Lisa Yuskavage Looks Back

text by Karly Quadros

It’s no secret Lisa Yuskavage has a bit of a fetish. If not a sexual one then certainly an artistic one. She’s best known for her paintings inspired by hippie dippie Penthouse porn featuring buxom white girls licking lollipops and lounging around in nothing but beaded panties and rainbow striped socks. For a long time, these girls occupied imaginary spaces like wild fields and technicolor dreamscapes, fantasy worlds where the body bounces and drips and nipples are always pointed to the heavens. But her latest show, 21 new large and small scale paintings on display now at David Zwirner in Los Angeles, has a new preoccupation: the artist’s studio.

The exhibition was inspired by, in part, an ongoing effort to archive every painting in Yuskavage’s more than forty year career. With the help of a few Zoomer assistants, Yuskavage has meticulously catalogued and cross referenced her paintings on her website, tagged with an exhaustive taxonomy of recurring motifs. Gallerist David Zwirner, moderating the artist’s talk back in the absence of curator Helen Molesworth, spoke about what initially drew him to Yuskavage’s paintings. “The work was always complicated,” he said. “The work always looked back at you.” Now Yuskavage is looking back at the work.

There is a looming reflexivity to the show. Consider Painter Painting (2024), in which the artist portrays herself clothed in a white lab coat at work in a studio bathed in the warm glow of a red light district. She’s dwarfed by her creation, a large-scale grisaille based on a 1995 black-and-white photograph that Yuskavage took of her sculpture titled “The Motherfucker” (today, the photograph lives in the MoMA.) The artist from the painting works from a reference photo taped to the wall while the original “Motherfucker” sculpture is tucked in the corner on a pedestal. In the studio, mediums and ideas echo and reflect off of each other, unbound by time.

Yuskavage is a contrarian at heart, and the real-life paintings referenced in the exhibition are often her most controversial. In the Company of Models (2024) features the artist’s iconic Rorschach Blot (1995), a rendering of a rubbery and gaping sex doll, leaning against a wall in a stack of canvases. Other paintings in the fictional artist studio feature the artist’s ‘Nel’zeh’ motif, little peasant women most prominently featured in the artist’s output in the 2010s, looking on disapprovingly like so many puritanical critics. 

The previous paintings hidden in the new ones are often rendered in the thin lemony-yellow of a cadmium underpainting, the technique that gives Yuskavage’s paintings their distinctive candy-tinged glow. This layering, technically and thematically, animates the show. Expect Yuskavage’s many hallmarks – juicy color palates, rotund bellies, and perky breasts – but these are not her usual subjects. Instead, they’re models, memories, recurring ideas unearthed from the clutter, like a painting tenderly pulled from a stack in the attic.

In 2025, the shock of Yuskavage’s pliant sex kittens isn’t what it was in the mid-90s when she last exhibited in Los Angeles. After all, OnlyFans has gone mainstream and some contemporary fashion editorials make Penthouse seem all but quaint. Instead of a sexual guilelessness as her subject, Yuskavage has returned to a creative innocence: the artist in her studio, the student at her easel, and the model on her pedestal. For Yuskavage, the creative act is like a well-loved sexual fantasy – it’s a well she can return to again and again.

Lisa Yuskavage is on display through April 21 at David Zwirner in Los Angeles.

The Debut Runway Shows That Shook Up New York Fashion Week

text by Karly Quadros

This year New York Fashion Week saw a few high profile returns including Calvin Klein, helmed by Veronica Leoni, after six and half years and Joseph Altazzura, back from paternity leave. But, as more labels have decamped for Paris in recent years, NYFW has become about the rising stars making their debuts on the official CFDA schedule. This year’s class of newcomers runs the gamut from ethereal hand-sewn art-cum-fashion to a campy take on jock fare. The result is a picture of American fashion that’s more diverse than ever.

Gabe Gordon

Gabe Gordon lives for the drama. Specifically, the elaborate backstories he concocts for each successive collection, equal parts queer coming of age story and teen horror romp. Beginning with his off-schedule show at the New Design High School last September, Gordon brings a campy take on preppy jock fashion that makes the homoerotic subtext of early 2000s Abercrombie and Fitch campaigns, well, text.

This time around, Gabe Gordon is scaling up. In addition to his signature hole-riddled, curve-hugging sweaters and dresses, he introduced bodysuits in rugby stripes and flouncy cheerleader skirts. The collection, inspired by a midcentury fantasia about a girl’s dance troupe that kidnap and torment the boy’s wrestling team, had a distinct athleisure tinge to it, pairing sweatsuits with blunt 60s wigs. Arch sexuality suffused the entire event, from latex stockings and exposed bullet bras to pom-poms that looked an awful lot like floggers. New York City painter Sasha Gordon (who walked Gordon’s runway last season) contributed a painting printed on graphic tees depicting herself rocking a corseted mini dress with princess sleeves from the new collection.

LeBlanc Studios

The New York Fashion Week debut of Dominican label LeBlanc Studios has been a long time in the making. Founded 11 years ago by Angelo Beato and Yamil Arbaje, LeBlanc isn’t afraid to pull back the curtain to explore the power structures that belie not just the fashion industry but Big Tech and global wealth. Models strode down a catwalk covered in salt to scripted monologues for the latest collection, boldly titled ‘Other People’s Money.’ It’s hard not to see the collection as a meditation on the ways in which the Global South and especially Latin America has come to shoulder the more unsavory elements of the fashion industry from maquiladoras in Mexico where women toil for just a few dollars a day to deserts piled with textile waste in Chile. 

The clothing, however, was a celebration of Latin American identity, drawing on the aesthetics of Latin American films from the 60s and 70s. Suits with dagger collars and flared trousers were paired with fraying button ups, newsboy caps, and bucket hats in rich shades of chartreuse, ochre, peach, and emerald. Workwear is the obvious reference point, but the tailoring and lush knits recall the luxuriously laid back style of 1970s Greensleeves Records stars. 

Zoe Gustavia Anna Whalen

There is a reverence, a kind of worship, to the handcrafted garments that Zoe Whalen brings to the runway. Last season, her models walked a recursive labyrinth sculpted out of dirt (in another twist of pagan reverence, viewers were encouraged to bring the soil home in their gift bags.) This year at Performance Space in the East Village, the black box was lit only by a small mound of hand-dipped candles and soundtracked with an ambient composition from Silas Edgar, adding to the monastic energy. It was dark. It was moody. To see the clothes, you needed to squint.

This is just the kind of atmosphere of careful attention that Whalen strives to create. The clothing draws from a wide array of historical references from Victorian crinolines and corsetry to hammered medieval armor to 18th-century gowns that are all pleats and bustle. Made entirely of vintage and deadstock fabrics like tea towels and thermals, there were wax-dipped tops and tea-stained trousers, and draped and quilted outerwear that added a much needed winter coziness. Soft sculptural elements still dominate, and the collection is more wearable art than commercial product. Still, some pieces like Whalen’s curlicue wool handbags have the potential to become this season’s obsession.

Vettese

Vettese is one of the youngest labels on the schedule this year, with just two years under designer Kari Vettese’s belt. And while New York Fashion Week may not scream tube dresses and sandals, the designer made her case for barely-there jersey, bringing her Italian-American by way of Southern California charm. There are plenty of skin tight tube tops (including one in the green, white, and red of the Italian flag and in the shape of the country to boot) and knotty horizontal scarves. But the collection also shows off the more structural side of Vettese’s aesthetic including leather jackets cropped at the waist and tailored trousers.

Slinky, sexy, and distinctly 80s in a way that never seems to go out of style in Italy – it’s no wonder that celebrities have been flocking to Vettese’s work in the last few years from Charli XCX (who wore a custom Vettese skirt during her Glasgow show on the brat arena tour) to Florence Pugh and Kylie Jenner. It’s almost enough to convince you that a steamy Mediterranean summer could be right around the corner.

Autre Magazine and Jeffrey Deitch After Party Celebrating Frieze Week In Los Angeles at Sunset @ The West Hollywood EDITION

Friends and collaborators from the global creative worlds gathered at Sunset, the subterranean nightclub beneath The West Hollywood EDITION for Autre Magazine and Jeffrey Deitch’s annual Frieze Week kickoff. DJs Mr Pharmacist and Saturn Risin9 got guests dancing beneath hundreds of glittering disco balls while rising French-American duo Faux Real played a brief but energetic set. photographs by Oliver Kupper

Autre Magazine and Jeffrey Deitch Host A Dinner To Celebrate Frieze Los Angeles 2025 At Ardor @ The West Hollywood Edition

In annual tradition, Autre Magazine and Jeffrey Deitch Gallery kicked off Frieze Week in Los Angeles with an intimate dinner at Ardor in The West Hollywood EDITION, followed by an afterparty at the hotel’s subterranean nightclub, Sunset. Gathering on the Ardor Terrace, the evening brought together a dynamic mix of artists and collaborators, including Nadia Lee Cohen, Ariana Papademetropoulos, and Nina Chanel Abney, fresh off the opening of her solo exhibition at Jeffrey Deitch Gallery. Among the distinguished guests was Academy Award-nominated and Emmy-winning actress and artist Sharon Stone, who is poised to star in the upcoming season of Euphoria. Guests enjoyed luxury sipping mezcal Perro Verde paired with a vegetable-forward menu. photographs by Oliver Kupper

Jeremy Scott and Katherine Bernhardt's exhibition brings Pop, Play and Pure exuberance to Kansas City

 
 

text by Poppy Baring

“It’s F-U-N—that’s it, that’s all it is”

These are the words rapper A$AP Rocky once used to describe fashion designer Jeremy Scott. This sentiment naturally extends to contemporary artist Katherine Bernhardt’s work, but are these artist’s works merely playful or do they carry greater significance? In their new exhibition “A Match Made in Heaven,” Scott’s designs are partnered with their Bernhardt equivalent, producing a maximalist fun-filled world full of exuberant color and pop culture references. Although the pair were both born in Missouri in 1975, they met for the first time in November 2023 when the Executive Director of the Nerman Museum of Contemporary Art, JoAnne Northrup, noticed their commonalities. This exhibition, taking place in Overland Park, Kansas near where both of these artists grew up, is the first to explore the shared references in Scott and Bernhardt's work. 

Thirty-five of Bernhardt's energetic paintings are punctuated by one hundred of Scott’s looks from his archive, including those made under his namesake brand and those designed during his time at Moschino. The use of consumer and popular culture symbols in these works act as vessels for the artist's shared sense of irreverent humor which leaves audiences questioning whether they are examples of sophisticated satire or just dramatic up-endings of today’s cultural standards. For Bernhardt, the use of iconic symbols like McDonald’s golden arches, the Pink Panther, cigarettes and Doritos simply comes down to their shape and color. They allow her to fill canvases with combinations of these shapes making infinite paintings that all feel like a complete thought made in a stream of riotous consciousness. Starting with spray paint, Bernhardt first outlines her composition before taking her canvas to the floor where she uses watered-down acrylics to freely cover her characters and shapes; creating vibrant patterns. 

Jeremy Scotts has also been known to avoid over-complication. Often letting emotion guide his practice, it is not that his work is anti-intellectual but that ‘rational’ is not part of his creative vocabulary. Whether Scott’s work has loftier inspirations than Coca-Cola, for example, or not, his success in the fashion industry is undeniable. So much so that his work is now weaved into many celebrity moments including Britney Spears's “Toxic” music video and the video for Lady Gaga’s song “Paparazzi;” showing that his love for pop culture is very much mutual.

Both Scott’s and Bernhardt’s works are also inspired and reflective of their environments. In Bernhardt’s case, she grew up in a home filled with color and throughout her career, having completed residencies across the globe, has picked up imagery from her vicinity. The use of coffee and cigarettes in her work, for example, is heavily influenced by the New York delis that surround her where she currently lives and works. In terms of Jeremy Scott’s designs, his fanboy take on pop culture seemed increasingly spot-on as social media exploded. So while they may both be fully immersed in an unapologetically vibrant world, inspired by nostalgic Americana, Scott and Bernhardt’s work can tell us a lot about our current climate while also providing a much-needed escape.

A Match Made in Heaven is open through August 3 at the Nerman Museum of Contemporary Art in Overland Park, Kansas. 

Fuck Art Let's Dance: Read Our Interview of the Iconic Colette Lumiere →

Fuck art, let’s dance.

It’s the attitude that Colette Lumiere had become known for, immortalized in a mural that she painted on the wall of iconic ’70s downtown New York nightclub and art scene haunt Danceteria. She’s celebrated for her bold personas and expansive multimedia projects from street art to installations to fashion collaborations, yet her later evolutions have received less attention. A new show at Company Gallery, Everything She Touches Turns to Gold, running until March 1, explores the artist’s career in the ’80s as she ventured off to Berlin under the guise of a new persona, the mysterious Mata Hari and the Stolen Potatoes.

Lumiere always had a surprisingly contemporary attitude toward blurring the boundaries between the public and the private, between art and commerce. She began by painting cryptic sigils on the SoHo pavement at night and has shown art everywhere from the MoMA to Fiorucci shop windows to German nunneries to nightclubs. Her longest running piece was a 24/7 installation in her own apartment, stuffed from floor to ceiling with champagne and blush-ruched fabrics, a polymorphous punk rock Versailles. Lumiere took that louche crinkling of fabric from her Living Environment and translated it into harlequin frocks that she wore like a uniform. Her influence reverberates widely from Vivienne Westwood and Madonna’s ragged, spunky takes on period clothing to the elaborately staged personas of Cindy Sherman and Nadia Lee Cohen.

Growing frustrated with the limitations put on a young female artist, in 1978 Lumiere staged her own death in a performance at the Whitney Museum. She emerged a few days later at PS1 Contemporary Art Center, beginning an ongoing dynasty of artistic personas and eras. Everything She Touches Turns to Gold features the artist’s under-celebrated paintings, mostly from the early ’80s, “metaphysical portraits” exploring herself, her friends, and the subconscious. While her ’70s works recall historical reclining nudes including staged photos and durational performances in which she napped in poses modeled after classical paintings such as Manet’s Olympia. Her Berlin period, instead, foregrounded motion. The figures in her portraits wave. They evade. They drift and dream and run away.

I recently met up with Lumiere at Company Gallery to explore the new collection. Now in her  seventies, Lumiere is as true to herself as ever in a ruffled white blouse beneath a hot pink Victorian riding coat. Tunisian-born and French-raised, her accent is caught somewhere between her native French and a dry German lilt. We spoke about Berlin before the wall came down, resisting categorization, and, of course, potatoes. Read more.

Fierce Cuts: Linder’s Timely Retrospective

Linder, The Sphinx, 2021. Photomontage. 35.5 x 34.5 cm. 14 x 13 5/8 ins. © Linder. Courtesy the artist & Modern Art, London.

text by Poppy Baring

Arriving at a time when women's rights are being increasingly called into question, Danger Came Smiling takes London through Linder Sterling's eminent fifty-year-long career for the very first time. Exhibiting her iconic photomontages as well as her more recent unseen works, the Hayward Gallery underscores the enduring relevance of her feminist art, while showcasing the vibrancy and variety in Linder’s practice.

Often aiming to make viewers interrogate stereotypical gender narratives, Linder uses scissors and scalpels to liberate images that were often produced to perpetuate traditional gender roles. The use of sexualized and commercialized images of the female body, contrasted against clippings of seemingly banal bourgeois household objects manufactures a playful mockery that is characteristic of Linder’s style. By repurposing these found images to tell a radically different, less restrictive narrative, she restores agency on the page and across prints thanks to the ‘violent power of the cut.’ These anarchic collisions powerfully highlight the similarity in pressures felt by women today and those felt when the works were first created; inviting viewers to question the then and now.

Installation view of Linder: Danger Came Smiling. She/She, (1981). Photo: Mark Blower. Courtesy the artist and the Hayward Gallery.

Born in Liverpool in 1954, Sterling was part of the 1970s punk scene and created art and music alongside some of the most famous British voices of that period. In the 1980s, she formed the band Ludus and performed at nightclubs such as Manchester's famous Hacienda. One of the most remembered aspects of this performance was Linder's choice of costume, where her 'meat dress', which came 20 years prior to Lady Gaga’s similar unexpected look, and black dildo commented on the heavily macho culture of the venue at the time. This same spirit can be found in all of Linder's subsequent work and is arguably what has led her to be viewed as a truly unrelenting and rabble- rousing British art hero.

This exhibition includes a photomontage reminiscent of one of her most famous works, the cover art for the single “Orgasm Addict” made for the punk band, the Buzzcocks in 1977. This work shows a woman’s naked body covered in oil with an iron as a head and perfect smiles placed strategically on her breasts. While this, along with Sterling’s other early works, relied on found images from local magazines and newspapers, her post-2006 montages matured in imagery. In the ’70s, she sourced material from men's pornographic magazines and women's homeware catalogues, later expanding to more diverse sources, creating richer juxtapositions.

Throughout the years, Linder’s process has evolved but she has continued to investigate the shifting trends in lifestyles, sex, domesticity, and fashion that propel feminist conversations and inspire necessary rebellion.

Danger Came Smiling opens today and is on view through May 5 at the Hayward Gallery,  London.

 

Linder Untitled, 1976. Tate, purchased 2007. © Linder. Photo: Tate.

 

Step into the Infinite: HUMANHOOD Dance Company Unveils a Visionary Performance @ Sadler’s Wells East

text by Lara Monro
photographs by Tom Visser

This February, dance lovers are invited on a cosmic journey as HUMANHOOD Dance Company presents ∞ {Infinite}, an extraordinary dance theatre meditation. Marking the second production at the newly opened Sadler’s Wells East, this visionary work blends movement, energy, and spiritual practice in a mesmerising display of artistic innovation.

At the heart of ∞ {Infinite} lies a unique fusion of Artistic Directors Julia Robert and Rudi Cole’s signature choreography and shamanic influences. The performance seamlessly integrates spectacular dance and profound internal awareness, designed to illuminate the infinite power that moves through us all. With eight dancers, including Cole himself, the stage transforms into a dreamscape of fluid motion, pulsating tribal rhythms, and transcendent storytelling.

In the unprecedented theatrical experience, audiences are not merely spectators but participants in an immersive meditation. Through channelled words by Julia Robert, the production invites individuals to explore the depths of their consciousness, offering an exploration of infinity within. This innovative approach to dance theater aims to bridge the gap between the physical and metaphysical, transforming the stage into a sacred space where energy and movement become one.

Speaking about this milestone production, Julia Robert and Rudi Cole share their excitement:

“The time has come for us to break out of our shell and share with the world the fusion of our spiritual practice with our artistic voice. ∞ {Infinite} is the culmination of decades of metaphysical experiences around the world and our vision to take audiences to a brand-new theatre experience. This is our first Dance Theatre Meditation, marking an exciting chapter in HUMANHOOD’s expansion.”

For the duo, the theater is more than a performance venue—it is a modern-day temple where audiences can collectively engage with new ideas and challenge their perceptions of the universe. ∞ {Infinite} offers an invitation to step into a realm of possibility, where the limits of the body and mind dissolve into an expansive, boundless adventure.

This philosophy stems from HUMANHOOD’s broader mission: to bring the power of movement to communities worldwide. Julia Robert and Rudi Cole believe that dance is not a privilege for the few, but an essential element of human existence. To them, movement is life, and as long as we breathe, we are dancing. Their work is deeply rooted in the idea that through dance, we access our body’s portal and create a state conducive to liberation.

Beyond performance, HUMANHOOD fosters a global movement of individuals seeking a deeper connection with themselves and their surroundings. By practicing continuous awareness, they cultivate a collective union of empowered and awakened individuals, expanding their presence to transform not just their own lives but the lives of others around them.

Their ongoing research delves into the fusion of ancient mysticism and modern science. Julia and Rudi have travelled the world to connect with spiritual hermits, shamans, and Indigenous tribes from Ecuador, India, Papua New Guinea, Taiwan, and beyond—absorbing sacred wisdom, rituals, and traditional practices. Simultaneously, they have collaborated with renowned scientists, including NASA physicists, to deepen the dialogue between movement, consciousness, and scientific discovery.

Their holistic movement practice, developed through extensive hours of exploration both in the studio and in nature, seeks to push the limits of human potential. By integrating ancient spiritual knowledge with cutting-edge scientific inquiry, HUMANHOOD crafts performances that are not only visually and emotionally profound but also energetically transformative.

∞ {Infinite} opens tonight and will be playing through Saturday @ Sadler’s Wells East

Ellen Carpenter's “Hair Care:” Devotion and Responsibility in the Hands of a Caretaker

Lovingly, in a starch white nightgown, Ellen Carpenter tended to a wooden chair dressed with synthetic hair in her two-hour-long performance at John Street Gallery.

text and photos by Maisie McDermid

Minutes before Ellen Carpenter's 2-hour-long performance of "Hair Care" began, Chair II sat below a spotlight at the end of a white hallway doubling as a staircase. The levels leading down to the curious furniture piece showcased twenty other art pieces contributing to John Street Gallery's latest collection, "Misery's Child" – a black rubber-coated rocking horse, an oil painting of two swans on a lake, and various stoneware pieces. But Chair II, the result of 40 hours of tedious sewing, stood proudly, awaiting Carpenter's adoring hands.

"I know the chairs very intimately," Brooklyn-based multimedia artist Carpenter said, describing the many hours spent at the legs of these chairs sewing. While joining individual locks of synthetic hair onto polyester stretch fabric, she tended to the chair in front of an intimate group of viewers seated amongst the gallery steps on the show's February 6 performance. Dark skies outside contrasted sharply with the white, fluorescent lights illuminating Carpenter's acts of devotion: combing, shampooing, conditioning, blow drying, and braiding the hanging hair. 

Carpenter's cleansing and styling of Chair II contributes to a two-part performance: "Hair Care" and "Ruining My Life In Public." Both explore emotional extremes that occur within Carpenter's body and domestic space. One inhabits devotion and tenderness, while the other exposes rage and violence. The idea for "Hair Care" came to Carpenter while untangling, brushing, and braiding Chair I's hair before routinely putting it into storage. "It's a laborious process that often feels simultaneously thankless and required of me. After a while, I felt like this labor was a piece in and of itself," she said. 

Carpenter had not performed "Hair Care" live before this evening (her first performance of “Hair Care” was virtual.). "I think I practice the performance every time I take a shower," she said, laughing. Carpenter, either kneeling or seated with her legs crossed, catered to individual sections of Chair II's hair at a time, not one strand going unnoticed. The chair took several different forms: straightened after brushing, droopy after sponging, fluffy after blow drying, and twisted after braiding. Carpenter's hands matched a rhythm, not of sound, but of obsession. Carpenter, at times, appeared under a spell, surprising even herself when the chair called for a new demand. 

Carpenter fetched water from outside the tall, cloudy glass door beside her leading into a hidden portion of the gallery. The sounds from behind the door, amongst no other, provoked a confronting familiarity. The door's hinges sounded like ones from one's own home, and the dumping and refilling of water buckets reminded one of their own bathroom sink. "I loved the idea of ‘fetching water’ in service of the chair, especially since I could incorporate the use of opening and closing the gallery door as if it was my own apartment… Leaving the room also helped me incorporate short visual pauses into the piece without impeding my actual progress."

Her departures from the chair were brief but felt much longer. As the chair began to assume characteristics of both power and powerlessness, the absence of Carpenter created a feeling of uneasiness. Viewers wondered what would happen if Carpenter left and never returned, therefore leaving Chair II in a permanent state of incompletion. Carpenter's dependence on Chair II (the need to care for another) and Chair II's dependence on Carpenter (inherently incapable itself) oscillated throughout the performance – their interdependence the central theme. 

Carpenter's work pecked and pulled at living contradictions. "In 'Hair Care,' I inhabit the role of a caretaker in service to something outside myself, but in 'Ruining My Life in Public,' I inhabit the role of antagonizer or perpetrator of violence, and both roles are equally possible, equally true of almost anyone," she added. As much as Carpenter displayed relaxation and intention, she also exuded exhaustion and fatigue. When Carpenter stood to grab a hairbrush or rubber band, she stretched her back and wiped her bangs to the side of her face. Every now and then, a sigh slipped from her focused composure. Beyond devotion, this piece is about the heavy undertones of responsibility. 

For Carpenter, this, too, is a piece about agency. "Something about enacting performance with my body, with my full agency, is really powerful to me." As a multimedia artist, performance art is only one of her several other forms of expression. Notably, it is one she exercises the least. Nonetheless, she owns it, literally. "I can't be separated from the piece; in fact, the piece doesn't exist if I'm not there to perform it. That lack of separation feels like shouting 'I claim this thing!!' to everyone watching."

“Hair Care” is part of a group show titled, “Misery’s Child.” Ellen Carpenter’s live performance took place on February 6th, 2025. Chair II and the twenty other contributions are on display at John Street Gallery through February 12th, 2025.

Zoe Chait's 'What Dream' Is An Exploration Of Grief and Loss @ Micki Meng In Paris

 

Zoe Chait
cheeky, 2019
Archival pigment print
23 x 17 x 1 1/2 inches
Edition 1 of 3 + 2AP

 

Grief is unpredictable. It doesn’t follow a pattern, but it often brings us back to the same memories, searching for answers or comfort. We turn to photos, notes, and objects, trying to find meaning in them. Over time, both our perspective and the materials change.

Zoe Chait’s exhibition, What dream, revisits images first shown at Ramiken, New York, in 2021. These thirteen works document Chait’s relationship with music producer Sophie, capturing moments from 2017 to 2020 as Sophie transitioned from a private individual to the public figure SOPHIE. While the photos are intimate, they also highlight a sense of distance—the gap between personal connection and public persona. Chait’s work reflects an effort to reconcile the Sophie she knew with the one the world saw.

Sophie died in an accidental fall on January 30, 2021, six months before the exhibition opened. Nearly four years later, Chait revisited these images, altering them in response to her grief. She worked with printed positives and negatives, abstracting the images to explore themes of presence and absence. Sophie’s influence—her rituals, worldview, and music’s distinctive texture—continues to shape these works, which remain both unfinished and complete.

In Mexico City, Chait collaborated with a master printer of photogravure, a 19th-century printing process using etched copper plates and a gelatin resist. Chait was drawn to the unetched plates, mid-process, where the gelatin resist formed ghostly images on the copper. What dream features two pairs of such works, each showing a positive and negative version of the same image. The exhibition’s title comes from the first, a still from a video shoot where Sophie appears poised under dramatic lighting. The second image shows Sophie lying nude on a bed, open and serene. These works are material and painterly, presenting images that feel incomplete and vulnerable to time.

Chait also reimagined her video installation, projection reflected (2017–2020). Projected onto aluminum panels with varied grain alignments, the videos capture intimate moments between the artist, Sophie, and the camera. One video shows Sophie adjusting her hair before a shoot, focusing on her public image. Another captures Chait gently moving Sophie’s chin in soft afternoon light. Ambient sounds—breathing, pauses, background noise—create a sense of continuity. The videos loop at different lengths, offering endless opportunities to revisit and reinterpret these moments.

What dream is on view through February 20 by appointment only @ Micki Meng 2 Rue Beaubourg Paris 4e

Capturing the North: Juliet Klottrup’s Lens on Community, Identity & Belonging

text by Lara Monro

Award-winning visual artist Juliet Klottrup is redefining how we view life in the North of England, blending photography and filmmaking to document communities often left out of mainstream narratives. Her work spans rural traditions, environmental concerns, and the resilience of underrepresented groups, capturing intimate stories of identity and belonging against the backdrop of the region’s landscapes. As an Honorary Photography Teaching Fellow at the University of Cumbria, Klottrup also shares her process and encourages students to explore photography as a tool for social engagement.

Klottrup’s practice has evolved into a modern archive of Northern life, marked by projects such as Youth of the Rural North and her Class, Covid & Cumbria series exhibited alongside Grayson Perry at Blackwell, The Arts & Crafts House. Her most recent projects—Travelling Home and Skate Like a Lass—continue to reflect the depth of her socially engaged approach.


 

Travelling Home (© Juliet Klottrup, 2024)

 

Since 2019, Klottrup has been documenting the Traveller and Gypsy communities in the North West of England, focusing on their annual pilgrimage to the Appleby Horse Fair in Cumbria. Inspired by the sight of families passing by her window each summer—bow top wagons, horseback riders, and motor caravans winding along rural roads—Travelling Home became a deeply personal exploration of tradition, heritage, and resilience.

A standout figure in this series is Joe, a Traveller whose life and stories are etched into the landscape he traverses. “It was like time travel,” Klottrup recalls of her first ride with Joe through the quiet, empty roads of the Moors, listening to the rhythmic clatter of hooves and wheels. This connection led to a rich collection of portraits and an evocative short film, shot on Kodak 8mm and 16mm, to capture the timelessness of the Traveller experience. The film has been recognised at international festivals, including the London Film Festival and Santa Barbara International Film Festival.

For Klottrup, documenting these communities is as much about preserving cultural heritage as it is about challenging stereotypes. “The ongoing marginalisation of the Traveller and Gypsy community has strained relationships and hindered inclusion,” she says. Travelling Home aims to counter these misconceptions, focusing on family, ceremony, and the gentle traditions that persist in the face of societal change.

 
 

While Travelling Home explores heritage rooted in centuries-old traditions, Klottrup’s Skate Like a Lass shifts focus to contemporary grassroots communities, highlighting the inclusive, dynamic world of female and LGBTQI+ skateboarding collectives in Northern England.

The project was sparked by a chance encounter with Cumbria Cvven, a girls’ skate group in Barrow-in-Furness. There, Klottrup met Lily, a skater hosting a DIY skate jam on the roof of a disused multi-story car park, where handmade ramps created a makeshift haven for skaters of all ages and abilities. “I was inspired by the creativity and inclusivity,” Klottrup recalls. “These collectives offer more than just skateboarding—they create places of belonging, self-expression, and access.”

 

Skate Like a Lass (© Juliet Klottrup, 2025)

 

Drawing from the work of photographer Wendy Ewald, who empowered young people to tell their own stories through photography, Klottrup handed cameras to the skaters themselves. This collaborative process allowed participants to document their lives, capturing the raw, authentic energy of their communities. The project blends formal portraits with DIY documentation techniques, using Super 8, VHS, and digital formats to honor skateboarding’s rich visual history.

The results are striking: a short film—recently recognized with a Shiny Award—two exhibitions (at SHOP in Preston and Aunty Social in Blackpool), and a DIY zine co-created with the skaters. 

Though Travelling Home and Skate Like a Lass differ in subject matter, they share a common thread: a commitment to amplifying underrepresented voices and preserving the cultural fabric of Northern England. Whether capturing the timeless traditions of Traveller communities or the vibrant, rebellious spirit of grassroots skaters, Klottrup’s work is rooted in empathy, collaboration, and a deep respect for her subjects.

“There’s great value in amplifying these stories that might otherwise be overlooked,” she explains. “Both projects reflect how people create spaces of belonging—whether on rural roads or in urban skateparks.”  

As Klottrup continues to expand her practice, blending archival research with collaborative storytelling, her work serves as a vital record of Northern life—past, present, and future. Through her lens, the landscapes and communities of the North are not just documented; they are celebrated.

Skate Like a Lass will be on view @ SHOP Preston, PR1 3XA
Thursday, February 27, 6:30–8 PM
Friday, February 28, 1–4 PM
Saturday, March 1, 12–3 PM
Sunday, March 2, 12–3 PM

The exhibition will also be on view @ Aunty Social, Blackpool, FY1 3AQ March 20th - 25th, 12-3 PM

Travelling Home (© Juliet Klottrup, 2024)

Prada Spring/Summer 2025 Collection `Ten Protagonists Written By Ottessa Moshfegh Featuring Carey Mulligan

Prada’s Spring Summer 2025 campaign continues with a book of ten short stories by Ottessa Moshfegh. Fashion can tell stories of the lives of women, evoke their most intimate and personal narratives. As part of the Spring/Summer 2025 ‘Acts Like Prada’ campaign, starring Prada Ambassador Carey Mulligan and photographed by Steven Meisel, the acclaimed American author Ottessa Moshfegh, known for her radical depiction of female characters, devises a new series of ten unique texts, each an evocation of these Prada personae. Inspired by Mulligan’s characterisations, each campaign still is expanded, through Moshfegh’s words, into a fully-realised heroine. Ten Protagonists is written by Ottessa Moshfegh and features the Spring/Summer 2025

Prada campaign images of Carey Mulligan, photographed by Steven Meisel with creative direction by Ferdinando Verderi.

Mathilde Denize's Sound of Figures Reverberates Through Perrotin in New York

The melodic sensibility of Mathilde Denize’s visual style is at the center of Sound of Figures at Perrotin in New York. Reused from film sets, her materials are born-again into an environment that is altogether new. Denize’s combination of painting, sculpture, and figure feels almost archaeological—we are transported to a retrospective that is not actually of the past. 

Her use of color and form might match stereotypical notions of femininity, but her finished products are anything but. Denize’s paintings are akin to faces printed with makeup—picture a cheek coated in blush. There’s a corporeality to her two-dimensional work that makes it feel as though it’d be warm to the touch.

The entrancing and other-worldly nature of her work speaks to a certain feminine mystique contemporarily neglected in favor of a testosterone-centric mainstream. Using an impressive amalgamation of material and medium, Denize plays the song of a nuanced female experience without having to produce any noise.

Sound of Figures is on view through February 19 at Perrotin, 130 Orchard Street, New York, NY, 10002

RIMOWA Enters The Visionary World Of Rick Owens

The Rick Owens x Rimowa collaboration is a striking union of functionality and artistic vision, blending Rimowa’s storied craftsmanship with Rick Owens’ distinctive, avant-garde aesthetic. The result is a suitcase that bridges the gap between luxury travel and contemporary design, offering a unique take on both utility and style. The standout feature of the suitcase is its patinated aluminium finish, a design element that evokes a raw, industrial sensibility while maintaining an air of sophistication. This material choice aligns with Owens’ signature aesthetic, which often leans into textured surfaces and a sense of timeless durability. Inside, the suitcase continues to innovate with an entirely leather-lined interior—a first in Rimowa’s 125-year history. From the dividers to the lining, the leather finish introduces an element of old-world refinement, creating an interior that feels as thoughtfully designed as the exterior. The juxtaposition of the suitcase’s rugged outer shell with its luxurious interior reflects the duality that defines both brands: Rimowa’s precision engineering and Owens’ creative edge. Rick Owens, a longtime Rimowa user, approaches design with a focus on essentialism, a philosophy that is evident in this collaboration. Owens has stated that his goal is to reduce life to its core necessities, which is mirrored in the suitcase’s minimalist yet striking design. “No matter how far or long, I only bring one carry-on. I wanted the outside finish to recall a bronze from Giacometti, Brâncuș I, or Richard Serra, and I wanted the interior to feel like the touch of a black leather glove.” Rick Owens added: “I don't need much, but I like my bare necessities to be as supernatural as possible.” The collaboration is highly exclusive, with only 500 pieces being released worldwide. This limited availability emphasizes the project’s collectible nature, appealing to those who value both utility and artful design in their travel accessories. In essence, the Rick Owens x Rimowa suitcase serves as a functional travel companion that doubles as a statement piece. It offers a fresh perspective on luxury, challenging traditional notions of what high-end luggage can represent while remaining true to both brands’ core identities.

Starting January 30th, 2025, the RIMOWA x Rick Owens Original Cabin Bronze (RRP 2900 €) will be made available at select RIMOWA and Rick Owens stores worldwide and online at RIMOWA.com and RickOwens.eu.

Remember The Future: Louis Vuitton Fall-Winter 2025 Men’s Collection

Louis Vuitton’s Fall-Winter 2025 Men’s Collection, unveiled during Paris Fashion Week, represents a calculated exploration of the boundaries between luxury and streetwear. Spearheaded by Pharrell Williams, Louis Vuitton’s Men’s Creative Director, alongside Japanese designer Nigo, the collection is a carefully constructed dialogue between heritage craftsmanship and the cultural vibrancy of contemporary fashion. The collection's most striking feature is its ability to harmonize seemingly disparate elements. Varsity jackets, with their bold, nostalgic presence, are reimagined with intricate detailing that elevates them from casual wear to high fashion. Tailored suits, traditionally seen as symbols of rigidity and formality, are imbued with a modern energy, pairing unexpected textures and relaxed silhouettes. Cherry blossom motifs—subtle yet evocative—thread through the collection, grounding it in a sense of delicate refinement often associated with Japanese artistry. This synthesis of aesthetics reflects the creative sensibilities of Williams and Nigo, both of whom have built their careers on the ability to bridge the cultural and stylistic divides between the East and West. Their partnership feels both intuitive and precise, leveraging Nigo's roots in Japanese streetwear and Pharrell’s broader, global perspective on music, art, and fashion. The show itself was a statement. Staged in a the historic Cour Carrée du Louvre, it mirrored not only the collection’s theme of duality but also the house’s commitment to presenting fashion as a form of cultural spectacle.

Björk Releases Her Powerful and Immersive Concert Film Cornucopia Today On Apple TV

From the jagged, volcanic, icy fjords of Iceland, Björk Guðmundsdóttir—known simply by her stage name Björk—has descended on the world of popular music over the past five decades with a sensual, otherworldly presence. Her music is constantly of the moment but also seemingly years ahead of its time with a starkly alarming prescience, especially regarding the human impact on nature and the climate. Today, she presents Cornucopia, streaming on Apple TV, a cinematic encapsulation of a “digital theater” tour extravaganza that is the culmination of dozens of shows across multiple continents (a full-length version of the film will be released in theaters later this year). With a focus on the current climate crisis, Björk told us that Cornucopia utilizes the power of sci-fi and fantasy—in the vein of writers like Octavia Butler—to imagine an unimaginable future: “We will do it with any means: activism, politics, but I think one thing which is quite important also is our imagination.” A gesamtwerk of audio, visuals, and digital avatars, Cornucopia imagines this new “post-optimistic” future using music as a template. She carves into mountains of obstinance and indifference to build a pathway for hope. She imagines the first dawn after a disaster with an orchestral of flutes and choral jubilation. Amidst the devastation of the fires ravaging the landscapes of Los Angeles and the denial of climate change, the film becomes even more dire in its global message. As for the songs, Björk mines her oeuvre as a solo artist—she looks forward by looking back—as she stands beneath her avatars projected on moving curtains. She also told us this process is not new: “I've been doing the same thing over and over again, which is to tear off all the unnecessary luggage of each album or each period, and see what attaches to a live performance now and what is current now.” Cornucopia, which she calls a "modern lanterna magica" for live music, includes “Isobel” from her 1995 album Post to "Hidden Place" from her 2001 album Vespertine, and tracks from 2017’s Utopia and 2023’s Fossora. With incredible stage direction by Lucretia Martel and original visuals by Tobias Gremmler, the concert and film utilizes a wide range of bespoke musical instruments and audio architecture, from a magnetic harp, an aluphone, a circular flute, and a reverb chamber in a personal chapel. Björk expressed that working with 360-degree sound and visual software is not new—Biophilia (2011) was released with an app with songs and narration by naturalist David Attenborough, and Vulnicura (2015) came with a VR component. For Cornucopia, she brings these 21st-century technologies back into the 19th century. Once again, Björk proves that she can move backward and forward in time and peel away the binaries of our traditional understanding of the world. Ultimately, Cornucopia is a highly moving cinematic musical experience that breaks away from the constructs of conventional concert films. We are immersed, we are moved, we are weeping. 

Premieres today at 7pm PT on Apple TV. You can also purchase the Cornucopia Book here with images by Santiago Felipe

Editor’s note: these quotes are from an upcoming larger collaboration with the artist.

Watch The Prescient New Music Video For Ross Simonini's "Theme of No Need"


text by Ross Simonini


Two weeks before my home was destroyed by the Eaton Fire, I created a video of a man racing through fire. At the time of its creation, I was not concerned about fire, and yet only days later, I would be racing through a fiery landscape of my community. Fire has since defined my life. 

I believe art comes outside of time, from the place of dreams, where experiences occur outside the tedious march of causality. It can be divinatory, but I do not care to burden it with this kind of heavy meaning. I prefer to make and enjoy art without the technology of meaning, remaining in a liminal state as I work. Living in this state, however, has been one of the greatest challenges of my life.

“Theme of No Need” is the first single off the independently released album, Themes Vol. 1, out March 21st.

Rage Against the Maternal: A Review of Sarah Hoover's Memoir, The Motherload

 

portrait by Beowulf Sheehan

 

text by Mieke Marple

I was not expecting to fall for Sarah Hoover when I requested an advance copy of her upcoming memoir The Motherload: Episodes from the Brink of Motherhood (352 pages; Simon Element). Having recently become a mother myself, I was secretly hoping for the opposite—to sneer with self-righteous contempt at her privileged complaints about the experience. After all, almost two years ago, Hoover and her husband the artist Tom Sachs (who features prominently in Hoover’s memoir), were dubbed “the bad art couple” by ArtNet news after posting an ad for an assistant that read like flagrant exploitation.

With this ignoble agenda in mind, I nearly stopped reading after the memoir’s first chapter. In it, Hoover drinks and does drugs in an ass-short skirt while her Trinidadian nanny cares for her 10-month-old son at her post-baby shower at the Chateau Marmont. Between Chateau scene details, Hoover notes “the simple, unspeakable reality that from the moment my son was born, this baby sometimes meant as much to me as a stone-cold marble statue.” Brazen as Hoover is, she fears vocalizing this apathy to anyone lest they consider her lack of feeling a “Manson family-level crime.” Well, at least she knows she’s a monster, I thought before catching myself. If even a feminist, 12-stepping woman like me is judging another mother for not being self-sacrificing enough, what chance do mamas the world over have in escaping the bonds of motherhood’s suffocating expectations? I kept reading.

In good books, the protagonist changes. In great books, the reader changes. By the end of The Motherload, I felt completely different about Hoover than I did after those first few pages. Throughout her memoir, Hoover is unapologetically herself. She doesn’t pretend to not use excessive manicures as a coping mechanism for her then-undiagnosed postpartum depression, or to not fly around the world with a live-in nanny in tow. But neither does she pretend to be someone with the kind of confidence to not put her successful artist husband on a pedestal, even when he hurts her with his flirtations, emotional infidelities, and absences. And, really, who can blame her?—given the centuries of lionizing white male artists as godly conduits. Thus, I found myself literally fist-pumping later in the book when Hoover stands up for herself to Sachs. Such is the power of her raw honesty and authenticity.

The Motherload is so much more than a memoir about postpartum depression: it is a hammer to the silences that exist around childbirth and early motherhood. Nothing is too taboo for Hoover’s sardonic candor. Whether she is discussing the way her body looks post-labor (i.e. still pregnant), bleeding through her adult diaper when she goes back to work a month after giving birth, or the repulsion she feels looking at her baby’s features. The only subjects Hoover fails to probe deeply are the roles money and race play in motherhood. Her interactions with her nanny, for instance, are some of the most riveting scenes in the book, yet this largely unexamined relationship gets pushed to the background. 

Of all the topics Hoover tackles, it is the frank depiction of her unraveling marriage—which all the nannies, manicures, blowouts, and drugs in the world can’t seem to save—that most affected me. In many ways, The Motherload is as much a portrait of a marriage as it is an honest window into one woman’s experience with early motherhood. I was fascinated by the ways Hoover’s and Sach’s marriage aligned with their “bad art couple” reputation, as much as I was humbled by the complex humanity each person exudes over the course of the memoir—a reminder of how little anyone can know about anyone else, from Instagram, gossip pages, or elsewhere. 

It’s worth noting that according to a study by renowned researchers and clinical psychologists Drs. John and Julie Gottman, two thirds of couples report a decline in relationship satisfaction up to three years after having a baby. That is all couples, not just ones with mothers suffering from postpartum depression, which one in eight women experience. Noel Biderman, creator of the now defunct website Ashley Madison (think OkayCupid for cheaters), said that most men—based on user data from over 27 million clients—cheat during or immediately after their wives’ first pregnancy. These statistics do not jive with images women are fed of early motherhood, which convey that this period should be the happiest of a woman’s life. Nevermind the near unavoidable gender disparity caused by breastfeeding, healing from the oft traumatic experience of childbirth, or having to temporarily (or permanently) pause one's career to provide childcare. As Hoover astutely writes at the end of the first chapter:

And while my mental breakdown was embarrassing at times, especially considering how it exposed me as a puerile and spoiled little fool, it also showed how pernicious it is to sell tales of motherhood being so distinctly wonderful and feminine: the very essence of womanhood! It wasn’t all totally my fault, you know? 

I’d been misled.

Misled, indeed. I won’t give away what happens at the end of The Motherload. However, I will say that in coming around to feel compassion for Hoover—along with excitement, horror, and pride—I developed more of these feelings for myself as a mother. We do mothers (and the people who love them) no favors when we ask them to silence their complaints, slap smiles onto their weary faces, or, most of all, judge them for falling short of impossible standards that were never designed to support and cherish the women who give forth life.

 
 

Carey Mulligan & Harris Dickinson Star in the New Prada Spring/Summer 2025 Campaign by Steven Meisel

Fashion and performance both reflect the multiplicity of human identity—a constant interplay between truth and transformation. In the Prada Spring/Summer 2025 campaigns, these ideas are brought to life through the presence of two celebrated actors, Harris Dickinson and Carey Mulligan. Both embody a profound duality: the truth of self and the art of reinvention.

Harris Dickinson, photographed by Steven Meisel, steps beyond traditional role-play, presenting himself as he is—an actor unmasked, yet multifaceted. His presence shapes the archetypal menswear he wears, transforming classic pieces through his dynamic personality. Each image captures varying facets of his character, from contemplative to commanding, illustrating that identity itself can be a kind of performance.

Carey Mulligan, too, challenges the boundaries of identity and transformation. Through Meisel’s lens, she embodies a multitude of distinct characters, each entirely separate yet unified by her craft. Her ability to shift seamlessly between lives mirrors the ever-evolving philosophy of Prada: a celebration of plurality, unpredictability, and the coexistence of contradictions. Mulligan's portrayals reflect fashion's power as a transformative tool—altering attitudes, redefining perceptions, and channeling alternative realities.

Together, these campaigns explore the essence of individuality within the collective. They reveal how clothes, like personas, are not static but alive, reshaped by the wearer. Prada itself emerges as a protagonist, an idea in constant reinvention—both instantly recognizable and endlessly surprising. At its core lies the celebration of humanity's complexity: ever-shifting, multifaceted, and beautifully unpredictable.

Love & Everything In Between

Norman wears coat by Stamm & sunglasses by Marni.
Roman wears sneakers by Reebok, jeans by The Kooples, tie by Versace & jacket by Anni Salonen.

Art Direction & Styling by Stef Woods
Photography by Ryan Molnar
Producer by Austin Huq
Casting by Cameron Nedrick
Styling Assistance by Dasha Vorobeva
Photography Assistance by Emi Iguchi, Camilo Gonzalez & Mackenzie Walker
Hair by Noriko Takayama|
HMU by Anri Omori|
HMU by Erika Leadbeater

What is love?

How do we know when we're in it - or out of it?
Can we even be sure we've found it in the first place?

During Autumn 2024, I sat down with five Berlin-based couples, each living their own unique love story, to explore what love means to them. I wanted to hear about their experiences with love and how they articulate this complex emotion.

Although I began without predetermined themes, common threads quickly emerged as I completed each interview. These included healing from toxic relationships, grappling with codependency, and navigating open relationship dynamics. Despite these challenges, I was struck by their self-awareness and commitment to building healthier, more authentic relationships.

Roman & Norman

As we’re sat in the back garden of their home in Brieselang, 1 hour outside of Berlin, Roman begins to recite a love note that he sent to his partner, Norman, just after they first met.

Dear Norman, across all the ages, all the journeys and time, I whisper in your ear, it is great to meet you again, and I look forward to all the adventures ahead of us. I love you. Roman - 7th November 2004.

Their love story began nearly two decades ago with a chance encounter in Berlin. Norman, working as a Spiritual Guide and Healer, had a last-minute opening due to a cancellation. Roman, a new client, filled that slot. When their eyes first met, they both experienced what they describe as a "loud silence," accompanied by an "intense flow of intimacy." This moment sparked a brief but passionate love affair in Berlin, which ended when Norman returned to his home in Sydney.

What followed was a slow-burning connection, built over years of meetings in cities like Berlin, San Francisco, and L.A. Both were cautious at first - Norman had just ended a 26-year relationship and was hesitant about dating an actor, while Roman was unsure about commitment. Their bond deepened with each encounter, eventually leading to Norman booking a one-way ticket to Berlin.

20 years later, their love continues to grow stronger, rooted in open communication - even when it’s hard - and a commitment to preserving their individual identities.

You must be you. He must be He. I must be me.
Expect nothing from that personality. That's who they are. - Norman

Norman and Roman’s enduring love story can be defined by a profound respect for one another and a commitment to staying calm, even in challenging moments. Throughout their two decades together, they’ve embraced a philosophy of stepping back from confrontation and revisiting sensitive topics when they’re both ready - often over a cup of tea. For them, every challenge is an opportunity for growth, rather than a battle to be won.

As Norman put it:

Life's too short. The older you get, the shorter it gets. I've maybe, if I'm lucky, got 10-15 years to get to 95, maybe 100. I don't know, and it would be a blessing to live to that. But you know, time runs out, so why spend a moment fighting about something that's so insignificant? Come - on.

Jota & Dianna

Jota wears shirt by Moschino, trousers by Javier Guijarro & boots by Vivienne Westwood.
Dianna wears top & skirt by Javier Guijarro & bracelet by Uncommon Matters.

I didn’t use Grindr often because of the challenges of being a trans woman and dealing with cisgender men who didn’t know how to relate to trans bodies. But one day, I saw Jota’s profile - and I was enchanted. - Dianna

After breaking the ice, Dianna recalls the sheer joy she felt upon discovering that Jota was Brazilian - meaning she could speak in her own language. What followed was a marathon video call that lasted eight hours, leaving Dianna with an undeniable feeling:

When the call ended, that’s when I truly realised I was in love.

At the time, Dianna was living in Norway and Jota in Germany, but they embraced the distance, using it as an opportunity to explore each other’s worlds through conversation. It wasn’t until three months later that they would meet in person for the first time.

When we first met in Berlin, in between conversations and affection, we realised that we were no longer in a casual relationship, and that we were already walking a path together. - Dianna

A pivotal trip to Brazil would bring their relationship to even greater depths. Sharing five transformative months there, they closed the distance that had defined their connection, no longer speaking through a phone, but enjoying the closeness and intimacy of being together in daily life.

Now, as they celebrate one year together, Dianna and Jota reflect fondly of their journey of love, connection, and growth.

Growing together as a Brazilian trans black couple living in Berlin brings challenges and opportunities for connection, understanding and mutual support. We created our own safe space, and at the same time we honour our individual identity by respecting our own journey. - Jota

Lara & Valeria

Lara wears suit by David Koma, stockings by Falke & sneakers by Our Legacy.
Valeria wears top by Caterina Giovanelli, skirt by Anni Salonen & shoes by Our Legacy.

I feel like love is like a building, you know. So the first level would be like, lust. Like, you wanna make out with the person. And then infatuation, and then it starts building and building. I would not say infatuation is not love, but you need to nurture it. You still need to go further up the ladder. And the further up you go, the bigger this feeling of safety gets, you know. - Lara

Lara and Valeria first met at a karaoke bar, where they bonded while giving advice to a mutual friend stuck in a toxic relationship, not knowing this would mark the start of a much deeper connection. They met again weeks later at KitKat, where they found themselves talking for hours in the smoking area. The conversation drifted from life and love to Valeria’s open marriage, which she had been navigating for the past year.

There was just this instant chemistry, this warmth between us. It felt different from anything I'd experienced before. - Valeria

As their relationship deepened over the following months, Valeria faced the truth about her marriage. “I was codependent on him, and he was codependent on me” she admitted. “We would have gradually destroyed each other.” Lara, seeing the emotional toll and protecting herself, gave Valeria an ultimatum - this led to a brief separation, during which both reflected on what they truly wanted.

While on a soul-searching trip to Portugal, Valeria gained clarity through conversations with elderly strangers who offered her some sage wisdom. After returning to Berlin, she made the hard decision to end her marriage and committed to building a life with Lara. Now, Lara and Valeria share a home in Berlin, navigating a love that feels both hard-won and deeply cherished.

It hurt. It hurt a lot, but it was also empowering, because I knew it was the right thing to do.
- Valeria

Lin & Alexius

Lin wears sweater by Marine Serre & jeans by Dhruv Kapoor.
Alexius wears hat by A Cold Wall, hoodie by Stamm, jeans by Anni Salonen & boots by Rombaut.

Lin and Alexius' romance is the freshest of the five, but despite only reconnecting three months prior to our meeting, their story was seven years in the making. They first met in Lisbon, during a formative period of both their lives, through a shared circle of queer friends. Although they didn’t develop beyond friends-of-friends at the time, they had definitely noticed each other.

Now fast forward to July 2024, they had long lost touch - only to randomly reconnect on the dance-floor at a Christopher Street Day party in Berlin. From that moment, they spent the following days in a whirlwind together, finally returning to Lin’s apartment after countless hours dancing around the city.

One month later I had to go back to Slovenia to pick up a piece of furniture that I created for a client here, so I got a van, and I said, “Hey, do you want to come with me? It's a 12 hour drive. We can meet each other's parents, but it won't be like a vacation. We have to work.” And he's like, “Yeah, let's go”. We spent most the time in Slovenia, but we also visited Trieste, where his mum resides. - Lin

Sharing this trip together proved to be a catalyst for their romance. During the long drive, a simple card game sparked intimate conversations, allowing them to learn more about each other’s inner worlds, and meeting each other’s parents along the way highlighted the natural ease they found together. Through these moments, they came to fully appreciate the quiet, steady love that was unfolding between them.

I used to think love had to be passionate. Had to be like going insane, crazy, waiting on the end of the phone for a message. And that was my experience with love. My first boyfriend in New York was exactly like this. My first French boyfriend as well. There's this French word—’déchirant’— that means you’ve been cut open, like your insides are being torn apart. For me, that was love. With Lin, I started experiencing calmer love, and slowly, it was like this cut that I had in myself, was slowly healing. And right now I feel good about myself. I feel good about my life. I don't need that kind of love anymore. - Alexius

Kim & Bene

Bene wears glasses by Prada, t-shirt by Marni & string vest stylist’s own.

Kim wears dress by Hauser Collective, tights by Falke, bracelets by La Manso & shoes by Nodaleto.

Berlin is a very quick city when it comes to love. Berlin is not a love city. Berlin does not keep your love safe. You have to do it on your own. Otherwise, the city will grab you—with dark energy sometimes. - Kim

Kim and Bene first crossed paths three years ago in Neukölln. At the time, Kim was in a relationship, and Bene was nursing a bruised heart from his own past. Their early conversations revealed a shared understanding, as both carried scars from toxic relationships. Whilst Bene described himself, at the time, as guarded but vulnerable, Kim became a calm and reassuring presence.

What followed was a natural and pressure-free progression. They spent time together as part of a close-knit friend group, sharing nights out in Berlin, becoming closer friends. Two years later, at a festival, their connection quietly evolved - and they shared their first kiss. Yet, even as they embarked on this new chapter, life brought its challenges - Kim still lived with her ex, with whom she shares a child. But, their relationship, grounded in patience and mutual respect, peacefully prevailed.

Everything fitted into place naturally. It always felt natural. It was not planned. And for sure, there were ups and downs - because it's also not easy to understand what you're feeling. Love means that you are verletzbar (vulnerable), and that you can get hurt. - Bene

Kim and Bene have built a love defined by calmness, trust, and the healing they’ve found in one another.

In the past I had mistaken my true feelings for being in love - and that quickly fades when you realise. You can confuse being in love with someone who is pushing the right buttons for you. The older I get the more I realise what love really means to me. It makes me feel calm. It’s not always just a rollercoaster. It feels like a mixture between butterflies and calmness. I had to realise that I was deeply, calmly in love with someone. Like the calm love I have with Bene. - Kim

 

Love is as varied as the people who experience it, and these stories are just glimpses into what it can mean. Whether you find inspiration, validation, or simply curiosity in these reflections, their purpose is to offer insight rather than answers. Love is a journey we each define for ourselves.