts?

I want my art to be a window through which we can inspire others to embrace freedom, both in art and spirituality. I also want it to reflect an idea of integrity, authenticity, and responsibility towards humanity and nature. My goal is to have a practice with zero negative impact on nature, one that can elevate minds and souls.

Let’s look forward, how do you see your artistic practice evolving? Are there new themes or mediums you are interested in exploring?

I’m curious about so many things, but I also want to build a career that is coherent, authentic, and meaningful. I want it to convey a comprehensive and unified message. I don’t know what the future holds for me, but I would love to expand my performance universe by traveling the world and, most especially, going back to Africa. There is so much more for me to see and do there. I also want to invite more performers into my work to learn through others and to inspire unity by intertwining bodies and their personal histories. Additionally, I love composing music, so I would really love for music to take a bigger space in my performative explorations. Let’s see! For the moment, I’m just very excited about all the good things that are happening. I’m very optimistic about the future.

What kind of impact do you hope your work will have on both current and future generations? How do you want to be remembered in the world of art and contemporary culture?

Wow. I don’t really know about that. I want my work to inspire an idea of peace and fluidity across genders and cultures. Ultimately, I want my art to tap into the essence of life. That’s my secret dream.

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

“I want my art to be a window through which we can inspire others to embrace freedom, both in art and spirituality, while reflecting integrity, authenticity, and responsibility toward humanity and nature.”

Borgial speaks with Amanda Mortenson
for LE MILE Issue N3. 37 - AGE OF CHANGE