Interview – Numéro Berlin

IN CONVERSATION WITH SABER AHMED

Anna Klusmeier — Thu, 12 Feb 2026 15:34:19 +0000

Juliette Leoncini Roux – @juliette.leoncini

At Ogata, Glass Cypress held its first fashion show in Paris with its Fall Winter 2026 collection titled “A Quiet Frontier.” Founded in 2016 by brothers Saber Ahmed and Samee Ahmed, the Texas-based menswear label has evolved outside the traditional fashion capitals. Raised by Bangladeshi parents, the brothers grew up with a sensitivity to craft and material that continues to inform the brand’s contemporary language in quiet, deliberate ways.

The rooms were spare yet quietly striking, light settling gently across wood and stone. There was a sense of stillness before anything began. On every chair lay an envelope containing a letter and a pen, waiting.

The note opened simply: “Dear friends, thank you for being here. My name, Saber, means patience, a value I did not naturally possess and one I have learned through time and work.” What followed reflected on discipline and reduction, on removing excess so that form could surface through repetition. The garments, it explained, were constructed without added effect, designed to sit with the body and reveal themselves gradually through wear.

When the show ended, the invitation remained. Guests were asked to respond, leaving behind a word of their own.

Glass Cypress continues to work closely with artisans, employing techniques such as dyeing, quilting, gathering, bridging, and washing. In Paris, the space, the letter, and the work itself seemed to move at the same tempo, unhurried and deliberate, leaving an impression that lingered long after the room had emptied.

Juliette Leoncini Roux – @juliette.leoncini

Elena Kaempfe: This season marked your first presentation in Paris. What did that moment represent for you, both personally and professionally?

Saber Ahmed: Everything I do is a continuation of a body of work. Showing in Paris felt less like an arrival and more like
a moment of alignment, when the clarity of the brand and the reason for making the work felt fully formed
and ready to be shared. Personally, it confirmed that the intuition guiding the process could hold up under
scrutiny.

What was the starting point for this collection? Was there a specific reference, idea, or period you kept returning to?

I try to avoid working from fixed references. The collection began with a feeling I experienced while
walking in Jackson Hole, watching my niece move freely through an open landscape. That sense of scale,
movement, and quiet tension became the foundation.

Juliette Leoncini Roux – @juliette.leoncini

That sense of scale and tension is very present in the silhouettes. How did that feeling translate into construction and material on the runway?

It translated through construction rather than imagery. I was interested in the beauty that emerges from tension, in how landscapes are worn in and shaped over time. Techniques such as gathering, bridging, and washing were used to test gravity and use, allowing garments to collaborate with time rather than resist it.

What proved most challenging during the process?

Restraint. It is easy to over-design, and learning when to stop, to trust repetition and editing, was the most demanding part of the process.

Juliette Leoncini Roux – @juliette.leoncini

The casting felt very intentional and understated. What was your vision for the models?

I wanted models who could carry tension and human presence without projecting personality or attitude.
The intention was for the garments to speak first, without any performance or narrative attached.

You are based in Texas, which is not typically associated with contemporary menswear. How does that distance shape your work?

Texas is not a fashion reference point, and that distance is important. It allows me to work without
constant visual noise or immediate comparison, which keeps the process grounded and personal.

How would you say living in Texas nourishes you as an artist?

It provides distance from trends, urgency, and general overexposure. That separation gives ideas time to
mature and cultivate internally and quietly before they are shared.

Do you see your work as connected to a specific place, or do you try to keep it geographically open?

The work is informed by context but not tied to one place. I am more interested in conditions such as time,
movement, pressure, and of course texture, than geography.

Juliette Leoncini Roux – @juliette.leoncini

How do you see the current state of menswear, and where do you position Glass Cypress within it?

Menswear today moves very quickly. Glass Cypress exists intentionally outside that pace. I am less
interested in novelty and more focused on continuity, building a language that can be returned to and
refined over time.

How would you describe your vision of modern menswear?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

You continue to work with classic pieces like shirts and tailoring. What draws you back to these forms today?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

In a fashion climate that often prioritizes novelty, what does classic mean to you now?

I don’t think classic is a refusal of change. Fashion exists because of the impulse to leave what is familiar
and move toward something new. At the same time, moving too far from the idea or too quickly risks
isolation. For me, classic lives in the tension between novelty and sameness. It is a balance, introducing
subtle difference without abandoning the idea, allowing garments to evolve while still remaining legible
and usable over time.

The name Glass Cypress suggests a contrast between fragility and strength. How did the name come about, and how does it relate to the brand’s identity?

The name reflects the same tension that runs through the work. Glass Cypress is about balancing
opposing forces i.e. fragility and strength, novelty and sameness. The clothes are meant to introduce
subtle differences without removing familiarity, allowing forms to adapt and erode without losing their
structure. That balance gives the work durability, both physically and conceptually.

The Paris venue was very considered visually. How involved were you in choosing the space, and what role did it play in presenting the collection?

The space was integral. Ogata is quiet, precise, and built around attention rather than spectacle. It
allowed the collection to exist without distraction, which was important to me.

Juliette Leoncini Roux – @juliette.leoncini

When you think about the wearer, are you designing for a specific person or a broader idea of masculinity?

I am designing for someone who understands balance. Someone who values familiarity but is not
confined by it, and who is open to change without chasing novelty for its own sake. It is less about
masculinity and more about conviction and presence, where the clothes adapt to the wearer and
confidence remains intact, even as the garments change.

After this Paris presentation, what feels most important for you moving forward as a designer?

Continuity and balance. I am focused on refining the language rather than expanding it. I’ll try to make
sure the work holds up quietly, over time, without needing constant explanation.

Juliette Leoncini Roux – @juliette.leoncini

IN CONVERSATION WITH LABRINTH

Anna Klusmeier — Fri, 06 Feb 2026 16:01:04 +0000

Words ALEXANDRA SCHMIDT

Image Courtesy of Sony Music & Columbia Records

Labrinth is a musician, composer, and producer. The kind of artist who has, thank goodness, never fit neatly into a box. Born Timothy Lee McKenzie in Hackney, London, he grew up in a deeply musical household, surrounded by voices and instruments. For him, music was never just something to do; it was a way of living, feeling, and telling stories. Many people know his sound from the series Euphoria, where his songs hit straight in the chest.

With his new album Cosmic Opera Act I, he is not taking the traditional album route. If you are looking for tidy choruses and a “normal” song structure, this is not it. Instead, you get raw thoughts that are just as striking as they are beautiful to listen to. In our interview, we talk about inner demons, the music industry, and why Labrinth regularly has conversations with himself.

Alexandra Schmidt: How are you doing right now with the upcoming album and everything else going on in your life right now?

Labrinth: I’m coming out of the chaos of 2025. And I’m feeling positive about what’s to come.

What’s coming?

I think what I mean by “what’s coming” has more to do with my perception, my perspective of it. The way I’m looking at life now is different, and that leaves space for things to feel fresh, new, and exciting. I feel like my eyes are more open to seeing those things than they were last year.

Can you tell me a bit about your background and how you first got into making music?

I come from a very musical family. Everyone has some kind of talent, and even if they’re not in the music industry, everyone can sing or play an instrument or something like that. So, music was always around me as a kid. I was really into art back then and wanted to make comics. I used to invent stories, and somehow music just pulled me in that direction. I think I’ve been obsessed ever since, maybe since I was around ten.

Are you still doing art?

Since I had kids, they got me right back into it.

You’ve just released “Cosmic Opera Act I.” What story were you drawn to tell with this album, and where did the inspiration come from?

One half of it is that I love school music and I love film music, and I wanted to use that sound in an album. That was the playful five-year-old child in me wanting to play with toys and have fun. The other side of it was that I was going through the process of developing as a father, as a person, as a human, and the music, especially the lyrical content, was very much about that process.

Which song do you think will become the fan favorite, and which one is your personal favorite on the album?

My personal favorite is a song called Running A Red. There’s a band called Booker T. and the M.G.’s, and they really inspired the overall vibe of that track. As for a fan favorite, I honestly don’t know. I didn’t really care on this album in that sense. I wasn’t trying to give anyone choruses or hooks or any of that. I was just like, I’m going to make whatever is in my head. I’m sure some people might be like, ‘what the hell is this?‘But I felt like I just had to do it.

But I love exactly that.

Oh, I appreciate that. I feel like we’re in a new age. And by that, I mean I love the idea of artists, creatives, or anyone really trying to find and express things that aren’t just culturally inspired. A lot of that is basically peer pressure. Creative work driven by peer pressure often ends up being about writing what people expect you to write.

How do your songs come to life? What’s your process from idea to finished track?

My process is absolute insanity, total madness. My wife is always like, Babe, do we have to do this every single time? At first, I was like, babe, maybe I’m bipolar. And she said, You’re not bipolar, you’re just an artist. You go through doubt, you go through excitement, and you go through all these emotions while creating a record or even just one song. You literally lose your mind and then you kind of gain it back again. It’s kind of like having a baby. That’s probably the worst thing I could say and I’m going to get slaughtered for it, but it really feels like that. [laughs]

This one is a bit unconventional: if I were in the studio with you for the first time while you were working on a new song, what would I probably think about you afterward?

You’d probably think I’m nuts. I talk to myself, I talk to people who aren’t there. I talk to the inspiration I’m getting. It’s like I’m looking into this sphere of ideas and they’re kind of talking to me. I literally look completely nuts, but that’s kind of the method of the madness.

Do you ever find yourself completely out of ideas for a new track?

No, only when I’m insecure or internally chaotic. I can always write music, but it’s really about my perception and how I receive the music, because that’s a big part of creating for me. I want to feel it, and if I’m emotionally unstable, I can’t feel the music. That’s where the block comes from.

And how do you get back into it when you’re feeling insecure?

I allow myself to feel it. I let myself be uncomfortable and sit with it, and then I allow it to pass. If I try to fight it or kill it, it usually just gets bigger. You kind of have to pat the monster on the head and say, it’s okay.

What is the one thing that drives you as a person?

Otherworldliness. That childlike sense of magic. That feeling always gets me. I think that way when I’m writing music or trying to express something. It always comes back to the same question: how can I be on another planet while still being on this one?

And where does that come from?

Maybe from the movies I watched as a kid. One that comes to mind is The Big Friendly Giant, the cartoon version from the 1970s. It always made me feel emotional, or magical. There were also little things, weird things, like certain songs, that gave me this ambient, euphoric energy. That feeling has stuck with me.

The world is too serious.

Yeah, it really is. And I can be serious too, but there’s always this whimsical silliness that’s there.

Do you tend to lead with your heart or your head?

My heart, all the time. It doesn’t always work out very well, but for me it’s just inbuilt. I can’t even think before my heart gets involved

Your new album also touches on mental health, which is a big topic among artists. Why do you think mental health issues are so prevalent in the music industry?

The Problem has been around forever. A big part of it is that artists are constantly walking a tightrope between business and creativity. Business manages product, art manages creativity. Between those two languages, artists can lose themselves. If you’re treated like a product, like a Coca-Cola can filled with emotion, trouble is almost inevitable.

For sure.

You know what I mean? In business it’s like, if something’s off or past its sell-by date, you just throw it away. But I’m a person.

Given all of that, how do you personally cope with the risks and pressure?

I think you have to see reality for what it is and respect it as such. Like I said, I’m a very dreamy person. I live in otherworldliness, and sometimes I project my own ideals and perspective onto the world.
But the world is reality. You can put out a song and maybe no one’s going to care, and that’s okay. That’s part of the process. The moment you accept a reality beyond your own, you can find more peace.

The album carries a sense of inner confrontation. Which of your own demons does it engage with, and what do you believe shaped them?

I guess the first song that comes to mind is a single I released called Implosion. It came from that feeling as an artist when you have success and it’s really easy to get attached to what it was and what it meant. And then you want to replicate it. It kind of wakes up the toddler in you, the little cute child everyone tells, “You look so beautiful, do that thing again.” You really have to break away from that need for praise, for excitement, for people to care about what you’re doing, and repair your relationship with yourself and your creativity.

Implosion was kind of about that for me, losing your mind a little, not to kill your old ego but to quiet it. It’s like saying, “It’s not about me. It’s about what we have to contribute to the world, what we can take away from it.” That was a demon for me because I felt like I needed success, I needed validation for what I was doing. And if that flips a little, or someone isn’t talking about you as much as you want, you start asking yourself, “Am I walking into the studio just to get someone to talk about me?” That’s when you know you’re lost.

Another one was Still In Love With The Pain. That song is basically about being addicted to the industry, addicted to success, and not just success but things like Instagram. I would say it’s the devil. It’s ruining communities, connectivity, and creativity. And yet I was the same guy online, checking how many likes I got on a picture. It’s like a drug addict having an opinion about their own addiction. That was a demon for me, caring so much about something I knew was pretty toxic for me and my peers.

After the final stop of a tour, when the stage lights go out and the clapping stops, how do you experience that quiet?

You know what’s beautiful? You can almost learn to enjoy the other side of life. That wouldn’t bother me. I’ve already kind of gotten over the hurdle of a challenging audience. But some of it is more the feeling of silence. It’s like tear gas, slowly creeping in before you even notice it. You’re breathing in this intoxicating energy of success, of being connected to a celebrity, or being a celebrity. Those things can almost become more important than what you wanted to contribute as a creative. For me, the most sacred thing is remembering what you want to contribute, not what you want to take from the world.

It’s hard to switch it off.

Yeah, and that’s why I made Still In Love With The Pain. I’m still coming back to the same thing. I see how it’s ruining me and my peers, but we’re all still in it, obsessed with it, and still trying to find ways to be valuable in it.

How do you know when an album is ready to be shared?

You never really know. You just have to shut your mouth and let it go. Have someone literally pull it out of your hands. I’ve had millions of deadlines. It’s always good to have someone around to say, that’s enough, just take it and stop.

A lot of time passes before an album is released. How does that time gap influence how you feel about the music once it’s finally out?

By the end, you can hate it. You can be like, this is terrible. Or you can go full circle, where you think, I really hate this, it’s the worst thing I’ve ever done, this is horrendous. And then you get to a place where you can appreciate the process you went through. It’s almost like a photo album of the last two years. You see yourself with no makeup, all the little moments, and once you have some time, you can listen back and value the journey. It’s like your old skin. Most people don’t want to put that old skin back on, but it’s part of the process.

In all the external noise that comes with this industry, how do you make sure you don’t lose yourself?

Get lost and get found. You cannot control it. No one can control this experience of living. You are going to be an asshole one day. You are going to think you are the world’s gift to everyone. You will have a Jesus complex. And then there will be a moment where you wake up and realize it is not about you. It is bigger than you.
At the end, it becomes very simple. I want to do what I came here to do, what I love. But you have to go through the chaos to find the person you are going to become.

Why are you here in the first place?

Why am I here? I am not supposed to know why I am here. I am supposed to know how I am meant to contribute. If I asked a cat why it is here, it would just say, I am a cat. I do what a cat does. And maybe, in the grand scheme of things, when you look at the ecosystem, you suddenly see why that matters. You see its value in the bigger picture. Hopefully, I am just a speck of paint in the grand painting.

So you don’t think you have a higher meaning?

No. Anyone who believes they have a higher meaning than anyone else is trash. I believe that even the janitor who spoke to me after school, when I was leaving the studio, or the teacher that was going through depression, is part of the journey.

If you remove all the notes from a symphony nobody cares about, you are left with one single note. And it is not as powerful. There is no symphony without every note. Even the ones that think they are insignificant. To me, they are all important.

Your new album is called Cosmic Opera Act I. Can we expect an Act II?

If I have to go through that shit again… [laughs]

IN CONVERSATION WITH LUKE RAINEY

Anna Klusmeier — Fri, 06 Feb 2026 14:36:47 +0000

The Berlin-based label DAGGER was founded in 2020 by Luke Rainey. It is a success story that proves that endings often mark new beginnings. After years of working in retail, Luke lost his job. His termination letter concluded with the words: ‘We wish you all the best.’ Luke took this phrase as inspiration. He began printing T-shirts with that very slogan, laying the foundation for his own vision.

Today, six years after those first printed shirts, his label DAGGER has made the leap onto the official Berlin Fashion Week calendar, where he is presenting his debut runway show. It is a deeply emotional moment for the designer, who has successfully translated his skater roots into the world of high fashion. Shortly after the finale, elated and surrounded by well-wishers, I had the opportunity to speak with Luke about this major milestone.

SOPHIA NOWAK: Luke, your Label DAGGER just had its Debut on the runway. How do you feel after your first official fashion show?

LUKE RAINEY: I feel like I’ve been shot out of a cannon, like literally shot out of a canon. It’s a weird feeling of relief and total joy and also something in between that I can’t describe.

SN: I’m so excited for you! You started your label when you got fired, and they sent you an email wishing you “all the best”. How does it feel to see people wearing your label with the exact phrase that was in your firing email and to see it become so successful?

LR: It feels fucking amazing. You know, shit things happen in life all the time to everyone. I hope when people hear that story and see where I took that statement, that it inspires them to do the same whenever they’re in a shit situation. There’s something to be taken from everything no matter how bad it is and you don’t have to start a fashion brand with it, but if it inspires you to just take one step forward in a in a better direction, great.

SN: What gave you the strength, while being unemployed, to start a fashion brand and has it always been fashion that you wanted to do?

LR: Yeah, it was always fashion. I was a retail girl my whole life, you know I worked the shop floor as a sales assistant for a big majority of my life. So I’ve seen clothes come and go all day long, and I’ve seen brands start from one t-shirt and sort of build up and I guess I kind of picked up the mathematics of it a little bit and I always wanted to do it myself. And when I lost my job I got 300 Euro benefits from the government and I spent that on some t-shirts and I printed them in my little kitchen in Neukölln with that statement on the back of it and literally from that t-shirt we’ve just built it up and built it and built up. It’s crazy. We now have many international retailers for the collection that’s coming out for Spring/Summer. We have 20 international retailers, including Dover Street Market, GR8 and many others and then for winter 26, it’s almost 40 retailers internationally. In only tier one stores. It’s feeling like we’re literally about to break through and after the show I really hope that’s what happens.

SN: I saw so many pieces during the show that I liked. Which garment from your current collection is your absolute personal favorite and why?

LR: Oh god, there’s many. But actually it’s these pink jeans that are rubbered and they have silver studs all down the sides and a silver atb on the ass. And I made those thinking they were just for the show and I took them to my showroom in Paris and they were the best selling item, almost every store bought them. So those pants have inspired me to design even further and not to silence or damn darn myself. Because I think things are changing and people are not willing to pay a lot of money for standard boring items anymore. They want to pay money for something special so that’s going to direct me in the future. So I think that’s my favorite item because it kicked me up the ass a bit, those pants. I should call them that, ass kicking pants.

SN: Maybe that’s the next slogan, for your next collection.

LR: Yes! Yes!

SN: My favorite item from the collection was the headband with the slogan “play hard”.

LR: Yes, that’s the name of the show and of the collection, so we have it on the hairbands and on some hoodies as well. I love the hairband too.

SN: With the show being a success today, where do you see the brand in five years?

LR: I definitely plan on it being a global brand and already have wheels in motion to make sure that that happens. I’m really certain that, that will happen in the next five years, if not sooner, which feels bizarre to say. I never thought I’d be standing here saying that, but like I said, you believe it, you can achieve it and just fucking run at it. We are like a grungy, scaty, queer brand, but we make very high quality clothing. I will say that, dagger pieces, you get them looking a bit pre-loved. We like to make them look like they’ve had a life well lived before you had them. And with the hope that our customers will learn not to just buy clothes over and over and again, but to keep the ones that they buy and wear them for a long time so that they look better the older they get. I think it’s an important thing for sustainability. That is the easiest and most effective and most honest way that you can be sustainable. Buy less clothes, but buy well and wear them for a long time and love them.

SN: True. I have one more question. I’m curious about the angel in your fashion show. What was the idea behind it and what role does it play in the show?

LR: Yeah, the angel, he’s a fallen angel. And originally I imagined the models to be on skateboards. I love the idea of having these skaters appear as these sort of ethereal creatures from the heavens, because whenever I grew up in this little skate town in the north of Ireland, they weren’t, right? Skaters were treated as rats, basically, you know? And so I wanted to elevate them and show them with these wings and as these beautiful creatures that are fluid and are skilled and deserve to be celebrated. So it was really about me spotlighting that.

SN: Very cool. Thank you so much for your time and enjoy the rest of your day! Congratulations!

LR: Thank you! Thank you so much!

The Perfect Candidate, Film directed by Mischa Gurevich

Anna Klusmeier — Tue, 03 Feb 2026 21:12:26 +0000

In an industry driven by visibility and constant performance, Balletshofer chooses to slow the pace. For AW 2026, designer Alan joins director Mischa Gurevich to present the collection through a short film rather than a runway show. Set within a dystopian corporate interview, the project explores authenticity, identity under pressure, and the quiet tension between who we are and who we perform to be. Numero Berlin in conversation with Balletshofer designer Alan and film director Mischa Gurevich on casting, craft, and why film is a powerful medium for asking the questions we rarely do.

Words by Nicole Atieno

Talent Relations Usman Latif

Image Courtesy of Balletshofer

Nicole Atieno: How did this collaboration begin, and what initially connected the two of you?

Alan: We originally connected through the industry, but I had long wanted to present the brand through a narrative format rather than a traditional runway show. Film always felt like the right medium, even though I hadn’t explored it deeply before. I grew up reading scripts and directors’ notes, but never had the chance to work that way. When I met Mischa, we started talking, writing, and developing ideas very intuitively.

Mischa: We met in Berlin while I was directing a narrative film, and Alan was part of the styling team. That project already revolved around authenticity, moving away from performance and toward something more associative and emotional. I’m not interested in explaining films too much; I want them to be felt before they’re understood. That mindset became the foundation of this project.

Why did you decide to make a film rather than a conventional fashion show presentation?

Alan: Film allows you to start from a blank page. Even though the project is connected to the brand, it opens a completely new space. You can create moments of pure cinema. It was exciting to work with well-known actors like Emma Schweiger, Philip Günsch, Sira- Anna Faal, Stefanie Giesinger, Evgenia Gurevich, Zethphan Smith-Gneist but place them in an anonymous environment, removing their public identities and allowing something new to emerge. Film allows us to explore gestures, tailoring, in details like, how clothes behave when someone moves or sits. Those details mirror how character develops beneath a clean surface.

Mischa: We wanted to skip the surface and go straight into something personal. From the beginning, we approached this from an art-house perspective. It’s not meant to function as a campaign, it’s a narrative piece.

Photo by Emil Dietrich

Casting plays a crucial role in the film. How did you approach it?

Mischa: I cast the film myself. I don’t work with traditional casting directors on projects like this because I want to meet people as humans, not just as profiles. The story centers on four young adults entering a dystopian corporate office in Berlin for what appears to be a job interview.

The interviewer, played by Stefanie Giesinger, is deliberately cold and mechanical. Her styling reflects that dark and structured Balletshofer look. The questions begin very generic, almost rehearsed, and are answered in a similarly mechanical way. Words like commitment and endurance are repeated rapidly. But then the rhythm shifts. The questions slow down and become personal: Can you imagine working late? On weekends? And finally: How would you describe yourself? As the film progresses, the characters move from rehearsed answers into personal territory. That’s where everything collapses, insecurity, individuality, humanity.

We limited each actor to one take. That created real tension and presence, which you can feel on screen.

Alan: I chose actors with very different energies and experiences. I asked them not to approach the roles technically, but emotionally to draw from their own insecurities and internal conflicts. That’s where the authenticity comes from.

Photo by Christopher Behrmann

At the end of the film, they remain in the office. What does that moment signify?

Mischa: It represents identity under pressure. The interview becomes a mirror. That final question, How would you describe yourself? is something we’re rarely asked so directly. Watching them sit in silence, unable to answer, felt very honest.

Your collections often exist in very specific environments, airport, coffee shop and now in the offices Why are these spaces so important?

Alan: They’re places of urgency and transition. People pass through them quickly, rarely stopping to reflect. In this film, the office is isolated and quiet, which heightens the tension. In earlier collections for example at the coffee shop we explored trust, slowness, and physical presence. The office extends that idea: is reflection possible in a space designed purely for productivity?

Let’s talk about Spring Summer 2025 collection and the Timberland collaboration. How did that partnership influence the collection?

Alan: The collaboration felt very natural. Both our brands value craftsmanship and heritage. Moving into footwear opened a new perspective. Shoes affect posture, movement, and the overall silhouette. We avoided visible branding and focused instead on construction, pattern, stiffness, and fluidity. These are details you discover slowly.

Mischa: From a film perspective, that idea of wholeness is essential. If an outfit doesn’t feel coherent, sound and rhythm feel disconnected too. That thinking carried directly into sound design and editing.

What does authenticity mean to you beyond clothing?

Alan: Authenticity is something you keep questioning throughout life. Clothing is often the first signal, but it’s only the surface. The real tension is between fitting into a group and staying true to yourself. Ideally, the look comes from who you are not the other way around.

How do you stay relevant today without chasing trends or youth culture?

Alan: We don’t design for trends, and I wouldn’t even label the brand as “slow fashion.” It’s more about precision and handwork. Relevance comes from continuously reinventing ourselves and doing projects we genuinely believe in.

Mischa: This project breaks familiar systems no runway show, casting outside fashion, working intuitively. Authenticity is letting things happen naturally, without forcing meaning.

Do you see film becoming a bigger part of the brand moving forward?

Alan: Definitely. Film allows for depth and subtlety that a runway doesn’t. A show is fleeting, while a film stays with you. If this resonates with people, we want to continue exploring it.

The film centers on identity under pressure. Is there something you’re personally ready to let go of after this project?

Alan: Yes, small behavioral patterns, like code-switching or adapting language to please others. If something doesn’t feel genuine anymore, I’m choosing not to do it.

Mischa: For me, it’s about listening more to myself and to others. That’s ultimately why I make films: to create space for attention and reflection.

VISIONARY ISSUE VOL. B – TING TING LAI

Anna Klusmeier — Tue, 27 Jan 2026 16:00:42 +0000

Look LAURA GERTE Foundation ARMANI BEAUTY SKIN TINT L4 BlushARMANI BEAUTY CHEEK TINT SHINE 62S MAGNETIC MAUVE Lip Gloss ARMANI BEAUTY PRISMA GLASS 02 CANDY HALO

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INFLUENCE WITH INTEGRITY: TING TING’S VISION OF BEAUTY FOR A NEW GENERATIONBY CHIARA ANZIVINO

TING TING REPRESENTS A NEW GENERATION OF INFLUENCERS WHO REFUSE TO BE CONFINED TO A SINGLE LABEL. WITH A SHARP EYE FOR AESTHETICS THAT MOVES FLUIDLY BETWEEN FASHION, BEAUTY, AND LIFESTYLE, SHE HAS BUILT A COMMUNITY THAT ADMIRES HER FOR HER AUTHENTICITY, PLAYFUL APPROACH TO TRENDS, AND A CONTEMPORARY VISION OF STYLE. FOR THIS NUMÉRO BERLINFEATURE, WE HAD THE PLEASURE OF PHOTOGRAPHING TING TING IN COLLAB-ORATION WITH ARMANI BEAUTY. STYLED WITH THE BRAND’S LATEST PRODUCT INNO-VATIONS, SHE BRINGS TO LIFE A MODERN VISION OF BEAUTY THAT IS BOTH POWER-FUL AND LIGHTHEARTED. IN THE FOLLOWING CONVERSATION, TING TING OPENS UP ABOUT HER CREATIVE PATH, THE INSPIRATIONS THAT DRIVE HER, AND THE POWER OF VULNERABILITY.

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CHIARA ANZIVINO: YOU LIVE IN BERLIN NOW, A CITY THAT THRIVES ON REINVENTION. WHERE DID YOU GROW UP, AND WHAT BROUGHT YOU HERE?

TING TING: I MOVED AROUND A LOT, SO I DON’T REALLY HAVE ONE TRUE HOMETOWN. I WAS BORN IN KOBLENZ, GREW UP NEAR FRANKFURT, AND AL-SO STUDIED THERE. EVENTUALLY, I CAME TO BERLIN FOR SOCIAL MEDIA WORK. ONCE I DECIDED TO GO FULL TIME, I KNEW I HAD TO LEAVE FRANKFURT.

CA: WHAT DID YOU STUDY IN FRANKFURT?

TT: SOMETHING COMPLETELY DIFFERENT – FINANCE AND BUSINESS. IT WAS QUITE A SWITCH.

CA: WHAT MADE YOU CHANGE CAREERS FROM FINANCE TO SOCIAL MEDIA?

TT: I HAD ALWAYS DONE IT ON THE SIDE DURING SCHOOL AND UNI-VERSITY. I LOVED PHOTOGRAPHY AND BEING CREATIVE, BUT I DIDN’T REALIZE BACK THEN THAT IT COULD ACTUALLY BE A CAREER. AFTER GRADUATING, I THOUGHT MAY-BE I’LL GIVE IT A TRY FULL TIME.

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CA: DID YOU WORK IN FINANCE BEFORE THAT?

TT: YES, I DID INTERNSHIPS IN BANKS. IT WAS COMPLETELY DIFFER-ENT, AND I DIDN’T ENJOY IT. I FELT LIKE I WAS PRETENDING TO BE SOMEONE I WASN’T. HONESTLY, I PURSUED IT MORE FOR MY PARENTS THAN FOR MYSELF. IT WAS A TOUGH DECISION TO GIVE IT UP, SINCE THEY HAD INVESTED SO MUCH IN MY EDUCATION. BUT I’M GLAD I DID. I CAN’T IMAGINE EVER WORKING IN A BANK AGAIN.

CA: YOUR VERY FIRST INSTAGRAM POST IN 2016 SHOWED DRAWINGS. DO YOU STILL DRAW, AND DO THOSE EARLY CREATIVE EXPRESSIONS INFLUENCE YOU TODAY?

TT: DEFINITELY. I RECENTLY STARTED PAINTING AGAIN, AND I REAL-IZED HOW MUCH I HAD MISSED IT. SOCIAL MEDIA CONSTANTLY BOMBARDS YOU WITH OUTSIDE INPUT, BUT PAINTING CALMS ME DOWN AND HELPS ME CLEAR MY HEAD WHILE RECONNECTING WITH CREATIVITY.

CA: SO, AT THE BEGINNING, YOU JUST POSTED FOR FUN?

TT: EXACTLY. BACK THEN, I ONLY POSTED THINGS I PERSONALLY LIKED, WITHOUT THINKING MUCH ABOUT IT. LATER IT BECAME MORE PROFESSIONAL.

CA: LOOKING THROUGH YOUR FEED FEELS ALMOST LIKE PAGING THROUGH A DIARY, WITH CHANGING STYLES, HAIR COLORS, AND PLACES. DO YOU SEE IT THAT WAY?

TT: HONESTLY, YES. MY STYLE CHANGES QUICKLY. LOOKING BACK EVEN SIX MONTHS, I FEEL LIKE A COMPLETELY DIFFERENT PERSON. I TRY TO RE-FLECT MY CURRENT STATE AND WHO I AM IN THE MOMENT. I’M GRATEFUL TO HAVE THIS OUTLET TO EXPRESS MYSELF AND EXPERIMENT. THAT’S THE BEAUTY OF SOCIAL MEDIA – YOU CAN BE WHOEVER YOU WANT, WITHOUT LIMITATIONS.

CA: DO YOU EVER HOLD BACK FROM SHOWING YOUR TRUE SELF, OR IS IT NATURAL FOR YOU?

TT: I DO HOLD BACK SOMETIMES. THE LONGER YOU’RE IN THIS SPACE, THE MORE PRESSURE THERE IS – FROM THE OUTSIDE, AND FROM YOURSELF. IN THE BEGINNING, THERE WAS NONE. I JUST POSTED WHATEVER I WANTED. NOW I PAY AT-TENTION TO ENGAGEMENT AND REACTIONS. STILL, I TRY TO RETURN TO WHY I STARTED: POSTING WHAT I TRULY LIKE.

CA: Looking back, what part of this work did you underestimate, and what did you learn?

TT: Consistency. At one point, I forced myself to post every day for engagement, and I underestimated how hard it is to maintain quality long term. I’d go all in for a while, create lots of content, then burn out and need a break. Eventually, I realized balance is more important than intensity. I also underestimated the mental side – the pressure, comparisons, and psychological strain. It’s a rewarding job, but it can be tough mentally.

CA: How did you cope with that pressure?

TT: Support from my friends and family. Without them, I wouldn’t be here today.

CA: With your reach, you’ve become a role model, especially for young women. How do you hope to inspire them?

TT: Mainly through two things: self-love – accepting yourself and showing up as you are – and kindness toward others. Social media makes it easy to judge anonymously, often with-out realizing the impact. I want to nurture a positive, supportive community, and I’m grateful that my audience reflects that. You never know what someone is going through, so a little understanding and kindness go a long way.

CA: Your energy radiates positivity. But social media can be de-manding. Do you ever find it difficult to maintain that outlook?

TT: Yes – and I’ve learned to accept it when I’m not doing well. I try to share those moments, too, and the response has been incredibly supportive. At first, I was afraid people might judge me, but they appreciated the honesty and often related to it. That helped me realize it’s important to show vulnerability – that’s real life.

CA: When did you decide to share that side of yourself?

TT: I kept getting comments saying I was always so positive, but I knew that wasn’t true. I felt guilty, like I was pretending. That led to impostor syndrome. I felt like a fraud. Over time, I allowed myself to feel and express negative emotions, both privately and online. Sharing them went hand in hand with accepting them myself.

CA: How much of your work is planned, and how much is intuition?

TT: These days, about half and half. In the beginning, it was all intuition. But the longer you work in this field, the harder it is to rely only on spontaneity. With shoots, campaigns, and events, structure is important to keep things manageable.

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CA: With constant travel and blurred boundaries between work and life, how do you stay grounded?

TT: I’m a homebody at heart. When I’m home, I focus on small rituals like making matcha in the morning. It slows me down and gives me a sense of routine. And when I’ve been away a long time, calling my parents always makes me feel grounded.

CA: Where do you find inspiration for your content?

TT: It depends on my current interests. I’ve drawn from K-pop, film aesthetics, music, and now I’m really into Asian fashion. I spend time on Red Note, a Chinese platform, and I love how much effort people put into unique styles there. Inspiration can come from anywhere.

CA: Can you share a recent example?

TT: I’ve been fascinated by how people in Asia combine traditional clothing, like Hanfu with its high collars, into modern streetwear. My mom even bought me two Chinese tops, which I’ve styled into my everyday outfits.

CA: There’s little about your private life online. Is that intentional?

TT: Not really – it happened naturally. I wanted to keep a separation between work and private life, otherwise I’d never be able to switch off. Whenever I was with friends, I stayed present instead of posting. Over time, I became more relaxed about it, but balance is still important.

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CA: Was there a turning point?

TT: It wasn’t sudden—it built up until I realized I was constantly stressed, even in my sleep. Eventually, I hit burnout and had to take a long break. It built up gradually, but eventually I was exhausted all the time, even without doing much physically. I had migraines, stomach aches, sleep problems. Therapy helped me reconnect with myself and accept that it’s okay to slow down. Since then, I’ve worked on boundaries, with help from my team and support system.

CA: Is there a side of you that your audience doesn’t know?

TT: Recently I shared that I used to be a “finance girl” and people were surprised. But many related, saying they were in the same situation – doing something for others rather than themselves. The more I open up, the more positive the feedback.

CA: Your outfits inspire many. Who or what has influenced your style?

TT: Right now I’m experimenting a lot. I take ideas from what I see and like. But my biggest influence is my mom – she’s a true fashion lover. She often dressed me growing up and still inspires me to try bold looks, even if some are a bit too much for me.

CA: That’s perfect for our upcoming issue on “Visionaries.” Would you consider your mom one of your visionaries?

TT: Absolutely. When I graduated and wasn’t sure if I could make it, she believed in me before I believed in myself. She encouraged me to take risks, make mistakes, and trust that I could handle setbacks. That support gave me the courage to leave my comfort zone.

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CA: Do you have other visionaries who inspire you?

TT: My best friend. There were times when I was ready to quit social media and go back to finance. She gave me strength, believed in me, and reminded me of my goals. I’ll always be grateful to her.

CA: Armani Beauty celebrates individuality and self-expression. How do those values resonate with you?

TT: Recently, I’ve found the courage to be authentic – to not fear judgment. It makes life so much more peaceful.

CA: What’s a vision you hope to realize in the future?

TT: My dream has always been to create my own brand. Right now it feels impossible, but one day I’d love to build something that’s truly mine and can inspire others. When people tell me I’ve encouraged them – like when I cut my hair short – it makes me feel like what I do has meaning.

CA: Do you ever feel your work isn’t meaningful enough?

TT: Sometimes, yes. It can feel superficial. That’s why I try to bring in personality, honesty, and positivity – so it’s not just about appearances, but about something deeper.

“IT CAN FEEL ALMOST RELIGIOUS” JEREMY SCOTT IN CONVERSATION WITH HENDRIK LAKEBERG

Anna Klusmeier — Tue, 13 Jan 2026 15:12:28 +0000

AS CREATIVE DIRECTOR AT MOSCHINO, JEREMY SCOTT TRANSLATED THE NOISE OF THE MOMENT INTO CLEAR, WITTY FORMS. THE RESULT WASN’T JUST A NEW WAY OF LOOKING; IT WAS A SHIFT IN HOW WE THINK – PLAYFUL OBJECTS THAT KEEP FAITH WITH COMPLEXITY.

HENDRIK LAKEBERG: THE 90S NOSTALGIA IS STILL GOING STRONG. IT WAS ALSO THE DECADE THAT FORMED YOUR THINKING. SO, WHEN YOU MOVED TO PARIS IN 1996 WITH ALMOST NOTHING, YOU STILL HAD THIS STRONG URGE TO CREATE. WHAT WAS THAT – SURVIVAL, REBELLION, IMAGINATION, ESCAPISM?

JEREMY SCOTT: IT FELT LIKE A FIRE INSIDE ME AND A SECRET I COULDN’T KEEP. MAYBE A DASH OF SURVIVAL – BUT NOT IN THE USUAL SENSE. I HAD TO EXPRESS MYSELF, TO SHARE MY VISION. WITH NO OTHER OUTLET, I USED MY BODY: HOW I LOOKED, WHAT I WORE, MY LITTLE CONCOCTIONS. I COULD SKETCH, SURE, BUT I DIDN’T HAVE A COLLECTION OR MODELS. FASHION, FOR ME, IS COMMUNICATION – A CHANNEL, LIKE PAINT FOR A PAINTER OR CLAY FOR A SCULPTOR. MY MEDIUM JUST HAPPENS TO BE CLOTHES ON BODIES, OFTEN SHOWN ON A RUNWAY.

HL: YOU WANTED TO CREATE NO MATTER WHAT…

JS: YES, THAT NEED TO COMMUNICATE WAS VISCERAL – TO GET SOMETHING OUT OF MY HEAD AND INTO THE WORLD, TO FREE MYSELF OF THE BURDEN AND START A DIALOGUE. IT’S BEEN ALMOST 30 YEARS SINCE ’96; THAT’S WHAT IT’S ALL LED TO: A CONTINUOUS EXPRESSION, A CONNECTION WITH OTHER HUMANS.

HL: THAT INNER FIRE – WAS THERE SOMETHING SPECIFIC YOU WANTED TO COMMUNICATE, OR WAS IT MORE IMMEDIATE AND INTUITIVE?

JS: I’M EXTREMELY INTUITIVE – FIRST EMOTIONAL, THEN CEREBRAL. I’M SENSITIVE TO WHAT I FEEL AND SEE IN THE WORLD, AND I DON’T CONTROL THE INPUT. IT CAN FEEL ALMOST RELIGIOUS: I’M A VESSEL. I RECEIVE AND POUR IT BACK OUT. I’M GRATEFUL TO BE THAT CONDUIT, TO SHARE A BIT OF DIVINITY, TO BRING JOY, HAVE CONVERSATIONS, AND BE THE PHYSICAL EXPRESSION OF IT – EVEN IF I CAN’T EX-PLAIN HOW IT HAPPENS.

HL: CREATIVITY IS FASCINATING AND HIGHLY INDIVIDUAL. HOW DO YOU EXPLAIN THE CREATIVE PROCESS?

JS: PEOPLE ASK ME WHERE IDEAS COME FROM; THERE ISN’T ONE AN-SWER. LIFE IS THE CLOSEST: CONVERSATIONS, WHAT I WATCH, WHAT’S HAPPENING IN THE WORLD, A COLOR ON A PASSING CAR, NATURE, MEMORIES – ESPECIALLY HOW MOMENTS MADE ME FEEL. SOMETIMES IT’S A DIRECT SPARK – SAY, A PHOTO OF MARILYN MONROE – BUT OFTEN IT’S JUST THAT DIVINITY OF INSPIRATION. I RIDE IT LIKE A WAVE AND HOPE IT KEEPS INSPIRING OTHERS.

HL: I LOVE THE “VESSEL” METAPHOR. BEFORE YOU CAN BECOME ONE, YOU FIRST NEED TO TRUST YOURSELF – TO BELIEVE YOUR FILTER KNOWS WHICH IDEAS TO FOLLOW. DID YOU HAVE THAT FROM THE START, OR DID YOU GROW INTO IT?

JS: LOOKING BACK, I DON’T RECALL DEEP DOUBT – THOUGH I DID SOMETIMES THINK, “MAYBE PEOPLE AREN’T READY FOR THIS.” I LEARNED QUICKLY THAT THOSE ELECTRIC IDEAS ARE THE ONES TO CHASE. IF IT SCARES ME A LITTLE – OR JOLTS ME – THAT’S THE PATH. OVER TIME, I BECAME SO RECEPTIVE TO THAT FEELING THAT THE FEAR FADED. NOW, WHEN IT COMES, I JUST WELCOME IT IN. ALSO, MY OUTPUT SHIFTED. IT’S BEEN NEARLY THREE YEARS SINCE I LEFT MOSCHINO. I’M STILL CREATIVE, BUT NOT ON THAT RELENTLESS CYCLE OF COLLECTIONS AND SHOWS. I’M CHANNELING IT DIFFERENTLY – AND STILL TRUSTING WHAT COMES TO ME.

HL: DO IDEAS COME TO YOU FROM YOUR MIND AND FANTASY? OR DO YOU LOOK AT THINGS IRL AND WANT TO TRANSFORM THEM?

JS: BOTH, THOUGH I’M VERY BIG ON TRANSFORMATION. I SEE THINGS AND WANT TO MAKE THEM BETTER – FAR BEYOND FASH-ION. HOUSES, THE GLASS I’M DRINKING FROM – ENVIRONMENTS MAT-TER TO ME. IT CAN SOUND DIVA-ISH, SO I DON’T DWELL ON IT, BUT IT’S SIMPLY HOW MY BRAIN WORKS. I TRY TO BE IN PLACES THAT ALREADY “WORK” FOR ME SO I CAN FOCUS ON THE COLLECTION, THE COSTUMES, THE FILM – WHATEVER VESSEL I’M POURING INTO – INSTEAD OF REDESIGNING THE FAUCET.

HL: YOU JUST DESIGNED THE COSTUMES FOR THE FRIEDRICHSTADT- PALAST’S NEW SHOW BLINDED BY DELIGHT . WHAT’S CREATIVELY PULLING YOU NOW?

JS: I’M IN THE FINAL WEEK AND FLYING IN FOR THE PRE-MIERE – PUT-TING THE LAST TOUCHES ON SO IT’S FULLY OUT OF ME. A COUPLE OF COSTUMES DEBUT ONLY ON PREMIERE NIGHT. I’M CLOS-ING THAT CHAPTER AND OPENING A NEW ONE.I HAVEN’T DIVED INTO A NEW BIG PROJECT YET, THOUGH I’M INSPIRED CONSTANTLY. I’VE BEEN FINISHING A HOUSE IN THE PALM SPRINGS DESERT – REFURBISHING, DEC-ORATING, EVEN DESIGNING FURNITURE LIKE MY BED FRAME. NOT WILD FOR WILD’S SAKE – JUST EXACTLY WHAT NEEDED TO BE THERE.I’M ALSO IN EARLY TALKS WITH TWO NON-FASHION COMPANIES ABOUT HOME DE-SIGNS – REAL-LIFE “VESSELS” RATHER THAN CLOTHING – AND I’M DEVELOPING A FILM: WRITING THE SCREENPLAY AND DIRECTING. I’VE PREPARED FOR YEARS; THE WRITING STARTS NOW. IT’S EXCITING – AND A LITTLE TERRIFYING.

HL: ARE YOU A MULTITASKER BY NATURE?

JS: YES, I ENJOY IT. EVEN WITHOUT RUNNING MY OWN COLLECTION OR ANOTHER BRAND, I RELEASED A NICE ADIDAS COLLECTION IN JUNE; WE DO THINGS EVERY YEAR AND HAVE FOR 20 YEARS – SOME SMALL, SOME BIGGER. STILL, WITHOUT THAT “MAIN MECHANISM” I WAS USED TO, I FEEL LIKE I’M DOING LESS – BECAUSE I USED TO DO SO MUCH DAILY. THINK OF AN OLYMPIAN AFTER COMPETITION. I’M IN MY MICHAEL PHELPS PHASE [LAUGHS] – NOT TRAINING FLAT OUT, BUT THE TALENT AND DRIVE ARE THERE. THE PAUSE LETS ME ENJOY THINGS. I’VE SPENT A LOT OF TIME WITH MY PARENTS – ABOUT TEN WEEKS THIS PAST YEAR – HELPING, LISTENING TO FAMILY STORIES ONLY THEY CAN TELL. THAT TIME IS A GIFT, AND I DON’T KNOW HOW LONG ANY OF US HAVE. PROFESSIONALLY, I’M APPROACHED ABOUT CREATIVE DIRECTOR ROLES. I’VE INTERVIEWED FOR SOME. THE RIGHT ONE WILL FEEL LIKE A MARRIAGE; IT HAS TO BE RIGHT FOR BOTH SIDES. IT’S MORE BUSINESS THAN EVER, AND CHEMISTRY MATTERS. THE RIGHT ROLE WILL APPEAR.

HL: YOU OPENED A RETROSPECTIVE OF YOUR WORK IN THE MUSEUM OF CONTEMPORARY ART IN KANSAS CITY, YOUR HOMETOWN. HOW DID THAT EXPERIENCE FEEL?

JS: I THOUGHT THE INSTALLATION WOULD TAKE A WEEK; IT TOOK SEVERAL, AND I WAS GRATEFUL TO HAVE THE TIME. I DESIGNED PEDESTALS, SHAPED THE DISPLAY – CREATED A WHOLE WORLD. IT WAS NOURISH-ING AND HEALING TO SEE THE BODY OF MY WORK. THE OPENING WAS SPECIAL: MY PARENTS AND RELA-TIVES, HIGH-SCHOOL TEACHERS, LOCALS, FANS, PEOPLE WHO FLEW IN. EXPERIENCES LIKE THAT WOULDN’T HAVE FIT THE OLD SCHEDULE.

HL: IS THIS GENERALLY A TIME OF REFLECTION FOR YOU?

JS: RIGHT AFTER LEAVING MO-SCHINO, I RAN INTO JOHN GALLIANO. I’VE ADMIRED HIM SINCE HIGH SCHOOL. HE TOLD ME: “TAKE THIS TIME AND DO EVERYTHING YOU WANT – TRAVEL, SEE THINGS – BE-CAUSE IT WILL END AND YOU’LL BE BUSY AGAIN.” I CRIED. IT WAS GENEROUS AND TRUE. I’VE TRIED TO HONOR THAT – RESISTING THE RUSH BACK. WE GET ONE LIFE; TIME AND MOMENTS AREN’T INFINITE. I TRY TO USE THEM WISELY AND ENJOY THEM PASSIONATELY. NOT EVERY DAY IS PERFECT – EGOS BRUISE – BUT I TRY TO RESET AND REMEMBER WHAT’S GOOD.

HL: IT FITS THE MOMENT. WITH POLITICS SHIFTING AND AI CHANGING THE LANDSCAPE, DO YOU EVEN WANT TO BE A CREATIVE DIRECTOR RIGHT NOW? RETREAT CAN BE HEALTHY.

JS: I DON’T KNOW – AND I’M LEARNING TO ENJOY NOT KNOWING. FOR YEARS, I WAS STRAPPED INTO THE ROLLERCOASTER: RESEARCH, MAKE, FITTINGS, SHOW, PRESS, REPEAT. IF A FRIEND’S WEDDING OR A PREMIERE COLLIDED WITH THE CLIMB, I MISSED IT. NOW I HAVE MORE AUTONOMY – STAY A WEEK LONGER HERE, SHIFT PLANS THERE. MAYBE THE CREATIVE DIRECTOR CHAPTER IS DONE; MAYBE A NEW ONE IS COMING THAT’S DIFFERENTLY, EVEN MORE, FULFILLING. THE BEST THING I CAN DO AS A CREATIVE VESSEL IS STAY OPEN, RECEPTIVE, WILLING, GRATEFUL.

BETWEEN NOSTALGIA AND NOW: THE ART OF VANELLIMELLI BY ELLIE HAASE

Anna Klusmeier — Tue, 06 Jan 2026 16:36:54 +0000

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VANELLIMELLI HAS BUILT A CAREER ON TURNING SELF-EXPRESSION INTO ART. STARTING
OUT AS ONE OF GERMANY’S FIRST FASHION BLOGGERS, SHE QUICKLY DEVELOPED A VISUAL LANGUAGE THAT BLENDS NOSTALGIA, VULNERABILITY, AND A STRONG SENSE OF AESTHETICS. OVER THE YEARS, SHE HAS GROWN FROM ONLINE PERSONALITY TO CREATIVE FORCE —COLLABORATING WITH MAJOR BRANDS WHILE MAINTAINING A DEEPLY PERSONAL VOICE. WHAT SETS HER APART IS HER HONESTY AND HER INSTINCT FOR STORYTELLING: EVERY IMAGE FEELS LIVED, EVERY POST CARRIES EMOTION BEYOND THE SURFACE. FOR THIS ISSUE, WE PHOTOGRAPHED HER IN COLLABORATION WITH PRADA BEAUTY — A PAIRING THAT FELT EFFORTLESS, AS BOTH SHARE AN APPRECIATION FOR AUTHENTICITY, MOOD, AND QUIET TRANSFORMATION.

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ELLIE HAASE: BETWEEN SOCIAL MEDIA, PHOTOGRAPHY, AND ART: WHAT’S YOUR FAVORITE FORM OF SELF-EXPRESSION?

VANELLI MELLI: I ENJOY A MIX OF PHOTOGRAPHY, MUSIC, AND VIDEOS ON YOUTUBE THE MOST. IT REALLY DEPENDS ON MY MOOD AND, OF COURSE, WHAT THE SUBJECT IS. MY GOAL IS ALWAYS TO CONVEY EMOTIONS OR A SPECIFIC FEELING. THAT’S PROBABLY WHY I USE SEVERAL PLATFORMS, SOMETIMES WITH DIFFERENT OUTPUTS.

EH: YOU’VE COLLABORATED WITH PRADA SEVERAL TIMES BEFORE — WHAT IS IT THAT YOU APPRECIATE ABOUT THE BRAND’S VISION?

VM: FOR ME, PRADA IS A BRAND THAT MANAGES TO COMMUNICATE VISUAL POETRY. AS SOMEONE WHO LOVES PHOTOGRAPHY AND DRAWS INSPIRATION FROM VINTAGE AESTHETICS, I’M FASCINATED BY HOW PRADA CONNECTS PAST AND FUTURE SO ELEGANTLY. PRADA WAS ALSO ONE OF THE FIRST BRANDS I DISCOVERED WHEN I FIRST BECAME INTERESTED IN FASHION AS A TEENAGER — EVEN BACK THEN, SOMETHING ABOUT THAT MIX OF INTELLECT, REBELLION, AND STYLE REALLY GRABBED ME.

EH: THE CAMPAIGN PLAYS A LOT WITH THE BANANA MOTIVE. IN WHAT MOMENTS DO YOU FIND IT EASIEST TO BE “TOTALLY BANANAS” YOURSELF?

VM: EITHER WHEN I’M SURROUNDED BY MY FAVORITE PEOPLE, OR WHEN I PLAY GOOD MUSIC REALLY LOUD – THEN THERE’S USUALLY SOME WILD DANCING AROUND THE APARTMENT, A LITTLE BIT “GAGA.”

EH: WHICH ASPECT OF THE BANANA LIP BALM IS MOST “YOU”?

VM: THE TWIST BETWEEN PLAYFULNESS AND LUXURY

EH: ON YOUR INSTAGRAM, IT’S PRETTY BALANCED, BUT DO YOU PREFER SHOOTING IN COLOR OR IN BLACK AND WHITE? AND WHAT DIFFERENCE DOES THAT CHOICE RESEMBLE FOR YOU?

VM: I PREFER SHOOTING IN COLOR. MOST OF THE SUBJECTS THAT END UP IN FRONT OF MY LENS WORK BEST WITH NATURAL LIGHT, AND I LOVE HOW THAT LIGHT INFLUENCES COLOR AND MOOD. THIS MIGHT SOUND A BIT CLICHÉ, BUT I ALSO JUST LIKE HAVING THE CHOICE – I OFTEN DECIDE DURING THE EDITING PROCESS TO TURN A COLOR PHOTO INTO BLACK AND WHITE.

EH: ON YOUR INSTAGRAM, IT’S PRETTY BALANCED, BUT DO YOU PREFER SHOOTING IN COLOR OR IN BLACK AND WHITE? AND WHAT DIFFERENCE DOES THAT CHOICE RESEMBLE FOR YOU?

VM: I BASICALLY GREW UP WITH FILM AND HAVE ALWAYS HAD A FASCINATION FOR IT. WHEN IN 2017 I DECIDED TO WORK ALMOST EXCLUSIVELY WITH ANALOG PHOTOGRAPHY, THE MAIN REASON WAS THAT ON INSTAGRAM EVERYTHING LOOKED THE SAME – EVERYONE USED THE SAME FILTERS. I WANTED MY PHOTOS TO STAND OUT. NOW, OF COURSE, SHOOTING ON FILM HAS BECOME COMMON AGAIN, BUT I’LL STAY LOYAL TO IT, MAINLY BECAUSE I THINK SKIN TONES LOOK SO MUCH MORE BEAUTIFUL ON FILM.

EH: YOU HAVE A STRONG SENSE OF AESTHETICS. HOW MUCH DO THE EXPECTATIONS OF YOUR FOLLOWERS INFLUENCE YOUR WORK?

VM: HONESTLY, TOO MUCH IN THE PAST FEW YEARS. ALTHOUGH… IT’S NOT JUST THE FOLLOWERS’ EXPECTATIONS, IT’S ALSO THE EXPECTATIONS OF THE INDUSTRY, THE BRANDS, AND MY OWN EXPECTATIONS OF MYSELF. I’VE BEEN PUTTING A LOT OF PRESSURE ON MYSELF THESE LAST YEARS. BUT RIGHT NOW, I’M REALLY TRYING TO MOVE IN THE OPPOSITE DIRECTION: TO DO WHAT MAKES ME HAPPY AND ALSO JUST WHAT I PERSONALLY WANT TO SEE.

EH: YOU AVOID LABELING YOURSELF OR YOUR WORK. HOW IMPORTANT WAS THAT DECISION IN SHAPING YOUR IDENTITY TODAY?

VM: NOT FORCING MYSELF INTO A SINGLE LABEL WAS CRUCIAL FOR ME. IT GAVE ME THE FREEDOM TO MOVE BETWEEN MEDIA, STYLES, AND MOMENTS WITHOUT HAVING TO EXPLAIN MYSELF. THAT FREEDOM HAS SHAPED MY IDENTITY AS AN ARTIST: CURIOUS, OPEN, AND ALWAYS READY TO REINVENT MYSELF.

EH: HOW DO YOU DEAL WITH PEOPLE WHO TRY TO PUT YOU OR YOUR WORK INTO BOXES?

VM: OVER THE PAST TEN YEARS, I’VE LEARNED THAT IF SOMEONE WANTS TO PUT YOU IN A BOX, THEY’LL DO IT ANYWAY. IT TAKES TOO MUCH TIME AND ENERGY TO CONVINCE THEM OTHERWISE, SO LET THEM PUT ME IN A BOX! [LAUGHS] I KNOW I CAN OPEN A LOT OF THEM!

EH: WHERE BETWEEN INSTAGRAM, TIKTOK, AND YOUTUBE, IS THERE STILL ROOM FOR MEL?

VM: ALWAYS AND EVERYWHERE. SOMETIMES I MANAGE TO FIND TIME FOR MYSELF BETTER THAN OTHER TIMES, BUT SINCE MY ONLINE AND OFFLINE SELVES ARE BASICALLY THE SAME PERSON, WITH LOTS OF OVERLAP, I REALLY CAN’T COMPLAIN. IT GENERALLY ALL FEELS PRETTY ORGANIC.

EH: WHAT SIGNIFICANCE DO YOU ASSIGN TO VISIONARIES? DO YOU HAVE ROLE MODELS YOU WOULD DESCRIBE AS VISIONARY?

VM: VISIONARIES INSPIRE ME BECAUSE THEY PUSH THE BOUNDARIES OF WHAT’S FAMILIAR AND MAKE US SEE THE WORLD DIFFERENTLY. YES, THERE ARE MANY DIFFERENT ROLE MODELS FROM FASHION, ART, AND MUSIC. I THINK OF ARTISTS WHO RADICALLY EVOLVE THEIR AESTHETICS, WHO TURN THEIR BACKS ON THE MAINSTREAM AND PRECISELY BECAUSE OF THAT, CREATE A NEW VISUAL LANGUAGE.

EH: TELL US ABOUT YOUR VISION FOR THE FUTURE – IN GENERAL OR PERSONALLY.

VM: MY VISION IS TO CREATE SPACES THAT FEEL DREAMY AND
ATMOSPHERIC – TANGIBLE. PLACES THAT SLOW US DOWN AND MAKE US REFLECT. FOR MY WORK, I WANT TO CONTINUE DISSOLVING THE BOUNDARIES BETWEEN MEDIA, GENRES, AND MOMENTS, AND KEEP FINDING NEW WAYS TO EXPRESS MYSELF. IN GENERAL, I DREAM OF A WORLD WHERE CREATIVITY IS FREE AND NOT BOUND BY EXPECTATIONS
– JUST LIKE I TRY TO LIVE IT THROUGH MY WORK.

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