Francesco Ruggiero - Interview

.aesthetic talk
FRANCESCO RUGGIERO
*New World Order

written Chidozie Obasi

At a time when the climate of the global fashion industry is changing with an increasingly ferocious pace, there’s no doubting Francesco Ruggiero’s credentials are a welcome respite: the Padova-born, Milan-hailed multihyphenate knows how to swoon, surprise and stun with his arresting look, as a creative of great poise and drive; no mean feat in a world shaped by downturns.

Ruggiero, who moved to Santorini with his family aged one and then to Athens a few years later, has been on a restless pursuit to discover himself far beyond the highly-coveted fixtures of the modeling system, dwelling between joyful thrills and punchy feels in equal measure. “I've always been very open hearted and kind to people, even if I couldn't really tell if they just wanted things from me or not,” he freely admits, with no signs of peacocking braggadocio on display. Chronicling a career that could spark pangs of envy to many of his peers, Ruggiero has graced campaigns and runways of brands like Calvin Klein, Zara, Moncler, Giorgio Armani, Oliver Peoples, to name a few. But there’s more to the story, which you’ll possibly read here first. You’re welcome.

total look PRADA

jacket ANTONIO MARRAS
blazer DOLCE & GABBANA
gilet + tank top ETRO
denim TOD’S
shorts JIL SANDER by Lucie and Luke Meier
necklace SWAROVSKI

“I started giving more attention to my mental health through the whole process of growing up and the difficulties... now it's so much clearer on how to approach things and how to maintain my stability.”

Francesco Ruggiero speaks with Chidozie Obasi
LE MILE Magazine EPHEMERAL, Nr. 38

dark blazer THE FRANKIE SHOP
white blazer TAGLIATORE
shirt PAUL SMITH
pants THE LATEST
tie CELINE
loafers SEBAGO

Chidozie Obasi
First things first: How did you venture into modelling?
Francesco Ruggiero
I started in 2020, right before COVID struck. My sister had this crazy idea to go into an agency alone and sometimes, as they say, one never has to bring friends to castings and jobs. They ended up signing me and my sister, but she’s someone who hates the modeling process. After COVID, I quit my two jobs as a salesman and as a barman, and I understood that this industry had way more potential for me.

Where did you begin such a venture?
I started modelling in Greece, and I must admit I had a couple of wrong people that managed me at the beginning. I didn’t feel represented in the way I wanted, even though at the beginning it was very exciting. So when I came across the right people and the right conditions were met, it was a way to cope and do the things I wanted to do while being myself: I felt happy. I struggled a lot at the start because I did things I didn't care about for cheap prices as I didn't have money for the second part of COVID; I was in Milan, with three people in one bed, which was insane, but I would do it all over again. I'm now very grateful to be comfortable and carefree.

What does fashion mean to you?
It's a very distinct and specific way to express yourself. There's a big misconception that if one is a model, he doesn’t really care about style and fashion, or about the things around. For example, I caught myself buying cheap stuff like Zara, H&M or garments that don't last. I realised that it's my job to actually feel good in clothes. I want to be, to be represented by fashion as I represent it through the images I feature in, you know. So it's a tough gig, but at the same time I understood the value of spending more money and time to research the right pieces that made me feel even more connected to the product.

How has its significance changed for you over the years?
At the beginning, it was something very ephemeral, but then it evolved into this thing that's more and more compelling to use to learn, know, feel and see garments. For example, I was watching a movie the other day (Memories of Murder) and the clothes they wore were so important, an element which can be sometimes brushed aside in the cinema industry sometimes. But that's what separates the greatest people of the world.

coat + socks PAUL SMITH
sweater FEDERICO CINA
pants ACT N1
belt VERSACE
shoes DR MARTENS

blazers + ties PAUL SMITH
top EXTREME CASHMERE
pants MOSCHINO
loafers SEBAGO

“I've always been very open hearted and kind to people, even if I couldn't really tell if they just wanted things from me or not.”

Francesco Ruggiero speaks with Chidozie Obasi
LE MILE Magazine EPHEMERAL, Nr. 38

jacket CASCINELLI
sweater FEDERICO CINA
shirt TAKATURNA
waist sweater CATERPILLAR
pants SETCHU

What's the biggest pinch me moment of your career and journey?
I think it hasn't happened yet, I don't know why. Actually, I feel there’s been a couple, but it was never something I’d consider major, maybe because it's not the career I want to pursue for the rest of my life. I know I want to do it as well as possible, but I don’t want to be solely remembered for my beauty. I think seeing myself in a very different position would be super, like doing a fashion brand or a campaign. I think the biggest ones I would like would be either Bottega or Prada, because they’re not very me and it would be great to explore their aesthetic.

How about your most complex time?
When I was younger, because I had a very specific set of parents who are non-politically correct, as they grew up in difficult times. They all had to do their own thing in their own way. My mom had her first tattoo at 13. And so basically she was like the black sheep of the family and on the streets doing her own thing: growing up, she had to survive to get where she is. And my dad, on the other hand, was the opposite: he comes from a very wealthy family, but then just decided to do whatever and throw everything, whatever they gave him, and he became the black sheep, too. My dad is someone who moved to Mexico and lived there for 15 years. He was never there in a sense, but that's his personality. I met him better when I got older and I went there, at a time when I didn't see him for nearly a decade. But then on the other hand, my mom always loved us, because she changed a lot when she had us. However, she didn't have the means and it was even more difficult, because growing up, we wanted things that maybe we didn't have. But we adjusted and we were kind, especially to our mom, because she was alone; now she's like the most adorable, full of tattoos mom ever.

Any advice you'd give your younger self?
I would have loved to understand the people coming to me, what they actually need or what I could tell them differently.

How do you juggle mental health?
I started giving more attention to my mental health through the whole process of growing up and the difficulties. I had to meet my girlfriend three years ago to understand how important mental health was, especially for things that involve love and trust, because that's when it gets more serious trusting someone when you're so in love and you try to give everything. So I started psychology sessions and now I don't almost don't do them anymore. I only attend therapy sessions when I feel like I have to, but it has gotten me to a point where now it's so much clearer when on how to approach things and how to talk myself through things and how to maintain my stability or don't get angry, don't think too far ahead. I don’t overthink things because that was my main issue about everything.

So now tell me about the book. How did it come about?
The idea started around a couple of years ago, and it was a collection of pictures I had on my phone of lost things and randomly found objects from all over the world, from Los Angeles, Brazil, Mexico, to Iceland where I went for the first time. Objects include the likes of gloves, hats and whatever you can think of. One night I was scrolling through this album of 60-ish pictures with a friend who's a photographer, and we began writing down all the coordinates of where we found these objects - given the through line of my gallery is predominantly consumerist and materialistic. For every picture, we wrote a story of who might have lost the object, and every picture has a different writing. It then translated into more things, like a movie for the book in which the protagonist loses himself across time.

Any future hopes?
I think my biggest hope is to be wealthy enough to be comfortable. I would like to be comfortable in the way that nobody around me has to feel like a burden. At this moment and time, I’m here trying to figure out what I like exactly. And when I find that out, I would like to transition from being just a model. I don't think modelling will ever actually go away, because I like the idea and I like the retribution, obviously, and that I have to take care of myself, because I always like training. But I would like for my creative process to become the centre. Then all the rest is more than welcome to step in, as and when it wishes.

seen COSIMO BUCCOLIERI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
assistant editor DAVIDE BELOTTI
editorial coordinator NICOLÒ BATTISTINI
make up DIANA DJURDJEVSKI
hair DAVIDE PERFETTI
set designer IRENE COVERI
talent FRANCESCO RUGGIERO

production assistant Anja Menegon
photography assistant Antonio Crotti
set design assistant Giulia Pettinelli
fashion assistants Anna Sarr, Cloe Rubinato, Hamin Lee, Loris Vottero, Maria Teresa Jurado, Gaia Cirillo

Sadiq Desh - Interview

SADIQ DESH
Sheer Delight

written CHIDOZIE OBASI

As a creative fresh into his path whilst showing a patience that equates to burgeoning success, 29-year-old Sadiq Desh isn’t ready to rest on his laurels just yet.

“Over the last year, I’ve had some firsts!” he exclaimed, adding that “I saw a lot of me honing on my social media style and modeling.” Born in Nigeria and now hailed in Berlin, he finished high school and moved to Canada to pursue his Bachelor’s degree, working in finance for a year before switching to the fashion sector.

Desh deems Canada “a small market,” so it wasn't until the pandemic when he moved to Berlin and started gaining more of a following on social media that he ventured into the creative world. On the impact of industry, he speaks candidly about the complexities of the system. “It still goes in waves I think,” he opines. “Just being in Germany, across the fashion scope and within the influencer community there isn’t much inclusion, which is why I'm happy independent outlets — like yours — exist and represent people who look like me, because there’s media that keep using influencers or models who look exact same, so seeing that is always a bit frustrating because they could maybe tap out of their usual zone and give people a different dimension of what they do rather than using the same kind of boys all the time,” he adds.

“Sometimes there’s things that people do that make you feel like you don't belong in a certain room… you can definitely tell when people feel entitled because of their ego.”

Sadiq Desh speaks with Chidozie Obasi
for LE MILE .Digital

Moving on to representation, Desh believes that there can still be more profiles like him in the industry. “I still think there’s things that can be done, as there’s still moments where I don’t feel like I'm being respected or treated a certain way, especially in the influencer market where you’re dealing with people with egos and followers,” he shares. “Sometimes there’s things that people do that make you feel like you don't belong in a certain room, and whether it's consciously or unconsciously you can definitely tell when people feel entitled because of their ego. I just always want to make people feel welcome no matter what level of popularity they have.” His transition to being just a set fixture to appearing on socials happened out of the blue in 2017, because the first big fashion brand that invited him was Gucci and he attended their small activation, which led to expanding his career.

But there’s more to the story. “The positives of this job is that obviously you’re lucky enough to make a living out of it, which I think in the bigger scope of things is kind of crazy that you just have this social media profile on a platform and you’re able to profit from it,” he shares. “But I think the benefits for me have been that I was able to have an avenue to meet more people and get educated on things I probably wouldn't have been educated on in other areas. Obviously the downfall with that is if you’re ignorant over certain things and you’re putting stuff out there—and it's perhaps not the right connotation—you could get some backlash as there’s no learning curve or there’s no room for learning when you have such a platform, so you kind of have to take things as they come.”

cardigan MOSCHINO
shirt DIOR MEN
shorts FENDI
tie PAUL SMITH
necklaces LAG World

top FERRAGAMO
brown vest DOLCE&GABBANA
white shirt MANUEL RITZ
pants PAUL SMITH
loafers CHURCH’S

total look MIU MIU

“What keeps me grounded is the urge to resonate with what’s authentic to me… not just the monetary gain, but what feels authentically delightful to me.”

Sadiq Desh speaks with Chidozie Obasi
for LE MILE .Digital

total look LORO PIANA

total look VALENTINO

sweater + shirt + tie PAUL SMITH
pants ZEGNA
shoes SEBAGO

Desh has always taken a personal approach within his platforms. “I mostly gain traction because of my thoughts on things and obviously fashion but my personal say about topics or how I’m feeling is what keeps people,” he opines, reflecting on the notion of authenticity. “I think it's a double-edged sword, because one wants to be authentic, but then people have a short attention span on the internet so one minute you're viral and the next minute you’re forgotten,” he concludes. “What keeps me grounded is the urge to resonate with what’s authentic to me, and to be honest sometimes I've lost that because of the commercial process of social media; however, what I've been pushing forward since last year is not just the monetary gain, but what feels authentically delightful to me.”

blazer JIL SANDER by Lucie and Luke Meier
sweater CANALI
shirt ALESSANDRO GHERARDI
pants MEIMEIJ
loafer CHURCH’S

blazer ISABEL MARANT
shirt DIOR Men
pants JIL SANDER by Lucie and Luke Meier
shoes FERRAGAMO

photography ANTONIO CROTTI   
fashion director + stylist CHIDOZIE OBASI   
head of production JESSICA LOVATO   
fashion coordinator LUCA MICELI   
make up AMY KOUROUMA via WM MANAGEMENT using Nabla Cosmetics   
hair ALICE FANTINI using Davines   
talent SADIQ DESH   
set design IRENE COVERI
fashion assistants LORIS VOTTERO + CLOE RUBINATO + ANNA REGAZZONI + JORDAN MAX BAGLIONI + ALBERTO MICHISANTI + MARTINA MANENTI + MARTINA MUSMARRA + EDWARD PUSCA  

Ali Guty - Interview

ALI GUTY
*Action of Becoming

written + interview MARK ASHKINS

Ali Guty arrives in a way that makes arrival feel like an outdated concept, because she’s already in the room before she steps into it, already occupying the gaze before the lens has the nerve to blink, already shaping the air before the stylists even begin to fuss with the hem of anything, because presence doesn’t begin or end, it spills, it stretches, it slips under doors and over walls and between the seams of whatever someone once tried to call fashion, or work, or image, or identity.

There is a pace to her, the kind that folds time in on itself, the kind that turns a set into a stage into a space into a world where cameras become guests and nothing—absolutely nothing—is static, because static things break and Ali doesn’t do broken, she does bending, reshaping, reworking, reappearing, again and again and again, in forms that flicker just long enough to be felt but never long enough to be held.

Fashion loves a narrative but she refuses punctuation, lets the story spill out of her limbs, her shoulders, her neck, the angle of her jaw in late afternoon shadow, and there is always shadow, and there is always light, and between the two she moves like she invented both, like someone who doesn’t need costume or cue because expression lives in the body, and hers writes paragraphs in silk, in denim, in latex and cotton, in things you forgot were supposed to be clothes because they start to feel more like skin or muscle or the inside of a thought that never needed words.

dress ONRUSH

There was Jean Paul Gaultier, of course there was, because some people spot truth without needing it explained, because identity comes to some as intuition and others through decades of misdirection, and Ali holds it with the kind of grip that just rests firm, like someone who’s never had to borrow power because hers came with a fuse already lit.

There are shoots, there are rooms, there are teams and tables and call sheets and sponsored water bottles, but also—there’s motion, breath, the way her hand interrupts the air and tells it to pay attention, and it does, and so does everyone else, because rhythm doesn’t require music and energy doesn’t request permission, and when presence hums, everything else becomes chorus. So she moves—forward, outward, upward, inward, all at once, without a map, without a pause, into the spaces that recognise her even before she’s named them, because naming is for those who need labels, and Ali has already lived the thing.

dress LARHHA

Mark Ashkins
What’s the frst fashion moment that made you stop and think—this is where I belong?

Ali Guty
Refecting on my journey in the fashion industry, there was a moment that made me think, “This is where I belong.” It was the realization of how beauty standards are manipulated, and how, depending on the prevailing trends, one’s body type can be in Vogue or sidelined. The resurgence of 2000s fashion has brought back the ultra-thin ideals of that era, sidelining curvier fgures that once gained acceptance. I don’t like to see how our bodies are treated as mere trends, leading to a draining experience where opportunities diminish for those who don’t ft the “regular” model mold.

The cyclical nature of fashion trends often leads to the resurgence of past styles. The return of Y2K aesthetics brings back not only the fashion but also the body ideals associated with that era. This can perpetuate a narrow standard of beauty, sidelining those who don’t conform to these ideals. It’s essential to challenge these patterns and advocate for a more inclusive approach that celebrates all body types. Our presence and voices are essential in challenging these standards, advocating for genuine representation, and ensuring that fashion celebrates diversity in all its forms.

You move between high fashion and commercial work efortlessly. Is there one space where you feel most challenged?

I honestly enjoy both high fashion and commercial work, and I think they both bring something valuable to my experience as a model. Commercial work is very structured, there’s a clear order to follow, and everything is carefully planned to appeal to a specifc audience. I appreciate that because it teaches me discipline, adaptability, and how to work within a well-defned framework. It’s a great learning experience.
That being said, I feel more at home in high fashion. It’s where I feel the most creative freedom, where I can move, express myself, and contribute my voice. There are fewer limitations, and it’s not necessarily about making something that “makes sense” for a broad audience—it can be abstract, experimental, or even purely artistic. That level of creative expression is something I truly love.

So while I enjoy both worlds, I’d say I feel the most comfortable and fulflled in high fashion and editorial work.

If you could only wear one designer for the rest of your life, who would it be and why?

Jean Paul Gaultier is the frst high fashion brand that truly believed in me. I love the team, their values, and the community they’ve built. It’s a brand that feels full of life, authenticity, and meaning. JPG vibes deeply with the way I express myself and how I experience love, friendship, strength, and the divinity within me. There’s an undeniable sense of empowerment in everything the brand represents, and that’s exactly why I love it. If I had to choose one brand to wear for the rest of my life, it would be Jean Paul Gaultier, without a doubt. It gives me that strength and confdence that makes me feel like the woman I am.

shoes COPERNI

“Our bodies are treated as mere trends, leading to a draining experience where opportunities diminish for those who don’t fit the ‘regular’ model mold.”

Ali Guty speaks with Mark Ashkins
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

Fashion thrives on the ephemeral. Do you see that as liberating or unsettling?

Both. The feeting nature of things can feel unsettling because nothing is permanent, but at the same time, it’s incredibly liberating. It reminds us that nothing is ever too serious everything fades, shifts, and transforms. Life itself is ephemeral. We try to hold on to control, to certainty, but the truth is, everything around us is constantly evolving: fashion, culture, our personal lives… Instead of resisting change, I think there’s power in embracing it, in letting it inspire us rather than unsettle us. Fashion is a refection of this fuidity, an invitation to play, reinvent, and move with the rhythm of time.

What’s a trend you loved but knew wouldn’t last?

The clean girl look, with glossy skin, laminated eyebrows, and polished buns dominate but fashion always oscillates between the immaculate and the maximalist. Life as trends are cyclical as we already mentioned, so what’s next?

The industry is fast, demanding, sometimes unforgiving. What keeps you grounded in it?

I know it's easy for me because I'm the same person in my personal life and working as a model, I have fun working while creating timeless art and memories that last forever. It's the way I express myself and I don't take everything so seriously, but the most important thing for me is to connect with others while working and inspire others along the way. The industry can be demanding, but I choose to see it as a moving space where there's always something new to discover. It anchors me in the idea that at the end of the day, the most important thing is to enjoy the process. I have friends who work in the industry and friends who have nothing to do with the fashion world, and I find balance in the people around me as well because they keep me connected to both realities.

People assume modeling is just about being in front of the camera. What’s the part of the job that no one sees?

What many don't see is the connection you build with people on set. It's not just about being in front of the camera, but about contributing creatively. Every day it feels frst day at work and also I love that. Sometimes, you're given the freedom to add ideas and be part of the creative process because, as the main character, you also have a voice. You're more than just a body; you have personality, opinions, and things to say. That’s how I experience modeling because of who I am and the way I approach it.
But there’s also a lot that goes on behind the scenes. The time spent alone, the rejection, the uncertainty. You never really know what will happen until the last moment in your life plans, and the idea of long-term planning in this industry is almost impossible. It’s an unpredictable journey, where you have to embrace the unknown and trust that each step leads to something new, even if you can’t always see the bigger picture. A LOOOOOOT of faith in the process.

If you weren’t in fashion, where would your creativity take you?

TV host, actress, casting director, model agent…There are things I still think about today. But most of my thoughts are still around the fashion industry.

Social media can turn a face into a brand overnight. How do you defne success beyond the numbers?

For me, expressing yourself in a way that both inspires and allows you to be inspired is everything. It’s the heart of why I love social media and connecting with others. Social media gave me a lot of opportunities to be seen frst that model agencies for example did, it was where all it began. The true reward comes from using your success to create something meaningful that positively impacts those around you. It's about using your power and your voice for good and making a diference.

Is there something next already planned, or are you letting the moment decide?

This year, I decided to surrender to the process and let life take me a little, without planning too much, leaving many doors open to new possibilities. A few months ago, I started an acting course, and I’m excited about it. Nobody knows what will happen tomorrow, but I always have new concerns and new things to learn that will help me grow both as a person and as a professional. There is a saying in Spain: “Caminante, no hay camino, se hace camino al andar.” This refects the idea that life doesn’t come with a pre-determined path; it’s created through the actions we take, the choices we make, and the steps we choose to follow.

coat NEXT COUTURE
shoes COPERNI

shoes COPERNI

model ALICIA GUTIÉRREZ via JAG MODELS
photography + creative direction ARDEN
styling SERGI PADIAL
styling assistant PAULA SÁNCHEZ
retouch ISMAEL VILLAR
set design JORGE GARCÍA

set assistant BLANCA DE LA CIERVA
film developing + scanning CUARTO COLOR LAB
photo assistant NANO HERNÁNDEZ
second photo assistant MARINNA BORHAN
location RUGE STUDIO

Gordon Massman - Interview

.artist talk
GORDON MASSMAN
*The Single-Hearted Octopus

written + interview KATE HOAG

Gordon Massman is a Massachusetts-based poet and self-taught painter known for works too big for doorways, or polite living rooms—what he calls “shameless confessions of the human psyche.”

Drawing from Abstract Expressionism, confessional poetry, and Beat Generation literature, Massman creates works that balance deep psychological tension with a sharp wit.

Whether referencing myth, religion, or raw emotion, his work is guided entirely by instinct—part catharsis, part confrontation, and always unfiltered truth. In this conversation with LE MILE, Massman opens up about what it means to paint like Kodiak bear, seeing art as a single-hearted force, and using each brushstroke to expose the self and universal truths.

Gordon Massman
Cabinet of the Soul
Courtesy of the artist

Kate Hoag
You’ve said you “paint like a Kodiak bear attacking fresh carrion.” What does that look like in practice?


Gordon Massman
I paint with my stomach to survive. I squeeze colorful fingernails from tubes with which I slash the canvas. The meat tears in ragged lines which I have no interest in aesthetically purifying. My “skill” lies in rawness, imperfection, dominance—one might call it “un-skill.” In practice I fill my studio with grunts, curses, degradations; I break nails; I cry; I jubilate; I reject civility. At best my paintings resemble something savagely torn rather than neatly sliced with a knife and fork on tablecloth and chinaware. Ugly, like life itself, with its jealousies, betrayals, fears, compulsions, cruelty, demands. Painting is the catharsis of materializing emotion.

Your canvases are often impractically large. How does using a vast amount of space help you express what you’re after?


Rage cannot flow through needlepoint brushes. Nor can passion. Both require smashed up bristles and brushes thick as shovel handles. Likewise, only canvases torn from mizzen masts can contain the reflection of psychological pain, physical lovemaking, deaths of children, war and genocide, guilt and shame, the horror of roadkill. These are my subjects and fastidiousness on preordained practical canvases cannot contain it. I paint neither for money nor living rooms nor average size doorways. I’ve said this before: “There’s the tube of paint, the canvas, and the sum-total of your life. That is all.” I purposely omit critics, audiences, appeasements, conventions. Art is solitary, selfish, and practiced without compromise in a cave.

Although many of your paintings are “abstractions without identifiable subjects” others reference religious histories, political realities, or myths. What goes into deciding your subject for each work?

When I approach a blank canvas, I am innocent—a newborn. The instant I mark it, and again mark it, and mark it yet again, I begin maturing from baby to boy to adolescent to scholar to man to bitten prophet. Within this process, from the white fog, the subject appears—two vague faces, a human ribcage, a peacock riding a bicycle. The physical manifestation of the subconscious dictates my subject which does not become knowable until before me it galvanizes. At that juncture, I become a strong-handed, purposeful storyteller. I never identified as a Rorschach abstractionist, but rather, at my best, as a guide through our collective subconscious wilderness.

Your work often contains deep psychological tension while also using humor and vibrancy. Why is that combination important to you?

I inherited a rarely expressed sense of humor from my mother. On her hospice deathbed in late April, she thanked God for sparing her from the torture of another southern Texas blast-furnace summer. She found the upside to her own extinction. Oftentimes, profundity occurs at the collision of opposites, when for example, fine dining runs contiguous with rampaging revulsion. I do not like peaceful representations devoid of cogitation and conflict. As an incorrigible analysand, I prefer art to blossom outward from the deepest psychological kernel imbued with the weight of revelation, and yes, perhaps humor.

You have noted that Abstract Expressionism, confessional poetry, and Beat Generation Literature all shape your practice. How do these seep into your paintings?

Ted Hughes’s 1970 volume of confessional poems, Crow, with its blunt statements on love, greed, God, instinct, and survival released me to myself. For the first time this naive conformist realized the power of visceral truth, of taboo celebrated. It took two decades and an emotional crisis for me to enter this sacred realm of exquisite turmoil in the deepest regions of the mind and heart. I excavated obsessively and still excavate. Likewise, Jackson Pollock opened my mind to dictatorial urgency, damn tradition. These artists, along with many others, unlocked for me my very nature’s raging fire—independence, filthiness, brutality, courage, clarity of fact. This informs my best work.

Gordon Massman in atelier
seen Charles Carroll

“I paint with my stomach to survive.”

Gordon Massman speaks with Kate Hoag
for LE MILE .Digital

Gordon Massman
The Mad Draftsman’s Instruments
Courtesy of the artist

Gordon Massman
Apollo’s Little Cabinet of Distractions
Courtesy of the artist

You taught literature for years at The Massachusetts College of Liberal Arts and have written thousands of poems. Does being a poet influence how you paint?

I think of collective art as a single-hearted octopus residing in the gut with each appendage a genre—painting, sculpting, dancing, acting, writing, musical composition—one or two of which extrudes and writhes from the artist’s orifices. Artists are not the appendages but rather the life force of their octopus. Poetry is painting, painting is sculpting, sculpting is acting. It’s the life-furnace which creates, not the mode of expression. Every serious artist honors the fire, not the genre. For me poetry and painting are one in the same.

You often say your paintings are like “shameless confessions of the human psyche.” What are you confessing through your art?

The seven deadly sins, plus hilarity.

Your paintings have been described as having been unfolded in graphic, chaotic detail. Do you see the chaos in your paintings as a mirror of the world, or more of what’s happening internally?

I hypothesize that all living beings are one single organism nurtured by a worldwide interconnected subterranean root system of the psyche. As one being in that system, I strive to lay bare universal truths such as hunger, desire, insecurity, fear, self-hatred, megalomania, procreation, shame, and cruelty. I embody that, as does everyone but the godlike few. When successful, my paintings reflect simultaneously the world and myself, or, more aptly stated, the collective unconscious. I believe innumerable great paintings have been obliterated by overthinking.

Your new mirror works bring viewers inside the painting, literally and emotionally. What does the mirror mean to you in this new work?

I see my own brush meet itself when I paint a mirror, and my own hand clutching the brush, and my own posture, and my own expression. Gradually, I create upon my peaceful visage something strange and alien—a portrait-blob of my very subconscious, like a turbulent bog or science-fiction monster. I thrill at this decimation. I see myself unadulterated in the finished work. Finally, my inner being starkly stares back at me, who I am, what I am, what I am capable of, my conquest-fantasies. I may be hideous; I may be delectable. But finally, I am really me.

What’s next for you? And what else do you look forward to exploring in your work?

The future is unrevealed to me. I am the timeline of my own evolution. I can only perceive my present incarnation. Tomorrow, who knows. I could become a race car driver, an elephant whisperer, or the undertaker to my own death.

header Credit
Gordon Massman
Patriotic Fugue
Courtesy of the artist

Maayan Sophia Weisstub - Interview

MAAYAN SOPHIA WEISSTUB
*She Cuts the Body, Stitches the House, Feeds the Silence

written + interview JONATHAN BERGSTRÖM

As a multidisciplinary artist, Maayan Sophia Weisstub’s work examines the relationship between identity, space, and the broader human experience.

Based in the United Kingdom and a graduate of the Royal College of Art, Maayan works in sculpture, collage, and kinetic art, often centering on themes such as domesticity, gender, sexuality, and mortality. Her works have been exhibited internationally and have earned her recognition as a finalist for prestigious awards like the Robert Walters Group UK New Artist of the Year Award.

In this interview we speak with Maayan about her current projects, her approach to materials, and how she brings together the body, home, and identity in her artistic practice.


Maayan Sophia Weisstub
Courtesy of the Artist

The Bed, 2022
wood, foam, silicone
95 x 123 x 198 cm
Courtesy of the Artist

The Bed, 2022
wood, foam, silicone
95 x 123 x 198 cm
Courtesy of the Artist

Jonathan Bergström

Themes of domesticity, gender, mortality, and sexuality seem to be central to a lot of your work. What initially drew you to these subjects?

Maayan Sophia Weisstub
Sexuality, domesticity, gender, and death occupy my thoughts and are an inseparable part of my life, as they are an inseparable part of the universal human experience. The home represents a safe and protective environment- from the primal womb, through the family home and its transformations, to the final home where we will reside. It is a familiar and safe space on one hand, and on the other hand, it holds secrets and traumas.

As you’ve mentioned yourself, the domestic space has historically been seen as a place that restricts women. How does your work respond to or reframe that idea?

For example, in my sculpture The Bed, I give space to the traumas and violence that occur within our domestic environment. The bed, usually covered in our sheets, appears as battered skin, covered with bruises, scratches, and scars. In another work, Dine with Me, I present a dyadic configuration which embraces the concept of oneness between man and woman, symbiotic-patriarchal relationships, and the problematic nature of such dynamics.

What’s your process for creating one of your collages?

The process of creating a collage is relatively simple, at least once I have an idea. Once I have an idea, I either photograph or search for images as similar as possible to the visual concept I envisioned in my mind. Then, I combine the images and edit them into a collage on Photoshop.

What role do materials play in your practice, and how do you select those that enhance the emotional or conceptual impact of your work?

Usually, when I have an idea for a new piece, the concept appears intertwined with the material in its final form, and I can "see it" in my mind. This is why I work with and create in a variety of different media.
At the same time, there are the limitations of reality, and for some works that I would like to see in a particular material, I choose a more creative and practical solution.

How do you approach the creation of kinetic works, like your lightbulb sculptures?

Kinetic sculptures are technically complex, so when I have an idea for a kinetic sculpture, I develop the concept, create sketches and simulations, and when it comes to the technical execution phase, I work closely with technicians and professionals, guiding the process every step of the way.

“The home represents a safe and protective environment—on one hand. On the other, it holds secrets and traumas.”

Maayan Sophia Weisstub speaks with Jonathan Bergström

for LE MILE Issue 38 / Ephemeral Edition SS25

Familiar Fracture
The Vase
Courtesy of the Artist

Familiar Fracture
The Vase
Courtesy of the Artist

What do you want viewers to take away from the way you deconstruct and reassemble body parts and everyday objects?

I don’t want anything specific to be taken from my work; my creations are not didactic. I do, however, hope that my works evoke emotions, imagination, and creativity, connecting viewers with new ideas in the hope that they will resonate within them.

Your piece The Weeping Tap started as a video on Instagram. How does social media impact the way you create your art?

The Weeping Tap started as a video and was later uploaded to Instagram—it wasn’t originally conceived with Instagram in mind. Social media doesn’t have a conscious influence on my creative process; however, there is an acknowledgment of the dialogue that forms after the work is created. I feel its influence more in how I share my work—the immediacy and openness with which I expose my sketches or thoughts.

Duality is also a recurring theme in your work. How do you balance contrasting ideas, such as vulnerability and audacity?

Duality is an inherent part of reality, such as light and shadow. Whether the duality is overt or hidden, it will always exist, and it is what allows for depth. I don't aim to balance it but rather to give it space, to make the differences present, and through that, to reveal complexity and multiple layers.

How do you decide when to leave something open to interpretation versus when to make it more literal or explicit?

Even when the message is simple and literal, there is always room for interpretation, and anyone who experiences a work of art brings their personal perspective, which, in my eyes, enriches and enlivens it. Some works have a more straightforward and immediate concept, such as the video collage works on sexuality, which are playful and clear to the viewer. Other works, like 'The Breathing Table,' have a quieter concept and message, dealing with loss and memory, and require more patience as they are not immediate.

In addition to your visual work, do you have any interest in exploring other mediums, such as performance or sound art?

I am always curious about other and new mediums, and sound is very interesting to me. I really love sound, but unfortunately, I don't have much experience in the field. However, I would love to experiment and collaborate with more experienced creators. I also love and appreciate performance, but I don't see myself creating in this medium, at least not in the foreseeable future.

Are there any new directions or creative concepts you're planning to explore in your next body of work?

These days, I am very interested in the concept of the 'other' in society. As I delve deeper into understanding the meaning of the 'other' and its place in society, both culturally and socially, it naturally expands my awareness of the hidden parts within the depth of my unconscious.

Video Credit
The Weeping Tap
Courtesy of the Artist

ILONA - Interview

ILONA
*Always The Bride

written + interview HANNAH ROSE PRENDERGAST

"In some way, I always knew," ILONA says of her call to fashion. Born in Paris and raised in LA, the odds were set. In 2022, she made it official, launching her label on home soil.

Each piece is handmade with love, guided by self-taught haute couture techniques and the meticulous instinct of a Virgo. After all, psychological armor is heavy; the wearer must feel unbridled, deranged, and somewhat aggressive.

In this spirit, ILONA’s second collection, Psychosis, recounts her time as a teenager in a psychiatric hospital. Rather than relying on the darker, more literal tones often tied to mental illness, she stains warm off-whites and soft pastels for a more poignant touch.

The mood exists somewhere between frayed cotton, silk linings, weathered lambskin, distressed tulle—and lots of sparkle. Ask Esther. Here, ILONA emerges from under her rock, roaming the streets of Carroll Avenue in her own creation—a pink and gold lamé bridal gown with Calais lace.

ILONA seen by Miriam Marlène

ILONA seen by Miriam Marlène

ILONA seen by Miriam Marlène

Hannah Rose Prendergast
AS OF LATE

Ilona
I’ve been in LA planning some exciting future projects and taking a small break since the release of my latest collection.

LA EXPORTS

I brought back Betty Crocker fudge brownies and a sunny attitude, both lacking in Paris.

SHUTTER MEMORY

I got my first film camera when I was 16. It was a manual Nikon FM2, and I wanted to figure out how to use it. I had a photography teacher in high school who was really influential and taught me the ins and outs of the darkroom. It helps me today because I still shoot film occasionally and sometimes incorporate it into my work.

PLAY BY EAR

Music inspires me during the design process and keeps me going during the sometimes tedious sewing stages. I also always listen to music during my cigarette breaks and come up with new ideas.

BERLIN BRAIN

I moved to Berlin when I was 20 and knew only one person there. On a gloomy winter day, I decided to study neuropsychology. It was an enriching experience for which I’m grateful. I love Berlin and cherish my time there.

ILONA seen by Miriam Marlène

“After all, psychological armor is heavy; the wearer must feel unbridled, deranged, and somewhat aggressive.”

Ilona speaks with Hannah Rose Prendergast
for LE MILE Issue 38 / Ephemeral Edition SS25

NOBLE CAUSE

In the past, I struggled with the idea of working in fashion, thinking it was a selfish or superficial profession that didn’t contribute much to the world. As I’ve grown older, I’ve realized that the creative process of making garments makes me happy. Some people resonate with the clothes, and I’m okay with it being my calling.

CASTELLUCCI’S PARSIFAL

It inspires me to this day. The colors, costumes, and set design are insane. Castellucci creates a world like no other.

DEADSTOCK VALUE

I’ll continue using deadstock fabrics, as there is way too much waste in the world. I can also source unique couture fabrics I don't believe are made anymore. I like the individuality they bring to the garments.

NEVER THE BRIDESMAID

Most of all, I love the couture looks that take weeks to make. I included some more ready-to-wear elements for my second collection, which I hadn’t done in the first. I wanted some garments to be wearable every day. But I’ll always include a bride because I love to do it and think it really ties a collection together.

THE GOOD NURSE

I included quite a few nurses who were definitely my saviors during that time, as well as my friends who stuck with me through that traumatic period. I usually name my garments after my friends and people I love.

LAMB OF GOD

I sent Brodie Kaman pictures of all my stuffed animals, and we decided the lamb made the most sense. There’s a stuffed bunny that I've had since I was born, which I also included in some of the imagery for the collection.

LIGHTEN UP

Now, people think goth has more colors..

HAPPY IS

Iced coffee, puppies, cake, books, palm trees, my family, and my friends

NEXT LEVEL

I’m in a transitional phase of my life, figuring out where I might relocate as I plot my next collection.

LIFE ADVICE

Be delusional.

ILONA seen by Miriam Marlène

Anxhela - Interview

ANXHELA Plays
*The Room Follows

written + interview ALBAN E. SMAJLI

Anxhela moves with steady momentum. Her sessions open when the day allows for it, tracks surface with the kind of weight that feels tied to place and time, and each one holds its shape without needing to explain how it formed.

She releases music in a way that suggests she’s already past the part where it needs to be explained — each piece arrives formed, quiet, intact, without scaffolding or commentary, and then lives where it lands. The tone across her output remains steady, and the surrounding space—both physical and digital—feels maintained with the same attention, creating a rhythm where every release holds its own position, shaped by a sense of timing that reflects the internal pace of her process, with no visible urgency or external structure, and everything aligned with a working method that keeps expression at the centre and lets the material speak without interference.

The same applies to how she dresses. There’s alignment without overthinking, detail without decoration. Each look feels connected to the environment she enters, whether that’s a small club, an outdoor stage, or a studio session in progress, and the alignment between sound, space, and image settles without commentary. Nothing leans toward performance and everything in view appears selected with quiet precision, creating an overall impression that builds naturally as part of the experience she’s creating, rather than functioning as a separate layer around it.

total look JUUN.J

Kosovo sits in recent memory — the kind of night that works in layers, with a familiar crowd positioned close to the stage, a set that held its shape across its full length, and a kind of energy that remained steady from beginning to end. Family watched. Energy held. Nothing overstated. Just the kind of connection that registers in the body and stays there for a while. Right now the work is happening in parts. Studio sessions, fragments, outlines, days where something clicks and the rest falls into place. The process stays active, shaped by the environment and the rhythm of her own attention, with new material appearing as part of that motion, guided by feeling and sustained by structure.

Playing live remains essential. The volume in the room, the faces, the architecture of the room and the way bodies move inside it. Each set builds on instinct, adjusted in real time, shaped by the way the crowd responds without language. She approaches the set as a whole structure, one that forms through presence and holds together through instinct, with every element placed deliberately and nothing overstated. The direction stays inward, the delivery stays exact, and the result maintains a kind of clarity that travels well beyond the night itself. That balance works. It’s already working.

total look DIESEL
jewellery ARCHIVED PROTOTYPES

jewellery ARCHIVED PROTOTYPES

Alban E. Smajli
Please, define your sound without limitations. What does it evoke, where does it live, and who does it belong to?

Anxhela
Yes,my sound is an emotional journey and it reflects what I feel, what I imagine, and what I want others to experience. I stay true to what moves me, but I also think of the listener because I’ve been on that side too, waiting to be transported by music.
Every track I play or create carries a piece of my mood, joy, sadness, energy, nostalgia. It’s a mix of instinct, emotion, and connection. My sound lives between my inner world and the dancefloor, and it belongs to anyone willing to feel something real.

Fashion and music—does one dictate the other for you, or do they move in tandem as part of the same vision?

For me, fashion and music move in harmony, they’re both expressions of the same inner world. Just like sound, what I wear reflects how I feel, what I want to say, and the atmosphere I want to create.
Sometimes a look can amplify the energy of a set, or help tell the same story the music is telling. I don’t see them as separate, they evolve together and complete each other as part of my artistic identity.

Albums seem like a relic, streaming is a battlefield. Where do you stand in this war for attention?

Streaming is important, it’s where people discover you, connect with your music, and follow your journey. But I don’t create just to grab attention. I create to express something real and to connect with the listener. Whether it’s one track or ten, the emotion behind it is what matters most to me. I released singles so far, because I like focusing on each track as its own story. Every release is a moment, a feeling, something I want to share without waiting for a full project.

At the same time, I really admire the idea of building something bigger, like an EP or album. I haven’t done that yet, but it’s definitely something I think about for the future. I don’t follow a fixed strategy or release constantly, I create when it feels right. But at the same time, I know how important it is to stay visible, especially today. So I try to find a balance: I want to stay true to my sound, but also be smart about how and when I share my work. I’m learning to combine both sides: the passion and the planning, without losing myself in the process.

total look JUUN.J Archive

“Every track I play or create carries a piece of my mood, joy, sadness, energy, nostalgia. It’s a mix of instinct, emotion, and connection.”

Anxhela speaks with Alban E. Smajli
for LE MILE Digital SS25

Are clubs sacred spaces, or are we witnessing the birth of something new?

I think clubs will always have a special place. There’s a certain and real energy you can feel there,but at the same time everything is evolving. Music evolves, and we see new collectives, new concepts and new ways to connect. I think we’re already in the middle of this change.
I love playing in clubs, but I’m also excited to explore other spaces and see how electronic music keeps evolving.

Festivals—have they lost their cultural significance, or are they evolving into something new in the live music experience?

I don’t think festivals have lost their meaning,I think they’re just changing, like everything else in music.
Today, festivals bring people together in a big way. It’s not just about the music anymore, it’s about the full experience, the community, the energy, the visuals, the feeling of being part of something. I think they’re evolving into something new, and that’s not a bad thing. As long as the music stays at the center, festivals can still be powerful and emotional moments, just in a different way than before.

Your music is a world of its own—what stories echo through it, and what emotions form its foundation?

My music is built on emotions. Every time I create or play, it depends on how I feel.
Sometimes I’m happy, sometimes nostalgic, sometimes sad, I try to express that through sound. I don’t follow one story, but I want the listener to feel something to connect with the mood. For me, music is a way to speak without words. It’s like sharing a part of myself, and at the same time imagining what the people on the dancefloor might need in that moment. I don’t follow one fixed story, it’s more like a journey through feelings.

If you could construct the perfect performance from the ground up—what does it look like, sound like, feel like?

My perfect performance would be in a special place, maybe outdoors, in nature, or somewhere unexpected. I’d want the music to be emotional, and full of energy. A sound that makes people feel something and takes them on a journey.

The lights, the space, the people, everything would come together. But the most important thing is the connection. I’d want everyone to feel free and present, just enjoying the moment with the music.

Kosovo—Europe’s youngest pulse. How did this performance come to life, and what was it like to play in a place so charged with energy and change? What’s next for you? A whisper, a roar, a new world?

Playing in Kosovo was a really emotional experience for me. I’m Albanian, and having my family there, people I love made it even more special.The energy was powerful, I could feel the crowd connecting with every sound, and I felt so free to express myself. It wasn’t just a performance, it felt like home.

What’s next?

I think it’s a mix of all three: a whisper, a roar, and maybe even a new world. I’m in a phase where I’m discovering myself more through music, step by step. I don’t always know where it’s going, but that’s the beauty of it. I just follow the emotion, stay true to what I feel, and let the sound lead the way. Whatever comes next, I hope it surprises even me.

dress HADERLUMP ATELIER
shoes DR. MARTENS
jewellery ARCHIVED PROTOTYPES

talent ANXHELA
photographer PASCAL SCHONLAU
production + styling BASAK SAYGIN
makeup & hair GIOVANNI ZUMMO
production assistant ANETA TARASEVICIUTE

Preston Douglas Boyer - Interview

.aesthetic talk
PRESTON DOUGLAS BOYER
*Styling Hope

written + interview SAVANNAH WINANS

Preston Douglas Boyer is a multidisciplinary artist working across some of the most mutable disciplines: fashion, fine art and music. Between his independent art practice and his busy schedule of collaborative projects, Preston has no trouble keeping up with these ever-evolving industries.

So far in 2024, he’s staged several public art performances, curated a 12-artist exhibition at Wienholt Projects, had a museum exhibition at LongHouse Reserve in East Hampton, released his album REPURPOSED RELIGION on Spotify, and dropped his first series of NFTs on Wise.art—and he’s got more in the works. Preston provides insight into how he stays grounded in our fast-paced world, whilst working towards his vision of the future of culture and creativity.

Preston Douglas Boyer
seen by Zach Gold

Preston Douglas Boyer
Single scanned element for upcoming zipper painting

“The only real constant between shifting mediums is the deeper reason why I create: to make physical representations of the spiritual experience.”

Preston Douglas Boyer speaks with Savannah Winans
for LE MILE Dazed Edition - Nr. 37

Preston Douglas Boyer
Forcing Forgiveness, 2024
at CALIFORNIA LOVE, Wienholt Projects
seen by Anya Gta

Preston Douglas Boyer
Detail shot of Triumphal Entry, 2024

Savannah Winans
As a multidisciplinary artist, you wear a lot of hats: painter, fashion designer, performer, musician, curator, et al. When you’re switching between these roles, what stays constant?

Preston Douglas Boyer
The only real constant between shifting mediums is the deeper reason why I create: to make physical representations of the spiritual experience. An exploration of the search for intimacy with God through beauty, whatever I understand that to be at the time. The theme of darkness to light also is a consistent theme in all of my work. Those are some elements at the core of everything I do when getting down to true causes and conditions.

What changes would you like to see in both the fashion industry and the art world?

I love seeing the fashion industry embracing the idea of performance art, which fashion inherently is in many ways. I really loved Rick Owens’s latest runway show with all of the models in a communal parade of sorts. Haunting and hopeful at the same time. As far as the art world is concerned, opening the gallery doors to more mediums of art that aren’t just wall-based works, and being able to sell conceptual and or performance works by fostering a collector base for these works. I think this is the future. We all love beautiful works on our walls, but art goes beyond that. And there’s beauty in minimalism in the home.

You recently curated the group show CALIFORNIA LOVE at Wienholt Projects. What defines California artists?

In a way, contemporary California artists don’t rely as much on the “art world” because historically the art world hasn’t been here as much. Artists had more freedom to make all sorts of styles and mediums of work and not be limited to just being a “painter.” The space and sunlight has an effect on the work and overall there’s less visible darkness, but often through the beauty, there is an underlying sense of distress, which I really sense for example while driving around this city.

Your zipper paintings have these beautiful custom decals on the zipper pulls. Some of them read “HOPE IS ALIVE.” What does this phrase mean to you?

This mantra reminds me that optimism is a choice. We can live in hope or we can live in despair, it’s up to us to choose on a daily, hourly or minute-by-minute basis. Individually and collectively. In the face of fear, uncertainty and pain, we can still have hope.

Your paintings can be zipped or unzipped, and one of your collectors commented that this was effectively “styling the painting.” Since you’ve also designed clothes, how does styling a person differ from styling a painting?

A model inherently brings their energy to a fitting or photoshoot, which can be a great collaboration, but when I’m in the studio alone it’s much more of a self reflective and contemplative process. I love fashion because it is so collaborative. At the same time, I fell so deeply in love with painting because it was such an immediate and intimate ordeal with myself, my pain, suffering, anguish, and God, if I allow Him into the studio that day. I try to think of life, and therefore my work, as a collaboration with Spirit, i.e. the my will vs. thy will paradox, and things tend to work out better that way when I’m able to surrender.

Preston Douglas Boyer
seen by Zach Gold

Luke Kruger-Aimone recording vocals for REVIVAL
the next REPURPOSED RELIGION performance
seen by Alex Conradt

“This mantra reminds me that optimism is a choice. We can live in hope or we can live in despair, it’s up to us to choose on a daily, hourly or minute-by-minute basis.”

Preston Douglas Boyer speaks with Savannah Winans
for LE MILE Dazed Edition - Nr. 37

Your paintings often incorporate abstracted corporate logos; it’s a Warholian gesture with a twist. How do these logos change the overall aura of the painting?

On a physical level, these large blocks and swathes of mainly black-and-white abstracted text provide structure to the compositions. Viewers may not initially know that they are looking at a distorted Blackrock or Björk text logo, but when they either find it for themselves or hear me talk about the work, the aura definitely shifts. The work becomes less about beauty and more about cultural critique. I strive for works that have a real balance between the two. But then the zippers come into play, and we look beyond the surface to a blank white wall, and that’s where our truth really is.

How does your spirituality influence your perspective on corporatocracy and the ways you critique it?

Money is not inherently bad. The love of money is where we run astray. God wants all of us to be abundant, but we are so quick to make money our higher power. Money is an exchange of energy, and, to say the least, there are extremely disparate financial realities happening concurrently. LA is such a prime example to be witness to this. The art world serves the .01%, the people who really do have dominion in this physical realm. I see my role as serving these individuals and being a teacher in their lives through my art, in addition to the physical objects I create that inherently have these challenging questions in their spirit.

What aspects of culture do you find most interesting right now?

There seems to be some semblance of a revival starting to take place. We’ve been living in this “post-truth” reality for some time now, and with the ever-increasing dependence on technology, and intentionally divisive energy being mainlined into the veins of society, there seems to be a pushback from a primal, spiritual level. A revival of realizing who we really are when we strip away everything culture tells us who we should think we are.

What’s next for you?

My fiance and I are planning our wedding, which is a major performance piece in itself in many ways! We are also working on the next RR performance work entitled REVIVAL, that will hopefully debut in September, with a second performance in another city later in the fall. I’m painting every day recently, and honing in on these zipper paintings.

Sun Yuan & Peng Yu - Interview

.aesthetic talk
SUN YUAN & PENG YU
*The Last Laugh

written + interview HANNAH ROSE PRENDERGAST

Ashes to ashes, dust to dust—everything returns to its original state, endlessly transforming. Art, too, is reborn with each encounter.

If you are lucky, you will find yourself as a Sun Yuan and Peng Yu original—a couple from Beijing who have been making art together for twenty-five years.
There are many great options.
If we look to Civilization Pillar (2001) for answers, what binds us is nothing more than liposuction fat. Yet you are far more complex—a silicone human capable of floating on water, soaring through the sky, and falling flat on land (not necessarily in that order).
From a dead fly on the wall to an industrial robot trapped in an infinite loop: the choice is yours.
At least, that is the idea.

(c) Sun Yuan & Peng Yu
Teenager Teenager, 2011

(c) Sun Yuan & Peng Yu
Teenager Teenager, 2011

“The distance between me and weapons is the distance between me and freedom.”

Sun Yuan speaks with Hannah Rose Prendergast
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

(c) Sun Yuan & Peng Yu
Teenager Teenager, 2011

(c) Sun Yuan & Peng Yu
Can't Help Myself, 2016-2019

(c) Sun Yuan & Peng Yu
Can't Help Myself, 2016-2019

Hannah Rose Prendergast
You reposted Hey Brother (2022) after the U.S. presidential election results, writing, 'Although the future is full of uncertainty, we are together.' What moved you to express solidarity with the American people in that moment?

Sun Yuan / SY
Unity may not be so important, but people of different races and beliefs living in the same country and on the same planet must always face their relationships with one another. This is an eternal theme. The same piece of cloth connects two shovels; they wrestle with each other but cannot be separated. The tension created forms the internal relationship of a work. Likewise, the relationships between people within a country are the same.

Peng Yu / PY
People’s emotions were twisted with excitement and nervousness. Many countries, including China, delayed decisions and policy changes until the results were announced. As a result, methods of warfare in different regions will also shift. The entanglement of forces for survival shapes human relationships. Being together may be helpless and unavoidable—it can mean unity or struggle.

Freedom (2009) and Dear (2015) feature violently animated hoses in confined spaces, symbolizing the chaos of unregulated authority. What is the ongoing dialogue between these two works?

SY: The basic principles of these two works are the same, but one is powered by a water pump and the other by an air pump. It is like two people with different temperaments responding in a confrontation. Freedom generates tremendous force to strike the iron plate, while Dear thrashes into the chair and glass, leaving scratches behind. The recurring theme of struggle appears in many of our works.

PY: Some people see Freedom as a trapped dragon, while Dear represents the soul of a person controlled by power. Both express a natural, uncontrollable force.

The tension running through Open Sesame (2012) and If Seeing Is Not an Option (2013) stems from the fact that private gun ownership is illegal in mainland China. In 2002, you started building arsenals abroad with the help of Taiwanese and Swiss collectors. What does this separation mean to you?

SY: I need to possess weapons in my own way. Without weapons, you cannot have freedom. The distance between me and weapons is the distance between me and freedom. The feeling of freedom is strongest when you do not yet have it. Therefore, I cannot touch guns. This is the stage when they hold the most meaning for me.

PY: The title Open Sesame comes from the magical incantation that unlocks a treasure-filled cave in fairy tales. It symbolizes the gateway to a new world. If Seeing Is Not an Option was completed in Kyiv, Ukraine, resembling a weapons training camp inside the art gallery. Looking back, it seems like an early warning, a crisis-awareness training for what might come. I hope the young volunteers who participated in this work are all doing well. Our weapons caches are like tentacles in consciousness, with which we can feel and care for the world across dimensions.

Your use of live animals started and stopped in 2003 with Keep Dogs Away and Safety Island. Was this a conscious decision, or did it occur naturally over time?

SY: That was a conscious decision because the following works used the most cunning animal: humans. Animals cannot perform falsely—they do not follow commands, and instinct determines their behavior. Human nature is more complex. Not only do they have the combative traits of animals, but they also adopt strategies and schemes to achieve their goals. This is politics. I have always focused on and been interested in exploring these complex and instinctive relationships.

What draws you to working with animal specimens, including taxidermy? What do you find rewarding or meaningful in using it as a medium?

SY: An artwork is, in essence, a specimen of art. Creating art with specimens does not bring a sense of accomplishment. However, animal specimens help us imagine how the animal looked when it was alive. Similarly, artwork enables us to imagine the process of its creation—how it looks when conceived or deconstructed in our minds. In this way, the artwork gains meaning.

“Art cannot always develop according to the artist’s original wish. Sometimes, it needs to leave the artist and introduce the will of others.”

Peng Yu speaks with Hannah Rose Prendergast
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

(c) Sun Yuan & Peng Yu Old
People's Home, 2007

(c) Sun Yuan & Peng Yu Old
People's Home, 2007

Can’t Help Myself (2016) is a friendly reminder that humans program robots. How does this piece comfort us in an era of rapid AI development?

SY: This work explores a relationship of mutual control—a dynamic that permeates every corner of the world, including social interactions. When the machine operates, viewers can immediately sense the entanglement and constraint within this relationship. By engaging their own bodily experiences, they can either confront or relieve this tension. Ultimately, the viewer develops an understanding of the work: empathy through shared form. However, I do not seek to impose specific opinions or suggestions; the meaning is for the viewer to interpret freely. My role is simply to provide a framework for 'gazing.'

PY: I like the word 'gaze.' It is different from appreciation or simply watching. Gazing involves doubt, and where doubt arises, interpretation follows. Finding an answer is humanity's way of saving itself. The answer offers a form of comfort without a definitive right or wrong. We must also gaze, doubt, and judge when artificial intelligence arrives. People fear the unknown but will find comfort once they obtain some answers. When we proposed this project to the Guggenheim Museum in 2005, most people were unfamiliar with the concepts of artificial intelligence, programming, and robotics. Some feared the mechanical arm might shatter the glass and escape. Today, it stands as a representative work ushering in the era of artificial intelligence.

How often has the ‘uncanny valley’ of your replica humans gotten you into trouble?

SY: I do not attempt to explore the "uncanny valley." This effect attracts the public, but to me, it is shallow. Therefore, I do not have high expectations for the reactions caused by imitating reality in the work. It is merely a guide, making it easier for people to immerse themselves, just like watching a movie. The more vivid and specific the actor’s image, the easier it is for the audience to enter the story.

If I Died (2013) represents Peng Yu’s mother’s perception of death. What did it mean to construct this for her?

PY: Perhaps it is precisely because of her bold conception of death that she lives so happily. Art cannot always develop according to the artist’s original wish. Sometimes, it needs to leave the artist and introduce the will of others. By relinquishing authorship, the artist gains a certain freedom—not much, but enough to deceive oneself. It is like showing an elderly person herwish. For her, it is both illusory and comforting. It is like knowing a religious statue is just a sculpture, yet still able to strengthen one’s faith and find comfort in it.

How has your perspective of impermanence evolved over the years?

SY: Impermanence is an inherent method of artistic creation. Artists must constantly make their works unfamiliar to avoid falling into a fixed pattern. Therefore, changes in impermanence cannot be a regular evolution. Once the change has a pattern, it is no longer impermanent. A predictable trajectory surprises neither the creator nor the viewer.

As artists who have been labeled “controversial,” what are your thoughts on cancel culture?

SY: Although it may cause controversy, I try to maintain a certain distance from reality. This helps me observe clearly and avoid getting trapped in the meaning or interpretation of reality. The superficiality and extremism of cancel culture are both a human need and a defining characteristic. People do not completely hate their flaws; sometimes, they even take pleasure in them—like smelling their farts or scratching an itchy mosquito bite. So, I neither support nor oppose it; I simply observe. When humans think, God laughs. To keep God laughing, humans can think a little more.

Why do you think the world is a fine place to fight for?

SY: I actually have no answer. However, if striving keeps God laughing a little longer, I am willing to try.

What is next for you?

SY: I have no plans ahead.

Guy Remmers - Interview

GUY REMMERS
*The Duke Goes Off-Script

written + interview Alban E. Smajli

There’s something about Guy Remmers. Maybe it’s the voice — precise but unbothered. Maybe it’s the posture — somewhere between centuries-old nobility and Gen Z’s nonchalance. Or maybe it’s the fact that he’s straddling about five different lives at once and making it all look impossibly casual.

You’ve seen him as Theo, the Duke of Tintagel, in The Buccaneers — Apple TV’s velvet-clad, chaos-laced, post-bridgerton fever dream of a period drama. He plays it with just the right amount of restraint and emotional slippage, like someone holding a glass of brandy they’re about to smash. Now, with Season 2 freshly dropped last week, and the one and only Leighton Meester joining the cast, Theo’s world is about to get flipped on its finely groomed head. No spoilers, but let’s just say Remmers is riding the heartbreak horse hard this time around.

total look ANN DEMEULEMEESTER

But The Buccaneers is just one thread in the tapestry. Before screen, there was stage — and before that, Bristol. Guy trained at the Bristol Old Vic and made his debut at The National Theatre in The Grandfathers, a moment he still talks about like a first kiss. “Being a Bristol boy at that age in London… that was the moment I knew,” he says, and you believe him. His presence off-camera feels less rehearsed. You might’ve seen him walk for Burberry, pose for Jimmy Choo, or drift across a moody editorial like he woke up in a 1970s issue of The Face. But fashion, he insists, is its own thing — something he enjoys, but doesn’t conflate with his work as an actor. Still, there’s a symmetry: both spaces let him play with image, identity, and what he calls “the evolving shape of masculinity.” You get the sense he’s aware of how he’s looked at, but not defined by it.

Ask him what he wants next, and he lights up. A detective role (“Life on Mars” energy), a comedy-drama à la The Thick of It, something American-accented. What you’re reading is a man who wants to stretch — not because he’s bored, but because he knows how good the view is from the edge. In an industry obsessed with immediate heat and viral cool, Guy Remmers is moving differently. He’s not here to be loud. He’s here to last.

total look ANN DEMEULEMEESTER

Alban E. Smajli
So you’re the Duke of Tintagel—old money, stiff collars, and then boom: American chaos. What made you say yes to Theo, and how did you find your way into all that aristocratic angst?

Guy Remmers
Thank you! Theo's constant battle with the benefits and disadvantages of his title has always fascinated me. I did a lot of work on what his upbringing would have been like and how he physically carries himself and speaks. A lot of suppressing his emotions but the really exciting part was then allowing him to be swept off his feet by this new unique ball of energy from overseas. 

Season 2’s loading, Leighton Meester’s crashing the party, and Theo’s still stuck between duty and desire. Where’s he heading this time—and what happens when fresh blood hits old money?

New faces and characters are super exciting as it means you get to meet and work with incredible new actors. I loved seeing how they all seamlessly intertwined into the story. Theo's journey in this season is an absolute rollercoaster and his world flips upside down when he has to decide if love is more important than the institution he has been born into.  

You started on stage, Bristol Old Vic, National Theatre, all that velvet and sweat. Now you’re in streaming land. What do theatre and screen give you that the other can’t?

They are both magical in slightly different ways. I haven't done theatre in a few years now and the thing I miss most is the feeling of being part of an ensemble where you all rehearse together and feel like one organism. The Buccaneers is an ensemble cast but it is rare for us to all be on set at the same time. But I have now done two seasons of seeing the world through Theo's eyes and growing with him and that is equally as special.  

You’ve done Burberry, Jimmy Choo, the whole fashion orbit. What itch does that scratch that acting doesn’t or is it all just dress-up in different lighting?

I feel very lucky to have done those things, especially as I have a love for fashion. To me they are completely separate, neither offers me something that I would need from the other.  

You move between film sets and fashion shoots, all soft tailoring and sharp stares. Do you see yourself as part of a generation that's reshaping what masculinity looks like, or does all that talk just feel like another box to be put in?

I definitely feel like 'masculinity' is evolving into more open and expressive ways and I think one strong representation of that is in fashion. I hope it keeps moving in that direction. 

You’ve done corsets, campaigns, a bit of everything in between. Is there a role or genre still lurking on your wishlist, just waiting to be cracked open?

I've always wanted to play a detective, that would be super cool. I loved watching police dramas like 'Life on Mars' and 'Ashes to Ashes' when I was younger, I think that's where my love for them started. My favourite TV series is 'The Thick of It' so I'd love to do a comedy drama in that tone too.  Also a big goal is to do a role in an American accent.  

Was there a moment where it all just clicked and you thought, yep, this is it, this is the thing I’m meant to do?

When I was 18 I did a play called The Grandfathers at The National Theatre - it was an extremely special experience. Being a Bristol boy at that age in London doing a play at that theatre was the best feeling in the world and a moment that I knew I was doing what I wanted to do for the rest of my life. 

total look PAUL SMITH
shoes JIMMY CHOO

“I definitely feel like 'masculinity' is evolving into more open and expressive ways, and I think one strong representation of that is in fashion.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

blazer + beret EMPORIO ARMANI
trousers ANN DEMEULEMEESTER
vest SUNSPEL

coat + trousers ISSEY MIYAKE
shirt DAVID KOMA
trainers ADIDAS X WALES BONNER

jacket + trousers Y-3
shirt BRUNELLO CUCINELLI
boots DAVID KOMA
gloves HANDSOME STOCKHOLM
tie TURNBULL & ASSER

“Theo's journey this season is an absolute rollercoaster. His world flips upside down when he has to decide if love is more important than the institution he was born into.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

total look VERSACE

total look DANIEL W FLETCHER
trainers ADIDAS x WALES BONNER

photographer ANTONIO EUGENIO
stylist JUSTIN HAMILTON
grooming TRAVIS NUNES
photo assistant GEORGE TAYLOR
styling assistants KATIE SOMAVIA, LORNA LANE
videography VALENTINA VILLA
talent GUY REMMERS

Special thanks to Caroline Fergusson + Grace Yeoman, PR Pinnacle

Wanda Lephoto - Interview

.aesthetic talk
WANDA LEPHOTO
*Fabric As Archive

written + interview ALBAN E. SMAJLI

Wanda Lephoto builds narratives in fabric. His work is a continuum of history, community, and identity, shaped by memory and lived experience. Fashion carries weight, holds space, and restores what has been lost.

His Johannesburg-based label moves through cultural currents, weaving together ancestral knowledge and contemporary expression. Each piece exists with intention, shaped by deep research and a commitment to craft. Materials tell stories. Silhouettes hold memory.

Threads connect past, present, and future. Recognition follows, but the purpose remains. Lephoto’s approach prioritizes ethical production, local artisanship, and material integrity. He moves with purpose. Each stitch marks a place in time. Each piece speaks beyond the surface. Each collection expands the conversation.

trench coat NTWANA
shirt + pants WANDA LEPHOTO
shoes MAISON MARGIELA

photographer THANDO NXUMALO
stylist PEYTON JOE BASSON
talent and designer WANDA LEPHOTO
photo assistant BONOLO TLHOLOE
stylist assistant AYANDA KANISE

follow designer @wandalephot

“I design for a person I envision—someone who doesn’t yet exist in the ways I’ve seen.”

Wanda Lephoto speaks with Alban E. Smajli
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

total looks WANDA LEPHOTO

Alban E. Smajli
What does fashion allow you to say that words can’t?

Wanda Lephoto
I think fashion allows me to express my love and gratitude toward a people, a culture, and a history in a deep and meaningful way—something words, especially English words, often fail to convey.

South Africa, 2025. What does the landscape of fashion look like to you—raw, evolving, defined, or still untamed?

Oftentimes, it feels as though things are improving, with increasing visibility for designers striving to push boundaries in a complex country like South Africa, where much unlearning still needs to happen. I would say South Africa’s landscape embodies all the words you mentioned—raw, evolving, defined, yet still untamed—due to our complex history, which requires careful navigation. Over the past decade, we’ve seen tremendousgrowth. The next ten years will be pivotal in shaping the future of fashion—not just for our country but for the entire continent.

Your work moves between tradition and now. Do you see yourself as a translator, a disruptor, or something else entirely?

To honor, in the best way I can, those who came before me, fought, and shaped the context in which I now exist is fundamental to what we do. I am because we are—a philosophy rooted in our continent's teachings, emphasizing the human spirit and the essential role of each person in shaping and developing new ideas. This belief is dear to my heart, making the honoring of tradition pivotal to our creative process. Neither translator nor disruptor. I see myself as someone who fosters plurality—bringing together communities, conversations, cultures, and traditions in diverse spaces to create propositions for newness. It’s about shaping a different way of seeing and being, but even more, a different way of believing.

What’s the hardest truth about building a fashion label in Africa that no one talks about?

It’s a lonely feeling. The hardest part, for me, is that when we win, we win together—but when we lose, I lose alone. That can feel isolating. The financial setbacks. The emotional, mental, and spiritual weight of carrying it all alone. The responsibility of dreams—not just your own, but those of so many who rely on you.

Who do you design for—the person who wears your clothes or the culture that shapes them?

I design for a person I envision—someone who doesn’t yet exist in the ways I’ve seen. I design for the culture and community that believes in me—whose stories are often neglected but deserve to be seen and celebrated.

I design for those who shape culture alongside me—who, like me, believe in the individuality of our journeys yet the shared responsibility of dreams. I design for those who are no longer with us, but whose memories and stories live on—as a way of ensuring they are never forgotten.

I design for future generations who will inherit, through spirit, the importance of our collective work in shaping history—understanding that for us, it’s more than just clothing.

total look WANDA LEPHOTO
shoes DR MARTENS

What fuels your process—memory, instinct, resistance?

My process at this point in my design journey is hugely fueled by memory and resistance. I believe in honoring where we come from, because there is a lot of healing that needs to happen in the works we create —works that begin to fill the void of the missing archives we have lost. In the future, I know this will evolve. But for now, this remains the cornerstone of our work—restoring pride and memory of where we come from. The sentiment being: from the dusty concrete, a flower can bloom.

If you stripped everything away—labels, industry, expectations—what remains at the core of what you do?

The stories.

Africa has always dictated global culture, whether the world acknowledges it or not. Where do you see its biggest creative shift happening right now?

Africa is the heartbeat of fashion. Right now, I’m fascinated by the cultural fusion happening with high-low fashion, real/fake fashion, and western/traditional styles. The mixing of colonial dress with traditional dress.

The blending of thrifted dupes from Europe with real high-end fashion—which, in many ways, is a metaphor for how western fashion has become destructive to itself. All of this exists alongside the growing pride in wearing African fashion brands—brands that celebrate craftsmanship and culture through design.

Ephemeral. Fleeting. Unstable. How does that word sit with you? Is fashion ever meant to last?

Fashion is meant to last forever—not just as clothing, but as a feeling, a memory of a time that meant everything to us.

If clothing could dissolve at the end of the day, leaving only its impact, what would yours leave behind?

I think my clothes would leave behind the stories of a people, a group, a community—and, hopefully, a continent. Though history sometimes makes us feel as though we should be ashamed, the stories we carry are far more beautiful than any hardship we have endured.

We have true culture and community. We have true design and philosophy—something beyond mere aesthetics or financial trends, something that defines who we are.

Wolfgang Tillmans at the Centre Pompidou

Lines of Sight, Layers of Sound
*The Total Language of Wolfgang Tillmans

written Amanda Mortenson

A library breathes differently when an artist takes over. Pages stay still, but the light shifts. The Centre Pompidou hands over 6,000 m² to Wolfgang Tillmans, and the result is neither retrospective nor installation, but something in between—an unfolding.

Rien ne nous y préparait – Tout nous y préparait. The title of the exhibition stretches like a refrain, unresolved and cyclical. From June 13 to September 22, 2025, the Public Information Library (Bpi) becomes the surface of this phrase. And Tillmans, in his full fluency, draws a language across it—photographic, sonic, sculptural, political.

Moon in Earthlight, 2015

Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Echo Beach, 2017

Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

The exhibition arrives at a rare juncture. The Pompidou prepares to close for major renovation, and this final show is summation and offering. In a space usually devoted to silent reading and public access, Tillmans constructs a new form of visibility—one that includes what is seen and how.
The selection spans four decades of practice. Photographs are placed without chronology. Stillness meets print meets rhythm. The work is assembled with and against the building’s original structure, transforming the library into an environment that breathes with energy and tension. Archival material sits beside new compositions. Laser light pulses. Loudspeakers relay sound works. A sense of immersion replaces the convention of looking.

This is about an artist choosing a place with high foot traffic, open structures, and constant flux—and turning it into a medium.

What emerges is an exhibition as summary and space. The Bpi becomes a working model for how images live among us. The ceilings, walls, carpets, and shelves are absorbed into the visual syntax. Tillmans’ “Truth Study Center” unfolds across tables. Posters, zines, and publications are stacked with intention. HIV education materials rest beside press photographs, club ephemera beside celestial charts.

Tillmans brings all media. Music plays a constant role. His sonic compositions occupy the same register as his images—cut, repeated, looped. Film works are arranged in rooms that stay open to the larger pulse of the building. There’s only the ambient flow of ideas moving through form.

Wolfgang Tillmans à la Bpi, janvier 2025
(c) Centre Pompidou

At the core of this gesture is a belief in space as knowledge. The Bpi, a place of shared information and open presence, aligns with the artist’s long-standing interest in visibility, collectivity, and also intimacy. His work has always layered personal and public registers: bodies, cities, protests, pages, light. Here, those layers reach architectural scale.

CELINE enters the frame not through clothing or installation, but through Accès Libre par CELINE, a rare gesture of sponsorship that expands access. Four days of open admission stretch across the exhibition’s life—offering time, and plenty of it, to wander, stay, return. This collaboration moves with clarity. CELINE enters the art space through gesture. The house aligns with the architecture of presence and steps forward with precision. As a partner, the house marks its first-ever project with the Centre Pompidou. The exhibition unfolds under the creative direction of Michael Rider, who took on the role of artistic director in January 2025.

Tillmans returns to Paris with a wide-spanning institutional presence. Photographs travel across tables, suspend from ceilings, glow through projection. They live among books and browsers, headsets and desks. Artwork and infrastructure move as one, folding into a shared spatial rhythm.

The architecture of the Bpi becomes part of the work. In close collaboration with scenographer Jasmin Oezcebi, the exhibition develops its own spatial logic. Library furniture shifts position. Walls open new lines. Light acts as a tool for memory.

Every visual element follows a larger score. Materials speak together. The viewer moves through atmosphere, guided by rhythm and tone. The Pompidou moves toward transition. Tillmans shapes a moment with weight. The building gathers light. Images echo. Colors shift. Layouts change. Each element stays present.

Banner Image
(c) The State We’re In, A, 2015
Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

its only love give it away, 2005

Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Sam Salter - Interview

.aesthetic talk
SAM SALTER
Soft Power

written + interview Chidozie Obasi

31-year-old Sam Salter is damn good at making wraps and cookies. His top picks? “Chicken fajitas, oh my Lord, I love them! I'm honestly obsessed with chicken and beef wraps at the moment,” he shares. “I also like an Asian-style sweet potato mash with fish, like salmon; I have a very sweet tooth.”

But it isn’t his proclivity for a double dose of carbs that landed the London-based dancer his fearless gumption and a great path in the making; that was all down to his impressive creative chops.

coat FLORENCE BLACK 1954
sweater DIOR MEN
shirt PENCE 1979
pants DOLCE & GABBANA
necklace LAG World
loafers CHURCH’S

blazer FERRAGAMO
gilet FENDI
shirt HARMONT & BLAINE
pants LABO.ART

“I'd say I'm a living and breathing artist, and my path has been like an umbrella made of different avenues that I've been pursuing over the last three-to-four years.”

Sam Salter speaks with Chidozie Obasi
for LE MILE .Digital

jacket ZEGNA
blazer TELA
t-shirt CHB CHRISTIAN BOARO
pants FERRAGAMO
necklace SWAROVSKI

“I’ve been dancing since I was the age of eight, and I always wanted a life of variety,” he opines, the moment we begin to settle into our conversation. “I always wanted to push my boundaries in my career, and I never thought I would be in the position that I'm in now with what I've accomplished—coupled with the things that happened in my life—but it all came with a lot of hard work. I'd say I'm a living and breathing artist, and my path has been like an umbrella made of different avenues that I've been pursuing over the last three-to-four years.”

The first moment that Salter realised dance was the key element needed to kickstart his creative career was very early on. “I was eight years of age, and it was an amazing moment that I remember my mum asking If I wanted to go try a dance class,” he says. “It just felt like the most incredible moment where something clicked in my body and brain. And I mean, don't get me wrong, I was probably terrible. But I just remember absolutely loving it.” Before that, Salter was a really competitive horse rider. “I would horse ride every single day after school. I loved it. And I was good at it too, like I was a really strong candidate.”

Salter wasn’t a kid that grew up watching dance on television or across the media. “However, there was a programme in America called So You Think You Can Dance, which I remember when I started getting into dancing. And watching American dancers felt great, because they’re incredible,” he says. “Funnily enough, in recent years I've connected with them online.”

Salter trained at the Sylvia Young Theatre School in London and the Delay Theatre Arts in Surrey, projecting into roles across the spheres of musical and ballet—namely, Mary Poppins, Wicked, Swan Lake, The Nutcracker—that marked few turning points from an early stage. “I suppose there were two,” he reflects. “The first one was when I was at Sylvia Young, and my peers in my year never thought of me as very talented. But I worked my absolute arse off and I just remember being obsessed with it,” he says. “Then there was this one class where I got picked out to do a solo: all my friends were like, ‘Oh my god, Sam, you're like a really good dancer!’ It just happened, and I remember everyone came up to me, which made it a really special moment.”

jacket TOD’S
shirt DUSAN
polo TOMMY HILFIGER courtesy of ZALANDO
pants TOD’S
shoes SEBAGO

total look LOEWE

“I'm a very proud out gay man, and I will always fight for the community and believe that we should be treated just like everyone else.”

Sam Salter speaks with Chidozie Obasi
for LE MILE .Digital

blazer TAGLIATORE
shirt TOMMY HILFIGER

shirt + tie TOM FORD
tank top CHB CHRISTIAN BOARO
pants JIL SANDER by Lucie + Luke Meier

Moving on to deeper territory, Salter has spoken openly about the struggles with mental health, which led to phases of addiction. Years on, he feels he’s on a good path and on a good ground, both emotionally and physically speaking. “I feel amazing right now in terms of my sobriety, and I feel like I'm in a really great flow with it: I've been in and out of sobriety for a long time,” he opines, with unguarded honesty. “And what I can say is that whenever I'm sober, I feel my ultimate best in so many ways; truth be told, my personal life hasn’t been great in the last few months. I felt a bit flat, uninspired, and lost because I hold my career to a really high level. I'm a workhorse.”

Salter has hustled hard with his goals between dance and social media, trying to build branding and working with luxury households. “It took years of trying to get this. So when things are quiet for me in terms of work, I feel my mental health dips.” But what is really special for Salter right now is his sobriety. “Even though I feel like I'm having a little bit of a life dip, which happens, I'm still thriving overall because I am clean and sober and I'm not getting myself into any sort of trouble.”

As we walk through the emotional depths of his inner self, I cannot help but wonder where these complex phases of his life stemmed from. “I think addiction stems from a lot of stuff like growing up and not feeling quite good enough, as I was a very shy kid and I always wanted to feel more confident. And we all know that certain substances can make you feel more confident. So they were hand in hand for me; I was finally this confident, attractive in a way guy. And I’m actually naturally quite a shy person and insecure. I have insecurities.”

Salter’s been in therapy for years, trying to untangle these emotional complexities. “I think if people looked at me online they would have a different perception of me. I would work on no sleep and it was dangerous for my body. I was doing these crazy shows, you know, with no sleep. But I don't think that the entertainment industry really was the catalyst into all of this kind of stuff.”

On the entertainment industry’s hardships, he speaks openly. “I've definitely worked on jobs where I haven't been the happiest because of egos,” he admits. “I remember I once got booked on a tour to be the leading man, and I found out through a show fan that I'd been cut. I don't know why they ended up getting rid of me, but that was like a tough pill to swallow. And that was something that I found quite challenging. Like this is, it was just done in all the wrong ways.”

shirt PRADA

blazer TAGLIATORE
cardigan CANALI
tank top DIESEL
shirt TOMMY HILFIGER
shoes CHURCH’S

However, his reckless pursuit of optimism took Salter to new heights, bringing forth a major deal that sparked an equally major moment. “One of my favourite jobs I've ever done was the Wonka dance buddy,” he says. “I looked after Timothee Chalamet on Wonka: I'd help him rehearse the role, I would dance his double, step in, give him notes on dancing and so on. That was super special because I love being on set. Films are so exciting, and I'm a big fan of his work.”

Salter also made his acting debut, a short film titled I Need You To See Me: in this project, he plays a substitute dance teacher navigating a complex and intense relationship with his mentee. “It was like a two man scene happening in a dance studio,” he recalls. “It was really intense and a lot of work, but it was an incredible experience.” The director reached out to him a few times and Salter ignored him at first. “I always wanted to try it, but I was a little too scared and I thought there were things in my way and I had a lot of worry and fear about it.”

Navigating the dynamics of LGBTQ+ storytelling is key for Salter. “I'm part of it, so I always advocate to push for it,” he asserts. “I'm a very proud out gay man, and I will always fight for the community and believe that we should be treated just like everyone else.”

Soulful and vibrant in equal measure, Salter spills further doses of joyful optimism and hope as we draw our conversation to a close. “I plan to continue training, and I want to keep doing my castings for acting as I’d like to keep pushing my boundaries,” he concludes. “I'm really proud of the work I've achieved so far, and I want to keep pushing as much as I can, whether that's as an actor or a choreographer or a dancer or all of them. I just want to be giving it my everything.”

team credits

seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
make up KIM GUTIERREZ via STUDIO REPOSSI
hair ALEXANDER MARKART via BLEND MANAGEMENT
talent SAM SALTER

photography assistant ANTONIO CROTTI
fashion assistants LUCA MICELI + LORIS VOTTERO + CLOE RUBINATO + ALICE CANNITO + ANNA REGAZZONI + JORDAN MAX BAGLIONI

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

Deto Black - Interview

DETO BLACK
*Saves The Day

written + interview Hannah Rose Prendergast

In Deto Black’s educated opinion, sexy is a superpower. Outfitted in silver latex with an undergrad in social anthropology and a master's in global governance, she is a shining example of what it means to be multifarious.

headpiece ALIZEE QUITMAN
top ISSY BRIGHTMORE
thong POSTER GIRL
stockings ATSUKO KUDO
shoes CAROLIN HOLZHUBER

Sonically, her fate was sealed in 2020 with a hypnotic verse on Odunsi (The Engine)’s ‘Body Count. ’ In case you missed it, that number doesn’t matter to the chartered accountant. Aptly titled ‘Yung Everything, ’ Deto dropped her first EP the following year. Fashion-forward in all spheres, the “ass on his mind, foot on your neck” attitude will not quit. As a proud Naija Babe, setting us free from the evils of slut-shaming is incredibly close to her heart. Under the name Sex, Deto Black operates with her besties to make the world a wetter place.

“Sexy is a superpower.”

Deto Black speaks with Hannah Rose Prendergast
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition

ear cuff GREGORY KARA

Hannah Rose Prendergast
As a woman with two degrees, you have the peace of mind that there are no answers in life. Do you still have doubts about this? How do you maintain that wisdom?

Deto Black
I often overanalyze things, but knowing that fact gives me a bit of comfort. One of my favorite quotes is, “The man that knows something knows that he knows nothing at all,” by Erykah Badu.

Born in Delaware, your family home in Lagos, Nigeria, and living in London, you’ve formed your own culture. How has each place imprinted upon that?

Lagos will always be home in my heart. I grew up there, and it helped me develop self-confidence and thick skin. It was nice growing up around people who looked like me; that gave me a strong sense of self. Living in London opened my mind beyond Nigerian culture. I was able to experience other things, which also impacted my creativity. Summers and Christmas’s spent in the US inspired me to do things on a larger scale and taught me that the sky is the limit.

In Yoruba, your name Adetoun means “crown of my own” or “Princess. ” How do you think having that name helped you grow into it?

I never really knew the meaning of my name until I got older, but I definitely think names are manifestations. I can be a bit of a princess, but not the type that lives in a tower and gets saved. I’m more like the one who can defend herself and inspire people.

Not one to get stuck on labels, what made you embrace the term Nollypop?

It was one of my supporters on X. I posted a snippet of my song ‘Naija Babes’ and asked, what genre is this? There were a few responses, but Nollypop was the most fitting. I’ve always been really inspired by the Nigerian film industry, Nollywood. Back in the day, before I started music, I creatively directed a couple of my shoots with that aesthetic.

The video for Chi’s ‘Lizard People, ’ featuring you and Mowalola, dropped in spring. What makes this project so iconic, other than the obvious?

I love my girls. We create such iconic things together. The ‘Lizard People’ video definitely gives Death Proof vibes, which I love, and it really made an impact on the culture. Seeing three black girls depicted in that way is rare and just powerful. Chi, Mowa, and I have a band called Sex.
We wanted to create a girl group that supports women in the creative industry because we feel there aren’t enough of them. We make music, films, clothes, host parties, pretty much everything. It’s just a way to show that women can come together and create iconic things.

As an authority on female sexual empowerment, who do you think is missing from the conversation?

I think Nigerian women are missing from the conversation; very few of us speak on the subject or even want to associate with it. I find it ridiculous because Nigeria has the highest population in Africa, so let’s not kid ourselves.

Everyone’s fucking. Growing up in Lagos, sex was always such a secretive and demonized topic. I wish we had a safer space to discuss it. I think opening up that conversation will only make things better and, most importantly, safer for everyone.

Your mum has always been one of your biggest inspirations, a lawyer with a penchant for Louis Vuitton and Chanel who taught you that you could be anything and everything. How do you feel you’ve inspired her?

Aww, yes, I love my mom! She always tells me how proud of me she is. I feel like I inspire her to be even bolder and not care about the opinions of strangers. She has a completely different career, so it’s a bit different, but we are definitely very similar – my Aries Queen.

Fashion is your first love. What qualities (aesthetic and non) do you look for in clothing?

I think my taste changes over time, but I look for quality and uniqueness in everything. I want to look good but different and sexy, always sexy.

If you were a cartoon character, who would you be?

People always compare me and my friends to The Powerpuff Girls. Growing up, I felt like I was Bubbles, but now I’m a bit of Buttercup and Blossom because I’m the responsible but feisty one, allegedly.

I know you like to live in the present; what does the future hold?

I’m about to drop my second EP , which I am so excited about because I haven’t dropped one since 2021, so I’m really looking forward to it.

What was the last thing your gut told you?

Everything is working out in your favor.

sandals YING OU

“I can be a bit of a princess, but not the type that lives in a xtower and gets saved. I’m more like the one who can defend herself and inspire people.”

Deto Black speaks with Hannah Rose Prendergast
for LE MILE Magazine, Nr. 37, AGE OF CHANGE / 02/2024 Edition

production credits

talent DETO BLACK
creative + seen BRYAN TORRES
styled JADZIA SCOTT
producer ISABEL MARTÍNEZ-ZURITA
art direction PO TSUN LIN

make up CHELSEA UCHENNA
hair TAKUMI HORIWAKI
digital JEMMA HANSEN
light artists RENNATTO OLIVEIRA + ALEX JOSE
retoucher GUILLE SOTELO
nail artist CHAY
stylist assistants MARILENA ANGELIDES + YASMYN NTEGE
production assistant SOPHIE CHERRY

Thanks to TOO YOUNG TOO SIMPLE + GAS HIRE

Katinka Bock meets Nick Mauss at Espace Louis Vuitton Munich

Katinka Bock + Nick Mauss at Espace Louis Vuitton
*The Architecture of Resonance

written Alban E. Smajli

Espace Louis Vuitton München unveils RESONANCE, an incisive convergence of Katinka Bock's material meditations and Nick Mauss’s enigmatic visual narratives.

The exhibition crystallizes Fondation Louis Vuitton's ongoing mission of recontextualizing its collection, extending beyond its Paris epicenter into global territory. Katinka Bock shapes vulnerability into strength. Her sculptures, raw and exacting, manipulate elemental materials—clay, paper, stone, metal—each piece a quiet interrogation of balance and impermanence. The deliberate exposure of her work to natural processes results in forms saturated with the unpredictability of experience, echoing the human condition's nuanced complexities.

KATINKA BOCK
A AND I, 2013
Eiche, Bronze, Keramik, Stahl/Oak, bronze, ceramics, steel
180 x 55 x 80 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Louis Bourjac

NICK MAUSS
DOUBLE MOTIF, 2016
9 Tafeln mit Hinterglasmalerei, Farbe/9 mirror panels, paint
221 x 160 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Marc Domage

Nick Mauss articulates ambiguity. His practice dissolves distinctions between drawing, sculpture, performance, and text, producing works that are fragmented, ephemeral, and hauntingly precise. Layered transparencies, mirrored reflections, and delicate lines converge into compositions that resist static interpretation, continuously evolving as viewers interact with their spatial reality.

RESONANCE is a deliberate act of curation—two artists, distinct yet inherently aligned, exploring histories embedded in material and memory. Bock’s sculptures embody temporalities; each crack or fold a record of interaction between artist, environment, and time. Mauss reconfigures histories through intricate gestures, archival echoes transformed into immersive realities. The exhibition reframes historical narratives, stripping them from fixed contexts, releasing their latent energies into the gallery's architecture.

Experimental methodology defines RESONANCE. Bock’s materials—humble, potent, unpredictable—are elevated through her meticulous manipulation, becoming potent symbols of transformation and endurance. Mauss, meanwhile, perpetually reinvents his creative language, effortlessly transitioning between forms, mediums, and references, crafting immersive encounters that envelope viewers in reflective possibility.

The spatial dynamics of Espace Louis Vuitton München are integral to RESONANCE. Both Bock and Mauss actively harness and reshape architectural space, inviting their visitors into a choreography of movement and contemplation. The gallery becomes a resonant chamber, an activated stage for engagement, intimacy, and reflection.

KATINKA BOCK
ZARBA LONSA, POMPEI, 2015
Keramik, Stahl, Eisen/Ceramics, steel, iron
85 x 70 x 100 cm
Courtesy of the artist and Fondation Louis Vuitton

Fundamental to RESONANCE is Fondation Louis Vuitton’s commitment to disrupting the boundaries of contemporary art's accessibility. The exhibition is emblematic of the Foundation’s ethos—architecturally expressed through Frank Gehry’s iconic Paris structure and conceptually through global "Hors-les-murs" interventions. It underscores art's radical potential as a participatory and democratic force.

RESONANCE offers viewers an encounter with complexity distilled into form, materials eloquent in their silence, histories refracted through contemporary sensibilities. It is a provocation, an insistence on the vitality of dialogue within and beyond artistic boundaries.

RESONANCE runs from March 21 to September 6, 2025, at Espace Louis Vuitton München. Entry is open and complimentary.

(c) Katinka Bock & Nick Mauss
Espace Louis Vuitton Munich, 2025

KATINKA BOCK
ALASKA, 2014
Keramik, Holz, Stahl/Ceramics, wood, steel
426 x 198 x 142 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Louis Bourjac

KATINKA BOCK
HORIZONT MIT LOT UND ZITRONE, 2011
Stahlstange, Filz, Holz, Plastikball, Zitrone, Stahldraht, Sand/Steel bar, felt, wood, plastic ball, lemon, steel wire, sand
250 x 600 x 10 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo (c) Primae / Claude Germain

header image
NICK MAUSS, PROCESSION, 2017

15 Tafeln mit Hinterglasmalerei, verspiegelt / 15 panels with reverse glass painting, mirrored
159 x 365 cm
Courtesy of the artist and Fondation Louis Vuitton
Photo credits: (c) Primae / Marc Domage

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

Bullyache - Interview

.aesthetic talk
BULLYACHE
*Grit and Glamour

written + interview ALBAN E. SMAJLI

BULLYACHE crafts a visceral blend of working-class grit and queer defiance, a raw reflection of the world’s chaotic pulse.

Emerging from the intensity of sobriety and the tight-knit bond of collaboration, their art fuses mythology with the stark realities of contemporary life. Each performance is a live confrontation with anxiety, absurdity, and the relentless push to create meaning in a fractured world. Disrupting traditional spaces and narratives, BULLYACHE redefines what it means to connect through art, turning instinct into a powerful force that challenges and captivates.

Bullyache
seen by Will Hazel at Abbey Road Studios

“We make performance works in a world on fire, which feels a little absurd, but maybe that reflects a general dissociation and anxiety that's going on.”

Bullyache speak with Alban E. Smajli
for LE MILE Issue N3. 37 - AGE OF CHANGE

(c) Will Hazel

(c) Will Hazel

Alban E. Smajli
BULLYACHE has been described as a pop-culture collision of working-class and queer expression. How does your art reflect the changing dynamics of society, particularly in terms of class and identity?

Bullyache
It reflects it in that we have elevator pitches like this that generalize who we are and make massive claims about what we do. Which isn’t all bad, it's a double-edged sword. There's more of an immediate relationship with someone who hears about the work but at the cost of subtlety and complexity.
We reflect a tiny subcategory of people, but we’re at least trying to do that in a way that feels good for us and the people we work with. If we’re good at that, then maybe it can reach out to wider groups of people. We make performance works in a world on fire, which feels a little absurd, but maybe that reflects a general dissociation and anxiety that's going on. Our end goal is that the work has a relationship to the viewer that blurs boundaries of feeling and definition. It's probably that act of blurring and anxiety that's most reflective.

Your work merges mythology with contemporary socio-political themes. In today's era of rapid change, how do you balance the preservation of cultural narratives with the need to innovate and disrupt?

We don't really care about any sort of preservation. I don't think it’s in our head to disrupt either. We’re trying to get at a feeling we have personally and we use what comes to us to get at that. Mythology can be tragic or kitsch or camp. It’s however the audience feels about it. Most disruption comes from failure.

BULLYACHE started during the pandemic as a manifestation of your friendship and sobriety. Can you share how these personal experiences influenced the birth of your artistic vision?

We couldn't do anything, then we got sober and filled the void with work, co-dependence with each other, and narrowing the vision we have. We spend every day together so we never really have to talk about what the vision is; it's a felt thing.

Your style has been likened to 'Pina Bausch cosplaying as Dua Lipa in Cradle of Filth makeup.' Can you tell us how these diverse influences shape your creative process and stage aesthetics?

We steal, take, reuse, resample, remake, reform until it becomes ours. We take inspiration from everything and nothing. It’s how to interpret our lives with the resources we have available, and ultimately everything just becomes a really practical decision. It's a gut instinct in response to what’s around us.

Congrats on being the first act to bring dance to Abbey Road since Kate Bush. How did it feel to perform in such an iconic space?

It’s a great space and a great team. They were fantastic and the skill level and resource was wild, but we don’t really put too much weight on legacy institutions. It’s incredible, all the people who have been there before, and it’s amazing to join that roster of artists so early on.

We got some homophobic comments on socials from that shoot which we didn’t expect, which was fun. Inviting all our collaborators to the space was super special.

Bullyache ́s performances are noted for their gazelle-like choreography and intense theatrics. How do you use movement and dance to enhance the storytelling aspect?

Movement and dance are the storytelling. You can communicate so much with a body by doing so little with it. If you create a narrative device for it, people will project their own images onto what they see.

Everyone can watch the same piece and have completely different takeaways, that's what we hope for. If there was an A to B thing we were getting at, we could put our energy into being on Twitter [now X].

How do you ensure that the stories of working-class and queer experiences are authentically represented and resonate with a broad audience?

We don’t know if they resonate or not. They should because they are ultimately about the attempts at success and failure that comes with being in the world. Hopefully, everyone can take something away from it.

If it doesn’t resonate, then that's fine. We’re also excited if people hate it. We know it’s not for them, and we’re doing something right. We’d rather concentrate on developing the channel of communication for who it does speak to.

Looking ahead, are there new themes or concepts you're ready to explore in the future?

Suicide and femcels, Luke Belmar, English cuckoldry.

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also read
.aesthetic talk BASTIEN DAUSSE *Choreographing New Realities

(c) Will Hazel

“We steal, take, reuse, resample, remake, reform until it becomes ours.”

Bullyache speak with Alban E. Smajli
for LE MILE Issue N3. 37 - AGE OF CHANGE

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