Eva Lys Shares Her Camera Roll: The Porsche Tennis Grand Prix

#ThePersonalEdit

Eva Lys Opens Her Camera Roll from the Porsche Tennis Grand Prix

written KLAAS HAMMER

For this edition of The Personal Edit, Eva Lys offers a glimpse into the rhythm of life on tour, sharing moments from her personal camera roll that capture what unfolds both on and off the court at the Porsche Tennis Grand Prix in Stuttgart.

Few sports demand as much travel as tennis. From Miami to Stuttgart, on to Rome and Madrid, before returning to Paris at the end of May for the clay-court highlight of the season, Roland Garros, the calendar rarely slows down. The young player gives us an inside look at what tournament life really entails: sponsor commitments, catching up with fellow players, training sessions, and the in-between moments that often mean spending long stretches of time in yet another hotel.

The Stuttgart tournament stands out each year, both for fans and players alike. Time and again, the organizers succeed in bringing the biggest names on tour to the region. For Eva, the season hasn’t had the easiest start, marked by injuries and a series of narrow losses. But tennis is a sport that always offers another opportunity, another match, another tournament — a chance to turn things around is never far away. Eva has already shown what she’s capable of, proving that with her powerful and versatile game, she can challenge even the top seeds. With her keen sense of style, she’s also one to watch beyond the court, set to bring a distinct presence both in her performance and in how she carries herself.

Shot on her phone and paired with her own captions, The Personal Edit stays close to the tennis circuit — game, set, match.

one of the sexiest center courts

media day with Porsche

forever young in the Porsche Museum

test driving the new car with my little sister

Coco and I at the players’ party

the beauty of a clay court

me and my crush

the view doesn’t get better than that

sitting in a car that was gifted to Ferdinand Porsche

my all-time favorite

the interior speaks for itself

late-night walk after the match to find some pasta at 11:30 pm

little test drive with friends

all images
(c) Eva Lys

MANUEL LICCI *On Sport, Community and Wellness Culture

MANUEL LICCI
Body In Motion

interview + written CHIDOZIE OBASI

There’s no denying the influence fitness and sport have had through centuries and, more specifically, on the creative industry at large. Since the dawn of the Olympics and across further key tournaments across a wealth of disciplines, sports have been permeating the mainstream consciousness, with veterans and newcomers alike embracing and reacting positively to this acceptance of genre.

Manuel wears a cardigan by BRIONI, pants by FIVEFOURFIVE and shoes by SEBAGO

On the fashion spectrum, lines are becoming increasingly blurred between function and tailoring, tackling this field with a packed punch of offerings that infuse elements of wear-anywhere practicality with dashes of winsome elegance and breezy structure. With this in mind, LE MILE’s Fashion Director meets Manuel Licci — Sport and Lifestyle Director at Milan’s media agency Attila&Co — who unpacks the core values of his practice, the importance of community and future hopes. You’re welcome.

Manuel wears a T-shirt, pants and hat by FIVEFOURFIVE, jewellery by LAG WORLD and underwear by CALVIN KLEIN

Chidozie Obasi
First things first: could you introduce yourself to us?

Manuel Licci
I’m Manuel Licci, PR Director for the Sport and Lifestyle division at Attila&Co: a communications agency founded in Milan in the early 1980s. In my daily practice, I develop strategies for brands that operate mainly in the world of wellness and lifestyle. One of my goals is to create authentic connections between companies, talent, medi and communities, promoting stories of inspiration and rich in storytelling.

What’s your earliest memory of sport?

I’ve always been a sportsman, but I’ve never been a professional. I started playing sports at around the age of ten, when I tested swimming (almost forced by my mother, I must admit), then I moved on to basketball and finally soccer, where I played as a goalkeeper in my local team until I was twenty. When I started university and found myself lacking new stimuli, thus I decided to give up competitive sport, but I continued to play in various tournaments for several years. During that period, I also began training at the gym. Since then, sport has become part of my daily routine and has never left it, as I see it a source of energy, discipline, and balance. 

When did you realise that you wanted to pursue this practice as a full-time job?

When I started working in communications, I immediately realized that the world of sports was the field in which I could best express myself, even at a time when terms such as “hybrid athlete” or “running club” were not yet in use as they are today. After the Covid period, in particular, sport has become essential for many, not only as physical activity but also as a moment of socialising, mental well-being and connection with others, reaching an even more diverse audience in terms of age and gender. Sport unites community, values and storytelling: three elements that represent me perfectly.

And how has your journey been so far?

It’s been an intense yet stimulating journey, full of important connections that have enriched me both personally and professionally. I’ve had the opportunity to collaborate with different brands and people, tackling projects that have always pushed me to grow, innovate, and listen to those who work with me, consolidating my belief that sport is a powerful tool for communicating authentic values. 

Sport – and its wealth of facets - has had a significant yet impactful resonance over centuries: from the Greek epoch until the modern day. In your opinion, what have been the most drastic changes (and perhaps the challenges) in how people approach the training side of it, over the years?

n recent years, training has become more conscious, personalised and accessible. Technology has introduced new tools, from wearables to gamification, but the main challenge remains finding a balance between performance, well-being and enjoyment. Today, people are looking for meaningful experiences that connect body and mind, rather than mere results.

Manuel wears a sweater and T-shirt by CANALI and pants by QUARTO ATTO

What values do you look for when picking an athlete to partner with some of the brands in your agency portfolio?

Authenticity, consistency and the ability to communicate real values. An athlete or creator is a strategic partner: they must be credible, share the brand’s vision and be able to build a genuine relationship with their community. Talent is important, but integrity and storytelling are even more so. Only then can collaborations become true engagement experiences.

How important is team building and community in your day-to-day approach?

Fundamental. A good strategy always comes from discussion. At Attila&Co, we have always placed great value on teamwork and community relations. After all, sport is always a team effort: no project can truly succeed without a strong ecosystem to support it.

And tell me: are there any downsides or setbacks you encounter, in this field and in your routine?

As in any dynamic sector, there are challenges: tight deadlines, the need to adapt quickly to change and managing expectations. But these are aspects that fuel creativity and push you to find new solutions. It’s a fast-paced but extremely engrossing environment, where every obstacle can be turned into an opportunity.

Is mental health a theme that is dealt with in the sports sector, or would you argue that it is still a marginalised topic?

Mental health is much more central today than in the past, but it remains an issue where there’s still a long way to go. Fans and professionals are increasingly aware of the importance of psychological well-being. As communicators, we have a responsibility to give space to these conversations in a responsible manner, helping to create inclusive and supportive environments in equal measure.

What's next for you? Future hopes?

My hope is that the social trend that today involves Gen Z and millennials towards a healthy and sporty lifestyle will not fade away, but become a constant source of inspiration, especially in these turbulent times. I would like to see this trend turn into a real movement, capable of motivating more and more people to take care of themselves through sport and wellness. Personally, I want to continue to grow both as an amateur athlete and as a communications professional, developing projects that create credible connections between brands, athletes and communities and help to spread an inclusive, authentic and wellness-oriented sports culture. In my own small way, I want to help build a sports culture that truly inspires people, every day.

Manuel wears a total look by LORO PIANA

credits
all Images (c) LE MILE / Antonio Crotti

seen ANTONIO CROTTI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up KIM GUTIERREZ via STUDIO REPÒSSI
hair ANGELICA DAVANZO via BLEND MANAGEMENT
model MANUEL LICCI
production assistant LORIS VOTTERO
fashion assistants ALESSANDRO GIANESIN + ANGELINA PERSIANI + CHARISSE ORDINARIA + VALENTINA INVERARDI

BASTIEN DAUSSE *Choreographing New Realities

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.

---

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

CHELSEA WERNER *In The First Place

CHELSEA WERNER
*In The First Place

forward Hannah Rose Prendergast
interview Alban E. Smajli

Chelsea Werner has a flair for gymnastics. By that, I mean she’s known to nail her routine in front of an audience, so much so that they call her “Showtime.”

Growing up in the Bay Area as part of an athletic family, Chelsea tried a few sports, but gymnastics was the one that stuck. Progress came gradually at first, though she ultimately thrived in the competitive environment, thanks to a coach who treated her like any other gymnast.

In 2012, Chelsea won her first gold medal at the USA Special Olympics and claimed the title for four consecutive years. Naturally, it wasn’t long before the decorated athlete took a shine to modelling. With her bright blue eyes, beaming smile, and fearless attitude, it’s clear the camera loves Chelsea Werner as much as we do.

LE MILE Magazine, AGE OF CHANGE Nr. 37
Fall/Winter 2024-25

Chelsea Werner photographed by Manon Clavelier

top KENZA LATRIDES
collar AMBUSH
shorts ÖCTAGON
bag COPERNI
shoes + earrings FASHION ARCHIVE

“Every gymnastics skill I learn takes me much longer to achieve than other gymnasts. I require much more repetition to master any new skill. Some of my skills have taken five years to achieve.”

Chelsea and Lisa Werner speak with Alban E. Smajli
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

sunglasses AMBUSH
boots FASHION ARCHIVE

top ÖCTAGON
shirt AMBUSH
coat HELMUT LANG

Alban E. Smajli
Chelsea, you have broken so many barriers in gymnastics and beyond. What initially inspired you to take up gymnastics, and did you ever imagine you'd achieve such heights?

Chelsea & Lisa Werner
I started Special Olympics gymnastics when I was 8. I loved being part of a team and having teammates. I especially loved the competitions and having the crowd cheering for me. I was just having fun and had no idea I would ever become a World Champion gymnast.

Winning the World Championships in gymnastics three times is an incredible feat. Congratulations on all the success! Can you walk us through what it felt like to stand on that podium for the first time?

For most of my gymnastics career, I have competed in USA Gymnastics. I train and compete with gymnasts who have no disabilities. For many years, I always took last place. I rarely ever got an award. It was usually only once a year that I got to compete in Special Olympics.
When I won my first World Championship in London, I felt like I was in a dream. I was very emotional when they raised the United States flag and played my national anthem.

Your journey is not just about winning medals but also about challenging perceptions. What has been the most significant challenge you’ve faced as an athlete with Trisomy 21, and how did you overcome it?

Individuals born with Down Syndrome have low muscle tone. We can improve it, but it takes a lot of work. Every gymnastics skill I learn takes me much longer to achieve than other gymnasts. I require much more repetition to master any new skill. Some of my skills have taken five years to achieve.

Gymnastics demands immense physical and mental strength. Can you share a particularly tough moment in your career and how you pushed through it?

My biggest challenge happened last year. I had my first mental block. This is not uncommon in gymnastics. Many gymnasts quit gymnastics when this happens. After tumbling for over 15 years, I couldn’t tumble at all.

It took many months to get over it. I had to go back and relearn how to do even the simplest tumbling. My coach was very patient and persistent with me. I got my tumbling back just in time for my third World Championship in South Africa.

You’ve become a role model for many. Your achievements have paved the way for future generations. What advice would you give to young athletes with disabilities who are just starting out?

I would say to be proud of every little accomplishment. Don’t compare yourself to anyone else. Focus on your own goals and find a coach who believes in your goals along with you.

The upcoming theme for LE MILE is "AGE OF CHANGE." How do you see your role in advocating for more inclusivity and recognition for athletes with disabilities?

Thanks to social media, athletes with disabilities are finally getting recognized. I get recognized all over the world as a result of social media. I am one example of what an individual with a disability can achieve as an athlete. Hopefully, I am opening some doors for up-and-coming athletes with disabilities. We all need and deserve the same opportunities to reach our full potential.

Aside from gymnastics, you’ve also pursued modeling and advocacy. How do these different aspects of your career complement each other?

I have been performing in front of cameras and crowds for a long time. I am very comfortable in front of a camera. The modeling world is becoming more diverse, but models with disabilities are still underrepresented. I am trying to change this and advocating for more representation.

If you could change one thing about the gymnastics world to make it more inclusive, what would it be?

I would love to see more individuals with disabilities included in gymnastics. When I compete in USA Gymnastics, I am always the only one with a disability. I am seeing and hearing that a wave of up-and-coming gymnasts with Down Syndrome is on their way! Many of the parents say that it is a result of seeing my achievements. That makes me so happy!

Looking ahead, what are your dreams and goals for the next phase of your career, both in and out of gymnastics?

I usually don’t think too far in advance. I live more in the present. For now, I still love gymnastics and modeling. In the future, I would love to help teach young girls gymnastics!

dress KENZA LATRIDES
others FASHION ARCHIVE

all FASHION ARCHIVE

“The modeling world is becoming more diverse, but models with disabilities are still underrepresented. I am trying to change this and advocating for more representation.”

Chelsea and Lisa Werner speak with Alban E. Smajli
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

all FASHION ARCHIVE

credits

talent CHELSEA WERNER
seen MANON CLAVELIER
styled CLAUDE PAYEN DE LAPIERRE
produced MELANY COHEN
make up CHARLOTTE NGUYEN
hair MIWA MOROKI
nails MAËLWENN LOBBÉ

fashion assistant KATERYNA DUDCHENKO
light technician CAMERON KOSKAS
digital operator VASSILI BOCLÉ

fashion director GINEVRA VALENTE
artistic director ALBAN E. SMAJLI

Special thanks
Lisa Werner, Jéremy Charolais, Nathalie Dersoir, Bienvenu, and all the Stade Charléty staff

also read
.aesthetic talk LOLITA ENO *Soy un Escorpión

Jonell Lennon & Mark Pittman - Interview

.aesthetic talk
DOROTHY RICE
*New Look Model & Painter

written + interview Jonathan Bergström

Dorothy Rice (1924 - 2023) was an artist whose work spanned across multiple disciplines, including painting, sculpture and silkscreens in addition to her celebrated career as a fashion model.

Known for her bold approach, she defied traditional boundaries throughout her life. Her iconic role as the face of Christian Dior’s New Look collection catapulted her into the fashion limelight, resulting in collaborations with top fashion photographers, as well as performances in more than 100 plays and several acclaimed TV shows.

In this conversation with Le Mile Magazine, Jonell Lennon and Mark Pittman (representatives of Dorothy's estate) offer a deep dive into Dorothy’s legacy, shedding light on her artistic evolution, her global influences, and the guiding philosophies behind her work.

Dorothy Rice
painting in studio, 1975
courtesy of Dorothy Rice Art Company

Dorothy Rice
Marshes, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

Jonathan Bergstrom
Dorothy displayed artistic talent from a young age. earning an invitation to the Art Students League of New York at 14. What sparked this early interest?
Jonell Lennon & Mark Pittman
Dorothy’s early interest in the arts was deeply rooted in her familial origins. She descended from a long line of talented artists, including her father who had a successful commercial art studio in Manhattan. Dorothy spent summers working with him at his studio where she learned to draw and do illustration work. Dorothy wanted to be an artist, and her father supported her. Upon his urging, Dorothy applied and was accepted to the Art Students League when she was just 14. She went to high school during the day and took art classes at night where most of her classmates were more than a decade older than her.

To someone who isn’t familiar with Dorothy, how would you characterize her as an artist?
Dorothy was a versatile artist whose intellectual curiosity about people, culture, fashion and the human spirit pushed her to try not only a variety of mediums but also different artistic fields. Despite her father wanting her to paint, Dorothy explored a variety of art forms. Her resolve was evident in her artistic journey, beginning as an illustrator in her father's studio at 13, transitioning to modeling at 15, and later, acting in more than 100 plays and multiple television movies before shifting her attention back to painting in her 40s. Dorothy spent the next several decades experimenting with materials, technique and subject matter, using oils with a palette knife, watercolors, sculptures and silkscreens. She typically built collections based upon specific locations throughout the world. She did not want to be put into a box and felt it was essential for an artist to continuously evolve. 

How did she go from being an artist to becoming a highly sought-after model in the fashion industry? 
When Dorothy was 15, on an evening out with Art Students League classmates at the legendary nightclub El Morocco in Manhattan, she was "discovered" by Vogue photographer John Rawlings. That connection led to a shift in focus to modeling. Dorothy started with girl-next-door shoots for Town & Country and pinups for Earl Moran. Her big break came shortly after WWII when Christian Dior chose her to be the face of his “New Look” collection for American Vogue. Dorothy traveled to Paris for the shoot. She said the French models she met were upset that she was chosen for this honor; they felt a French woman should represent Dior’s clothes. Once the Vogue issue featuring Dorothy hit the newsstands, Dorothy shot to stardom. 

What qualities do you believe led Christian Dior to choose Dorothy as the face of his “New Look Collection” for American Vogue?
Dior scouted hundreds of models in France before expanding his search to America to find the woman he felt best projected the sultry image he wanted for his collection. Dorothy believed Dior was initially interested in her because she had the physical attributes he required: a voluptuous body and a young, blank face. Interestingly, Dorothy didn’t yet see herself as a sophisticated woman. She was just 21 and had done mostly girl-next-door shoots. It was Bettina Ballard, the fashion editor at Vogue, who convinced Dorothy that with the right makeup, styling, and attitude she could adapt to fit the part. Dorothy worked with the creative team and studied every aspect of Dior’s collection to ensure she could deliver the look and presence Dior wanted. 

“Dorothy was a versatile artist driven by intellectual curiosity, starting as an illustrator in her father’s studio at 13, modeling at 15, acting in over 100 plays, and returning to painting in her 40s. She believed in continuous evolution, experimenting with various mediums and styles throughout her life.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

Dorothy Rice
Mountain View, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

In what ways did her modeling career influence her artistic work?
As a model, Dorothy spent years working with renowned designers, stylists and high art fashion photographers such as Milton Greene, Horst P. Horst and Francesco Scavullo, honing her adaptability and attention to detail. She constantly evolved her look to suit changing tastes; one minute she could look like an ingenue, the next a glamorous runway model. Most of the time Dorothy did her own makeup and hair and credited her artistic eye to keeping her in demand for 18 years. When she transitioned to painting, she said she was happy to turn the focus away from herself to the world around her. Dorothy took a similar approach to painting as she did to modeling, constantly studying and experimenting with different styles and techniques. 

Could you point out some of the standout collaborations Dorothy had with top fashion photographers and designers throughout her modeling career?
The two standouts are her collaborations with designer Christian Dior and photographer Peter Basch. Dior chose Dorothy to be the American face of his “New Look” collection, but she also modeled his clothes numerous other times. In the mid-1950s, Dorothy teamed up with Dior again for a documentary about his life that was filmed in New York. They became good friends and planned to work together on more projects, but he died tragically of a heart attack in 1957. 
Peter Basch was a well-known fashion photographer in the 50s with whom Dorothy collaborated extensively. He loved her versatile look. When Dorothy was starting out, Basch helped her by taking photos for her lookbooks, which were books models used to get work before the rise of the internet. When Dorothy’s career later took off and she was a top model, she repaid Basch by regularly posing for him. 

Which of Dorothy’s photos or collaborations do you hold as personal favorites?
Jonell Lennon
All of Dorothy’s modeling photos are incredible. One of my favorite collaborations of Dorothy’s was with the photographer Ewing Krainin, who coincidentally was my maternal grandmother’s cousin, which Dorothy and I discovered years into our friendship. Dorothy said the photos Krainin took of her didn’t portray her as the most glamorous or sophisticated version of herself but captured her exactly how she saw herself.  

How did she balance her modeling career with her passion for painting during the height of her modeling success?
Dorothy didn’t paint during the peak of her modeling career. Instead, in order to achieve the level of perfection she sought as a model, Dorothy focused exclusively on every aspect of the craft: fashion, design, lighting, photography, hair, makeup, etc. When Dorothy first started out, she was uncomfortable in front of the camera and spent months learning to overcome her fear. She referred to modeling as her “first acting role.” After years of studying and working on her craft, she learned to create and portray the persona each shoot called for.  During this time, Dorothy was repped by John Robert Powers who negotiated her deals, but she had to get her own work, which she said she did through hustling and word of mouth. Dorothy returned to painting only after her modeling and acting careers ended. Once she made that transition, she was solely committed to her art.  

With the move from New York to Beverly Hills, Dorothy began to transition more into television and acting. How did this change of environment impact her personal life and professional work?
Dorothy met her husband, Stanley Chase, in New York while she was transitioning from modeling to acting and studying with Uta Hagen. Stanley was an up-and-coming theater producer, backing Bertolt Brecht’s The Threepenny Opera (which ran for seven years and helped legitimize off-Broadway productions), as well as plays written by Eugene O’Neill and Graham Green. During their New York years, Dorothy and Stanley were in the center of the social scene, befriending authors such as Gore Vidal and Tennessee Williams, and stage legends such as Rosemary Harris, Anne Bancroft and Marlene Dietrich. Dorothy and Stanley supported each other’s careers and were also colleagues. When they moved to Los Angeles, they both shifted their focus to television and film, collaborating when they could. For example, Dorothy appeared alongside George C. Scott in the Emmy award-winning Fear on Trial, which was produced by Stanley. Dorothy helped Stanley with his projects, including giving notes on scripts and advising on casting and directors. While Dorothy embraced much of the California lifestyle, she was always a New Yorker at heart, including never learning to drive.  

What drove her decision to go back to painting after her successful modeling and acting careers, and did her artistic focus shift when she came back to it?
When Dorothy transitioned from modeling to acting, she deeply enjoyed the craft but didn’t enjoy the business, the politics or the way women were treated. Despite being offered prime roles, she wanted to challenge and express herself in a more in-depth way which led her back to her first love, painting. While modeling and acting, Dorothy developed a disciplined artistic approach that emphasized constant study, practice and experimentation. That same process was applied to her painting career but instead of concentrating on her own performance she found joy through engaging with inspiring people and places, whether a farmer’s market in Morocco, a street scene in France, a beach in California or children playing in Mexico. 

Do you have any personal stories or anecdotes about Dorothy that capture her creative spirit and the influence she had on those around her?
While modeling, Dorothy lived for nine years at the Barbizon Hotel, a women’s only residence in Manhattan, which was filled with aspiring models, actresses, dancers and artists. She loved being part of a female artistic community and supporting other women.  As her career blossomed, Dorothy mentored younger models and enjoyed passing along what she had learned about the craft and business.  She displayed the same generosity with actor Jack Lemmon. She had known Jack for years as their fathers were friends and also through studying together in an acting group. Jack was not yet successful, but Dorothy was struck by his immense talent.

She felt his lack of confidence was preventing him from landing good roles. Dorothy spent hours working with Jack on scenes for their classes and prepping for auditions. His confidence blossomed and his career soon took off.  Later, Dorothy and Jack worked together professionally in a French comedy called La Ronde, which was a nice full-circle moment for both of them.

Dorothy Rice
Untitled, ca. 1976-1979
3.5 x 12 in

“Dorothy’s big break came when Christian Dior chose her as the face of his "New Look" collection for American Vogue, propelling her to international fame. Her collaborations with top photographers and designers, including Dior and Peter Basch, solidified her as a highly sought-after model.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

all images (c) Dorothy Rice

DANA MONTLACK *Microscopic Worlds

DANA MONTLACK
*Microscopic Worlds

written + interview Jonathan Bergstrom

As both an interdisciplinary biospheric artist and researcher, Dana Montlack bridges the gap between art and science.

Montlack's work, distinguished by its unique composite style and mixed media, urges viewers to see the unity of all living things and to reflect on our environmental impact. Her work has been exhibited in museums and galleries worldwide, including the Whitney Marine Biology Research Center, Atlantis The Palm in Dubai, and the Museum of Contemporary Art in San Diego. Alongside her artistic career, she is also a devoted educator, teaching Visual Arts and Contemporary Art History at Georgia State University. We had the chance to talk with Montlack about the challenges of translating science into art, her deep affection for the ocean, and how art can bring awareness to the wider public about the state of the environment.

Dana Montlack
SIO-24. Sea snail, Venus comb murex
topographic and bathymetric map of the Sea of Cortez

Dana Montlack
SIO-75. Giant Kelp, Gulf of California
Sea Nettle tendrils

Jonathan Bergstrom
I understand that your grandfather played a pivotal role in shaping your career path. Can you share more about his influence and the ways he impacted your journey?
Dana Montlack
Both my grandparents were hugely influential in my life and career. My grandfather was a physician in Cleveland, Ohio. When I was 15, he took me under his wing and taught me how to take and develop X-rays in his office, probably to keep me out of trouble. My grandmother was a dancer who left Akron, Ohio, at 15 to pursue a career in dancing with the American Ballet School in NYC. They were a continuous stream of encouragement, emphasizing that falling and getting up again and again is part of the journey.

What is your method for merging art and scientific elements in your interdisciplinary work?
I merge artistic and scientific elements, propelled by a relentless pursuit of understanding and decoding nature's secrets. I perceive each layer as an intriguing challenge to uncover, akin to sifting through the layers of sediments on the seafloor, excavating soil strata or deciphering the growth rings of a tree. Importantly, I thrive on collaborative efforts, as they not only provide ongoing personal and intellectual development opportunities but also foster a sense of shared achievement.

Can you walk us through your process for creating your composite imagery pieces?
I am inspired by geological locations, species that one cannot see with the naked eye and the behavior of particular animals like the octopus, bower bird, and the waggle dance of honey bees. Then I do a deep dive to know everything about the area, species, etc. I take hundreds of photographs, both microscopic and macroscopic, including archival maps, topographics and bathymetrics. I juxtapose this with scientific data using layers of information, often drawing and painting on top of photographs and reincorporate that into the final image.

What difficulties do you encounter in making scientific concepts accessible to viewers through visual art?
The allure of abstract ideas and forms is undeniable, and I've come to realize that it can pose a challenge for many. Viewers often find it difficult to extract information from abstraction, leading them to overlook its significance. To tackle this, I've started incorporating subtle hints in my work, be it in the title or a quote, to nudge viewers towards their own understanding.

“I merge artistic and scientific elements, propelled by a relentless pursuit of understanding nature's secrets. Collaborative efforts foster ongoing personal and intellectual development and a sense of shared achievement.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

Dana Montlack
W-30. Southern goose barnacles, jellyfish polyps, Catostylus blue blubber jellyfish
Chromogenic print mounted on acrylic, 24 in x 48 in

What do you think the microscopic world can tell us about our daily lives? 
The microscopic world creates curiosity and awe, prompting us to ask questions and wonder about the unseen aspects of the world around us. By examining the intricate details at a microscopic level, we can better understand the world around us and how it impacts our daily experience.

Is it challenging to maintain scientific accuracy while also conveying artistic creativity?
It is less about accuracy and more about my understanding of the science and the narrative I want to create. The images are multi-layered and complex. Sometimes I get lost in the creative process and forget some of the essential data I have encompassed. It’s more about remembering which data and imagery I’ve included; at a certain point the images are not recognizable.

Your work can be seen in Waves of Wonder at the Ships of the Sea Maritime Museum in Savannah, Georgia through September 2024. Can you tell us more about it?
My work there draws its inspiration from the delicate and captivating interplay between land and sea. This exploration is a testament to the vulnerability and resilience of coastal ecosystems, where the ebb and flow of tides reveal a hidden world of diverse life forms and intricate interactions. This opportunity was awarded by the Georgia Sea Grant, NOAA, and the assistance from Dr. Mona Behl (UGA), Dr. Joel Kotska (Georgia Tech), and the Imaging Core Facility (GSU).

What draws you to the ocean as a central theme in your work?
My work is a tribute to the ocean, a testament to its scientific and sensory significance. The ocean is where I find clarity and grounding. The thick, invigorating salty air keeps me present. The sight of the vast, ever-changing sea brings me calm.
Scientifically, the ocean is a lifeline for our planet, shaping weather patterns, providing a home for countless species, and generating a significant portion of the oxygen we breathe. Sensory-wise, the ocean's sounds, smells, and sights are a wellspring of inspiration for my creativity. By infusing the ocean into my art, I strive to share its beauty and importance, fostering a deeper appreciation and a call to action to protect this invaluable resource.

You have collaborated with scientists from institutions such as the Scripps Institution of Oceanography. How has that experience been for you?
I am deeply honored by my collaborations with scientists at the Scripps Institution of Oceanography and others around the globe. I am grateful for the time and insights these scientists share with me, as each interaction is a relationship that informs my work. I continue to work with scientists, finding kindred spirits in their curious pursuit of understanding and interpreting the world around us.
Scientists’ approach to rigorous research and dedication to uncovering truths about our natural world inspires me every day. It is a privilege to witness their commitment firsthand and to translate their findings into visual narratives that can resonate with a broader audience. This collaboration has reinforced my belief in the power of interdisciplinary efforts to address and solve some of the most pressing environmental challenges we face today.

How do you think art can influence people’s perspectives on environmental issues?
Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed, and proactive approach to environmental stewardship. It can also illustrate the interconnectedness of all species and ecosystems, emphasizing the importance of biodiversity and the impact of human actions on the environment.
Lastly, art can be an educational resource, making scientific concepts and data more accessible and understandable, as well as a lasting record of the state of the environment, preserving the beauty of natural landscapes and documenting environmental changes over time.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

What impact do you hope your artwork will have?
As an artist, I am driven by a profound purpose to ignite curiosity and inspire a deeper understanding of the Earth's need for protection, shedding light on both its visible and invisible aspects, which is why I often underscore the interconnectedness and interdependence of all species for survival. By bringing these critical issues to the forefront, I urge individuals to introspect on their relationship with nature and to actively contribute to its preservation for future generations.

Dana Montlack
C-17. Coral, ocean, netting, seaweed, cells, giant kelp
Photograph printed on archival paper

“Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed approach to environmental stewardship and emphasizing the interconnectedness of all species and ecosystems.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

follow talent @vonwolfe_

all images (c) Wolfe von Lenkiewicz Studio

Wolfe von Lenkiewicz *AI in Art Reimagined

Wolfe von Lenkiewicz
*AI in Art Reimagined

written + interview Tagen Donovan

Wolfe von Lenkiewicz’s practice modifies our visual understanding of the past through reconfigurations of iconic pre and postmodernist imagery.

Occupying the periphery of convention, Von Wolfe utilises innovative techniques with use of AI technology, harnessing the tools of a visually hyper-saturated landscape. The revered artist has been described as both ‘an unbound geneticist turned artist’ and ‘a contemporary iconoclast’. Steadily commandeering the intersection of classics and modernity.

Graduating with a degree in Philosophy from the University of York, specialising in Contemporary Epistemology. Naturally the exploration between linguistics, mythology, and the complexities surrounding identity remain at the forefront of Von Wolfe’s practice, combined with the nuances of AI generation - the artist engages his audience with critical thought-systems, and invites the notion of a (re)contextualised trajectory of art. Most importantly, what lies at the core of his visual consideration remains the use of language, and it’s reinterpretation within the sphere of visual arts. On all counts, Von Wolfe remains a disruptor. Eliciting an awareness of a subtle complacency towards our visual world that we have in turn grown indifferent towards.

Wolfe von Lenkiewicz
Always Screaming When Her Voice Is Cracked, 2022
40 x 40 cm
Copyright The Artist

Wolfe von Lenkiewicz
The Kiss, 2022 Works
85 x 80 cm
Copyright The Artist

It could be said that our understanding of visual language has become somewhat warped through the avalanche of cultural knowledge that we often get overwhelmed by. The extent to which we place our trust in almost familial reproductions of iconic artworks, begs to question if we still maintain the ability to appreciate these monumentally important artefacts from bygone eras. It is through this concept of inquisition where we see the importance of the artists exploration of complex issues within the contemporary and artificial intelligent realm. Provocative by nature, Von Wolfe's work reveals the breaking of barriers by way of a distinct visual-syntax. Conceptualising ‘meta-history’ in order to fashion a new mythology - a history about the history of art.

Holding philosophers Wittgenstein and Paul Feyerabend as having a profound influence on the artist. It would be the work of Wittgenstein’s that particularly enamoured Von Wolfe, and the concept of rule-following among philosophical investigations. Deeply resonating with the growth of natural language-coding remains closely aligned with the artists fixation. However to the same degree, Feyerabend’s realisation that science is a belief-system much like any other, and is intrinsically shaped by culture balances out Von Wolfe’s perspective and encourages the process of critical thinking, especially to the tune of the role science plays among society. Wittgenstein and Feverabend have provided valuable insight to the artist, allowing a deeper grasp relative to the nature of language and the ways in which we understand and engage with the world.

In contrast to other artists, Von Wolfe does not position himself as a singular artist with an overarching desire to dominate visual history by virtue of the unparalleled works that he creates. Instead, Von Wolfe operates from a meta- postmodernist vantage-point, examining society’s construction of art history as a fiction, yet remaining authentic to his approach. Extracting meaning within our preexisting realms of information, Von Wolfe unearths and resurrects works from the past, stretching to the self-professed “red hot period of art history”, spanning between 33,00 BC to 1519 AD.
Embellished with symbolism and an undeniable classical skill. Von Wolfe employs a full mastery of the techniques utilised by the original artists tinged with the fluency of AI technology. The sheer magnitude of his work, together with a dexterous grasp of contrasting aesthetics work to dissect and reconstruct. Most importantly, Von Wolfe warmly embraces history – equally with scope to challenge it. Through the cultivation of disparate elements, belief-systems pertaining to the modern and postmodern leads the artist down the rabbit hole, encountering new worlds and beyond.

As the course of visual and contemporary culture continues to evolve, so must the perception of the language and imagery around us. Continuing his exploration into a non-linear history, Von Wolfe single handedly disrupts traditional artistic practices by reverse engineering and adapting techniques to fit the current zeitgeist.

“AI raises questions about ethics, aesthetics, and autonomy. It disrupts traditional practices and challenges our notions of 'art', operating independently and raising questions about human control and agency.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Tagen Donovan
What are your thoughts on the relationship between artificial intelligence and contemporary art? In what way does this mesh with your practice?
Wolfe von Lenkiewicz
When it comes to artificial intelligence and contemporary art, there are many complex issues to consider. One of the main areas of concern is ethics, as the use of AI raises questions about the roles and responsibilities of both the artist and the technology. There are also aesthetic concerns, as AI has the potential to disrupt traditional artistic practices and create new forms of art that challenge our traditional notions of what constitutes “art”. Another important aspect to consider is autonomy, as AI has the ability to operate independently and make decisions on its own, which raises questions about human control and agency. Finally, there is the issue of the very nature of art itself, as AI has the potential to fundamentally alter our understanding of what art is and how it is created. These are just a few of the many facets that must be unpacked when considering the intersection of artificial intelligence and contemporary art, and they all contribute to the complex and dynamic landscape of this rapidly evolving field.

Your work evokes a sense of history, the characters inhabit their own world that resembles a bygone era. How do you interpret the environment and the figures depicted in your paintings? And what cultural references do you lean towards when mapping out a new piece?
In my artistic process, I carefully consider the cultural references that I choose to incorporate into my work. I often prompt the AI to focus on artists who are centuries old and whose works are in the public domain, as these provide a rich source of inspiration that is outside of copyright restrictions. By reverse engineering these artists and adapting their styles to fit the contemporary zeitgeist, I am able to create art that is rooted in tradition but also relevant to the present moment. When the AI produces less coherent results, I sometimes turn to traditional drawing techniques to help guide the direction of the work. Finally, I physically paint the digital works using traditional methods such as oil painting on canvas or panel; seeing both the AI- generated and human-made images as independent and equal art manifestations of the process. It is important to me that both aspects of the process are given equal weight and attention.

What is the impetus behind your body of work – what idea did you begin with, and how did this develop overtime to where it is at present?
One of the main goals of my work is to identify and explore aesthetic “outliers”; or unusual traits within the thousands of artworks I have created with AI. By testing these pieces against each other at a high frequency, I am able to identify those that stand out artistically and may be relevant to contemporary issues such as gender, race, sexuality, and disability. Rather than approaching these subjects in a journalistic manner, my work aims to delve into them in a more visceral and psychological way. In addition, I strive to counterbalance any biases that may have been present in the data used to train the AI by carefully considering the prompts and post-production processes. By seeking out and examining these outliers, I hope to shed new light on important social issues and offer fresh perspectives on the world around us.

What kind of relationship do you have with your work? Does this relationship extend itself to the characters portrayed within your practice?
One of the byproducts of creating my work at such a high frequency is that I am able to approach it as if I were a stranger, rather than becoming too attached to it.This allows me to survey the meaning within the shared language and culture of our society in the same way that others might. By creating a sense of dislocation between myself and the work, I am able to retain a certain level of objectivity and perspective. Too close an attachment to the “self” within the image could potentially lead to biases or subjective interpretations that might distort the intended message or meaning. By maintaining a sense of distance, I am able to better understand and communicate my ideas to others in a clear and effective way. This does not mean I fail to have an emotional response but rather my aesthetic choices and reactions are not distorted by my sense of ownership.

With a considerable presence on social media, do you find the intertwining of virtual and physical worlds at all invasive? How important do you feel it is for a contemporary viewer to relate to the subjects of your work?
I take my use of social media very seriously and see it as a crucial platform for sharing my art with the world. Despite being virtual, my presence on social media puts me in the public realm, much like a street artist who performs for a live audience. I find social media to be both rewarding and challenging, as it allows me to connect with a wide audience but can also expose me to criticism and polarising debates. In addition to social media, I also use Discord as a way to engage with a community, particularly for my upcoming NFT project TREASURY, which is set to launch in 2023. Overall, I see social media and online communities as an important part of my artistic practice and am always seeking to find new and creative ways to engage with my audience.

Humour is a common thread that runs deep within your practice, could you elaborate on this?
It is not something I consciously try to incorporate. In fact, I see myself as being completely devoid of it. However, I have had experiences where my work has been met with unexpected laughter, such as when I showed a film featuring characters in strange costumes I had made, who were supposed to be enlightened thinkers having an argument on a beach. Despite my initial embarrassment, I have come to realise that the humour in my work is of a peculiar, uncanny nature. I want viewers to approach my digital images or large- scale paintings in a gallery and feel a sense of uncertainty about whether they should laugh or cry. Upon closer examination, they may be drawn to the intricate details of the outfits and design elements, even as the overall image is disturbing or unsettling. It is as if the horror of Joseph Conrad’s Heart of Darkness, is inappropriately followed by an unexpected appreciation for the aesthetics of the cool jumpsuits the characters are wearing.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

There’s a timelessness about your work, yet your paintings are rich with references to other decades. Which eras and movements do you feel most affinity with?
Of the narrow range of European art culture, I have a particular fondness for the work of Rogier van der Weyden and Leonardo da Vinci, particularly da Vinci’s lost works such as the Battle of Anghiari, Leda and the Swan, and the early Garden of Eden. I particularly like the span of a wide range of time, from 33,000 BC to 1519 AD, which represent what I consider to be a “red hot”period in art history. However, my fascination with art is not limited to just European culture. I have a nearly infinite curiosity and appreciation for the art of all cultures around the world and am captivated by the creativity and cultural significance of all forms of art.

Wolfe von Lenkiewicz
Magdalene, 2022
130 x 130 cm
Copyright The Artist

“My goal is to explore aesthetic 'outliers' in AI-generated artworks, addressing contemporary issues like gender, race, and disability in a visceral and psychological way.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Wolfe von Lenkiewicz
The Runners, 2022
220 x 220 cm
Copyright The Artist

Could you elaborate on your background and your journey to becoming an artist?
I guess I am more comfortable with a blank bio.

What is your stance and relationship between the fusion of contemporary art, architecture, fashion, craft and fine-art (Gesamtkunstwerk)?
My goal is to create a unique and innovative form of art that combines and reimagines the styles of historical artists, much like how NASA fine- tuned the mirrors on the James Webb telescope. I am deeply interested in the psychology of my subjects and strive to create art that is relevant and meaningful for the contemporary moment. In regards to fashion, I also design original clothing, shoes, and hairstyles to complete my artistic vision within the paintings.This new form of art is intended for both the digital realm of social media and the physical world, and can be described as a type of international high frequency art that embodies metamodernism.

Your paintings communicate a sense of optimism, accentuated by vivid colour palettes, comical gestures and jovial expressions. This tongue-in- cheek approach to cultural critique feels inherently British. Would you agree that this method of evaluation behind your work lends itself to being more accessible to a wider audience?
Although I have never personally been inspired by a British artist, with the exception of the esteemed portrait miniaturist Nicholas Hilliard, I must acknowledge that Britain has a rich history of artistic and cultural contributions. The country’s literary and scientific achievements are well-known and respected throughout the world. Despite my lack of personal connection to British art, I cannot help but be impressed and inspired by many of its artists such as Gwen John, Augustus John, Meredith Frampton and Alfred Gilbert.

follow talent @vonwolfe_

all images (c) Wolfe von Lenkiewicz Studio

Enzo Lefort *Fancing Frontier

Enzo Lefort
*Fancing Frontier

written Sarah Arendts

With a blend of skill and style, Enzo Lefort invites us into the intricate realm of his sport, where athleticism meets artistry in a symphony of movement. Lefort's journey to the forefront of fencing is a testament to dedication and innovation.

With each fluid motion, he challenges the status quo and pushes the boundaries of athletic expression. Engage with Enzo Lefort as he shares insights on its evolution, the fusion of athleticism and fashion, and his unwavering commitment to inspiring future generations of athletes. Learn all on the arena where passion ignites performance, and witness the extraordinary through the lens of a true visionary.

Enzo Lefort
seen by Jojo Harper

“Being able to compete at the Olympics at home is a once-in-a-lifetime chance! […] My goal is to make everyone who is going to watch me proud.”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

Sarah Arendts
Enzo, as a fencer who has reached the pinnacle of your sport, how do you balance the intense focus required in competition with relaxation and leisure in your personal life?
Enzo Lefort
Professional sport can be really challenging on a daily basis, as failure has a constant place in our journey. I personally try to always have side projects outside of fencing. These projects help me keep my head fresh and always be fulfilled. It is important as I need to put this mental energy into my competitions.

Your collaborations with Louis Vuitton and Nike merge the worlds of elite sport and high fashion. How do you see these partnerships influencing the perception of fencing within the fashion industry and among its followers?
Fencing is kind of a "niche" sport with a really poor representation on TV. I feel that being able to work with these two leaders in their industries proves that visibility isn’t everything. Nowadays, people often think about your number of followers and your reach. I personally think you can be more legitimate by being true to yourself, having a great image, and doing beautiful and useful things outside your sport.

During a match, athletes often describe entering a ‘zone’ or a state of flow that feels like a trance. Can you share an experience when you were completely absorbed in the moment? How does this mental state contribute to your performance?
This is a state of mind where your body moves by itself. You’re so in phase and in the present moment that you’re not thinking anymore. By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! I’m lucky enough to have felt this feeling in the Olympic Games finals in Tokyo 2021 team event!

With the Paris 2024 Olympics on the horizon, what does competing in your home country mean to you personally and professionally? How are you preparing for this monumental event in your career?
Being able to compete at the Olympics at home is a once-in-a-lifetime chance! I like to think I train harder than ever to give my very best on the day of the competition! My goal is to make everyone who is going to watch me proud. I’m thinking about my wife, my daughter, my parents, my sister, my friends, and the whole French people! I’m also aware of the spotlight that will be pointed at the athletes during these months. And I try to use them to shed light on my personal projects such as my charity or my documentary about fencing in Guadeloupe that I wrote.

Fencing is a sport with deep historical roots. How do you think modern technology and training methods are changing the game, and where do you see the sport going in the next decade?
Modern technology and training methods help fencing become more spectacular, in a physical way and in terms of visual show for the spectators. I can see the sport evolving even further in these two directions during the next decade.

Working with brands like Louis Vuitton and Nike, how do you ensure that sponsorships align with your personal values and the essence of fencing? What do you look for in a partnership?
Fencing being an amateur sport, I need these sponsorships in order to make a living from it. But not at any cost. I am really paying attention to the brand I work with, matching my image in terms of values and positioning. I always make sure the brand I’m working with will help me with my side projects such as photography, my podcast, or my charity. Also, I pay attention to the brand being subtle when it communicates, especially using my image.

As a prominent figure in fencing, you have a unique platform. How do you hope to use your influence to impact the sport and inspire the next generation of athletes?
I always make sure that I share the values of sport such as hard work, resilience, fair play... I also try to show that we can be more than athletes, that there are other things we are good at. I reached a moment in my life and my career where I can give back to the younger ones and the ones in need. At my very own level, I try to help those in need, and if everyone is doing the same, things can change.

With your keen eye for fashion, how do you integrate style and functionality in your training and competition wear? How important is personal style in expressing yourself within the sport?
When it comes to fashion in training and competition, I am very functional. I tend to wear mostly black outfits, but I pay attention to the materials and the fit of my clothes. I personalize my outfit with my "jewelry," a thing that other fencers mostly don’t do. Fencing is a very normative sport, and the uniform is very codified. I like to keep my freedom wearing my personal jewels, in order to keep my personality.

“By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! ”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

The mental aspect of sport is often as challenging as the physical. How do you maintain mental health and resilience during the highs and lows of your career?
My different projects outside of fencing help me to always be curious, to always learn new things. Doing this, my mind isn’t filled 100% of my time with fencing. Because when you win, everything is perfect, but when you lose, you see yourself as someone not capable. Doing other things outside my sport really helps me to relativize this.

Looking towards the future, what legacy do you hope to leave in the world of fencing and beyond? How do you want to be remembered both as an athlete and as a person?
In my sport, I would like to be remembered as an athlete who always played by the rules, who never cheated, and who respected every single one of his opponents. And then, I would like to be remembered as someone who marked the history of his sport. And then I will do my best effort to help and empower the next generation of athletes in sport.

follow talent @enzo_lefort

all images (c) Jojo Harper