Interview – Numéro Berlin

IN CONVERSATION WITH LITTLE SIMZ

Anna Klusmeier — Fri, 13 Jun 2025 15:02:00 +0000

Few artists in contemporary music manage to blend introspection, lyrical mastery, and genre-defying sound as seamlessly as Little Simz. Hailing from North London, the rapper, actress, and storyteller has carved out a space entirely her own, earning critical acclaim and a loyal global following. With a voice that’s both fierce and vulnerable, and a catalogue that pushes boundaries with each release, Little Simz is not just shaping the future of UK hip-hop—she’s redefining it.

Numéro Berlin spoke with Little Simz about her freshly released sixth album Lotus, her personal growth and creative struggles.

As a person, but also as an artist: At which point in your life do you see yourself right now?

I’m just a person who is having a human experience and doing my best to live a happy, abundant life. Even when things get hard, I’m still trying my best to just keep going.

Do you see yourself as separate from your art, or do you think it’s impossible to separate the person from the artist?

It’s all encompassing me, but I can definitely tell the two apart. There are certain parts of my artistic personality that I don’t really show in my everyday life. I’m quite introverted, but I’m different on stage. Two things can absolutely be true at the same time.

Let’s dive into your music. Could you share a few moments from your new album that you’re especially proud of because they show how far you’ve come as an artist?

As an artist, working on a project is never a straight path – especially in the middle, when you start to question everything: Is this any good? Should I even be doing this? There’s a lot of self-doubt. So honestly, I’m most proud of simply seeing it through and finishing it. There are so many times you start something and never complete it because you get in your own way.

My favorite song from the album is Lotus, the title track with Michael Kumanuka and Yusef Dayes. It just feels like the album is such a journey and then it gets to this really climatic place. It’s just a really beautiful song. There’s so many nice moments within it, it just stands out – musically, lyrically, where it travels to. I’m really proud of it.

Is creating also a fight with yourself? Or is it more an act of pleasure and joy? Or both? How do you look at that?

I’m really just trying to be a kid and create – it feels like play. And sometimes, it’s therapeutic, especially when I have things I need to get off my chest. There’s so much I want to say, and making music is a way for me to process my emotions. I often find it hard to open up to people, but it’s much easier for me to write things down and record them. So, it’s a bit of both – depending on how I’m feeling.

How important is it for an artist to keep their inner child alive?

It always has to be there, even when the it’s about heavy or more grown-up stuff. In many ways, it does the real work. It reminds you why you do what you do, why you started in the first place.

How much hardship are you willing to endure when something truly matters to you? Would you say having the patience to let something unfold over time is a distinctive part of who you are?

I think so. I definitely took the long and difficult road, but along the way, I’ve learned a lot about myself, and I’ve met so many amazing, interesting people. It’s truly been a journey, and I’m deeply grateful for it. You must really love what you do – because you don’t go through all of that without a reason.

How do you handle success and fame today, and how do they shape your art?

No one knows how long anyone will stay relevant because everything moves so fast. Of course, if you’re established and have built your place brick by brick, you can feel confident in that. But I also believe there’s value in making the path easier for the next generation. Not everyone who comes into music has to struggle the way I did. If there’s a quicker way, that’s amazing. I don’t think struggle is always necessary.

It’s strange how being famous almost feels like a career in itself. It’s not always about being recognized for your music or earning respect through your craft; sometimes, you’re just famous for the sake of being famous. Honestly, I don’t think many people truly understand what fame really means. With fame, you can’t go anywhere without being stared at. If people really knew what that was like, I’m not sure they’d want it. Not all attention is good attention.

Lotus is also deeply about renewal. How many times have you reinvented yourself throughout your life, and in what ways?

Every day, I reinvent myself—sometimes as simply as putting on a new outfit. Each album brings its own set of challenges, and I try to approach them differently because I want different results. If you keep doing things the same way, you get the same outcomes. So, I make an effort to keep myself excited throughout the process, to challenge myself, to explore new themes – and sometimes revisit old ones. Reinvention is essential. As an artist, you have to find new ways, not just for others, but for yourself.

I get bored easily, which is probably why my albums have such different vibes. I have so many directions I want to explore – maybe it’s my ADHD pushing me to try different things. It keeps my music fresh and exciting. There’s electronic sounds, Afrobeat rhythms – it all comes together to create a real journey where I can tap into different sides of myself.

Do you think it’s important to master each genre before being able to mix them all together?

I don’t have to master it, as long as I don’t fuck it up. I didn’t grow up living in Brazil, so If I make a bossa nova song, there may be elements I’m missing. But I have listened to enough music from that genre. And also, it’s more just a feeling. I trust my ear, and I trust my taste, but I also just try to put my spin on it.

For all of that, you must know yourself really well. What does authenticity mean to you?

I believe it all comes down to trusting yourself. Sometimes, it’s not about knowing exactly what you can do – it’s about having the courage to try. Especially now, when people in the music industry tend to avoid risks. I get it – it’s scary to face criticism and judgment. Taking risks and being brave feels harder than ever. But I try not to let that hold me back.

Could you share your perspective on the current climate in music? I get the sense that the pressure is coming from multiple sides. The ongoing discussions around vocal culture in recent years seem to have had an impact on creativity, making it feel somewhat constrained. How do you see this?

It’s tough for artists these days because there’s this constant expectation that you always have to know exactly what to say. The more pressure you feel, the more limited you become creatively. What excites me most about art is when I don’t fully understand it. I don’t have to like every piece in an exhibition – I can stand there, unsure if it’s for me, but appreciate that it’s challenging me.

Maybe some of that freedom is getting lost nowadays. The world just doesn’t feel like a safe space anymore. It’s harder to be vulnerable when you don’t feel safe, and that definitely affects an artist’s mindset. You hesitate to share your true feelings because you know they’ll be scrutinized. I get that too. So yes, it’s a difficult balance. I just try to create what feels authentic to me.

Great art, as you said, comes from vulnerability and pushing boundaries. I’m curious – what does it feel like to create something truly authentic and recognize it in the moment? Like when you have a piece of music and you just know it’s something really special.

Music is such an invisible art form – you can’t see it, yet when I create a piece and can almost feel it, it’s like it takes on the color red or some vivid sensation. That sense of bringing something intangible into existence makes me feel truly creative. Music isn’t just a feeling; it’s a vibration, and I believe there’s a reason it moves us emotionally.

When we made the song Blue with Sampha, he was just freely creating, and I found myself crying because what he was expressing touched me deeply – on a level even he might not have been fully aware of. It’s moments like that that remind me how music connects us. It’s not just about me; collaborators bring so much to the process, shaping what the music ultimately becomes.

“The whole process was a crazy, crazy, crazy experience, crazy.”

Your name actually means “brave woman,” doesn’t it? I’m curious—what does bravery mean to you personally? Have you ever thought about what truly defines a brave woman in your eyes?

It’s someone who really owns their truth and isn’t afraid to speak up for themselves. I haven’t always done that. I’ve had moments where I look back and think, Why didn’t I say no? Why didn’t I stand up for myself? But with time and growth, I’ve really stepped into my name, if that makes sense. I’ve grown into that person – into what being brave really means to me.

“SPINE BOUNDARY”: IN CONVERSATION WITH LIANG FU (FEAT. PASSAGE)

Anna Klusmeier — Fri, 13 Jun 2025 11:37:48 +0000

Art is subjective and always political. With his latest installation “SPINE BOUNDARY” at Hermannplatz, Berlin, Chinese born Artist LIANG FU cleverly portrays the concept of the absent presence of the body and evokes memories tied to a fading way of life. Through the absence of physical form, it reflects both human and animal bodies retreating into shared oblivion, while contemplating the displacement of traditional agriculture by industrialization. What was once a space of labor and life now stands as a silent shell, confronting us with the absence it contains. PASSAGE is a Berlin based curatorial platform, that partnered with LIANG FU to bring his vision through his installation to life. Read more about them later in the interview.

In a few words: What is your personal connection to Berlin?

I kept hearing friends talk about the differences between the art scenes in Berlin and Paris, so I visited a few times, met some artist friends, and also stayed in Berlin.

What does (creating) art mean to you?

Engaging, questioning, living

Tell us about your usual approach when creating a sculpture. How does it differ from the process of painting?

In sculpture, I tend to approach the work by considering the materials and their historical context, while in painting, I focus more on the perspective and language of the image.

You were born in Sichuan, China. In what way did your upbringing influence the work you do today?

Of course, I have been reflecting on this question especially after moving to France, because French and Mandarin are vastly different languages. I see painting and sculpture as separate languages, and this has made me think about how to communicate the meaning of my work through the artwork itself, so that people don’t need a specific cultural background to understand it. This has been the language I’ve been trying to refine in my creations this year.

“As a new generation chinese artist, being influenced by different cultural backgrounds allows my work to resonate and connect with diverse audiences, and that is what I find most meaningful.”

Since you live and work in Paris, what is your connection to Berlin, especially its art scene?

I make time to visit Berlin every year. It seems to have more underground spaces and a strong influence from underground culture, which gives experimental artists greater room to survive and create. In contrast, Paris offers fewer such spaces. I believe this is closely tied to the art ecosystem and economic factors. Although Paris has become more international in recent years, the rising rent makes it increasingly difficult for many artists to sustain themselves—especially those in the experimental phase, who need more space and resources to take risks and make mistakes.

How did you end up partnering with PASSAGE? What is your take-away from working together with them?

Victor Auberjonois first reached out to me on Instagram with an invitation to exhibit, and after some discussions between him and my representing gallery, Nicodim, we began exploring the uniqueness of both the space and the project. I’ve always been drawn to historically charged or atypcal spaces—they inspire me deeply. I believe that artworks dialogue with different meanings depending on the space they inhabit, and I’m constantly seeking new contexts and interpretations, which often lead to fresh insights and reflections in my practice.

Tell us a little about the background and philosophy of PASSAGE as a curatorial platform:

PASSAGE was founded one year ago, inspired by Lucio Amelio’s legendary Parisian space Pièce Unique which was conceived in 1989 together with Cy Twombly. Reviving that radical concept, PASSAGE reimagines the act of exhibition as a distilled encounter, presenting a single artwork at a time to invite focus and reflection while offering a brief escape from daily routines.

Each presentation revolves around a single artwork, offering a lens into the artist’s practice. We create highly considered, often scenographic environments for every show, pushing the presentation of contemporary art into an immersive, experiential direction. The exhibition space itself becomes an artwork, a kind of sculpture in the public sphere.

PASSAGE is instinctive and independent. We are medium-agnostic and exhibit both emerging and established artists based purely on our curatorial interests. We don’t represent artists in the traditional sense, but sell on commission, allowing us to maintian freedom to collaborate with whomever we admire. Each show is a collaboration with the artist in which we treat all aspects such as writing, documentation, and archiving as integral to the project.

We hold a vernissage open to all on Hermannplatz for every of the monthly exhibitions in the space on the U-Bahn platform below.

Why did you choose the U-Bahn station Hermannplatz as a space to showcase the artworks? What reactions or emotions do you hope to evoke in passersby?

Hermannplatz is quintessentially Berlin – raw, eclectic, and full of energy. The mayor of Neukölln once described it as home to the most diverse population in Germany.

Architecturally, the station is striking. The interplay of grey-green and yellow tiles, the generous ceiling height, and the echoes of a complex historical past give it a unique presence. Symbolically, it is a powerful location, connecting the U7 and U8 lines, which run East-West and North-South, linking many major neighborhoods of the city.

This station is a place of motion and repetition but also solitude and sometimes even despair. We are interested in how contemporary art can quietly interrupt that flow, offering a moment of contemplation or emotional resonance amid daily transit.

Art doesn’t require prior knowledge. It lives in the perception of the viewer. By placing it in a public, unexpected setting, we invite anyone, even someone who has never stepped into a gallery, into a brief moment of introspection. We are not trying to elicit specific reactions. We are creating conditions in which something, however subtle, might unfold.

What are your future plans for the platform?

PASSAGE will carry on its monthly rhythm at Hermannplatz, while extending its presence beyond Berlin. For the first time, we’re sharing that PASSAGE is expanding to Mexico City, where a former taco stand will soon become our second exhibition space.

In September, we will present a very different project: a group exhibition featuring around 40 artists in one of Berlin’s most iconic locations.

Looking ahead, we hope to invite fellow curators to shape exhibitions within our spaces, building a multi-city, international platform that brings contemporary art to everyone – through windows, in transit zones, and always in unexpected ways.

Tell us about the meaning of SPINE BOUNDARY. How does it convey a political message?

This sculpture further explores the transformation of the relationship between humans and nature through metaphor. The horse stall, once a space of labor and close interaction between humans and animals, is now reimagined as a hollow shell — symbolizing disciplined nature, the erased body, and the alienation brought by industrialization. By reinterpreting this structure, the work turns a once-living space into a symbol of control, loss, and historical rupture.

The coal-covered floor and rusted walls are not only material choices but also symbolic expressions — they carry the traces of time, the corrosion of power, and the slow collapse of traditional structures under modernization. Through the use of discarded, repurposed materials, the artist transforms forgotten remnants into metaphors of memory, history, and political inquiry into existence.

In essence, SPINE BOUNDARY does not convey political messages directly, but through its use of material, metaphor, and spatial reconstruction, it raises profound questions about domestication, control, forgetting, and disappearance.

“The political message lies subtly within the structure and materiality — a poetic critique and spiritual resistance to the mechanisms of power embedded in our contemporary reality.”

How should people feel when walking past / looking at SPINE BOUNDARY?

I never want to impose how I think people should feel. What I find more interesting is listening to what they tell me they feel.

PASSAGE is a curatorial space inside a train station. How does the public display of your art change the way you went about creating it?

Yes, I would consider the size and safety of the artwork since it’s in a public space. Other than that, I feel quite very free to create.

We couldn’t help but notice the piece’s resemblance to symbols of femininity/motherhood, such as the depiction of a pregnant belly or something emerging from a vulva. Did these topics play any role in your process of creating the artwork?

Of course, I noticed these elements and felt excited because they add more layers of interpretation and complexity to the work. They also allowed me to step away from painting practice and think about other issues. Last year, I worked with ceramics, a different material, and this year, in this sculpture, I used animal skin, which is also related to the body. This gave me a new understanding of bodily perception and is part of my exploration of the relationship between materials and perception in my creative process.

What are your hopes for future dialogue between humanity and art?

I hope to see many works that explore different aspects of humanity. Human nature is complex and ever-changing, which is probably why we are always fascinated by it. But I believe the simplest reason is that a good artwork is one that moves people.

IN CONVERSATION WITH THE CREATIVE DIRECTOR OF CUPRA DESIGN HOUSE FRANCESCA SANGALLI

Anna Klusmeier — Thu, 12 Jun 2025 17:15:54 +0000

Once a challenger brand in the automotive world, CUPRA has steadily entered a new era, one that’s more complex and ambitious than ever. With the launch of the CUPRA Design House, the Barcelona-based label is now shifting gears entirely. The goal? To translate its disruptive design language beyond the car and into the wider worlds of fashion, architecture, interiors and product design.

At the heart of this evolution is Francesca Sangalli, Creative Director of CUPRA, who sees the automobile not as the endpoint of design, but as its beginning, a gateway to reimagining how we live, move, and connect. In a conversation with Numéro Berlin, Sangalli talks about the ideas behind the newly launched Design House, the pillars that structure its vision and why innovation means nothing without emotion.

Numéro Berlin: CUPRA Design House marks a new chapter for your brand. Why now – and why expand beyond the automotive world?

Francesca Sangalli: The car is one of the most complex design objects you can work on. It brings together space, product, and story – for me, that’s the ultimate design challenge. With CUPRA Design House, we’re tapping into that complexity, but pushing it even further. It’s about expanding the boundaries of what design can be.

What sparked the move to go beyond traditional car design and establish your own Design House?

The CUPRA Design House is all about taking our distinctive and unconventional style beyond the automotive world. We’re exploring new territories through creative collaborations and by embracing innovative manufacturing technologies and materials. For us, it’s about pushing boundaries – whether that’s through 3D printing, which redefines precision and adaptability, or 3D knitting, where craftsmanship meets cutting-edge tech. Our projects span everything from fashion and accessories to product design, architecture and interior design. That’s why we see the CUPRA Design House as the go-to space for bold, forward-thinking design across lifestyle categories.

How would you describe the creative approach behind the CUPRA Design House?

It’s less about form, and more about experience. At CUPRA, we want design to move people, not just through aesthetics, but through the way things feel, connect, and perform. We’re creating moments that are immersive and emotionally charged, using material innovation and tech as tools for storytelling.

CUPRA Collections, CUPRA Collabs, and CUPRA Beyond – these three pillars form the foundation of the Design House. How did these areas come into focus?

The CUPRA Design House is built on three main pillars. First, there’s the CUPRA Collection, our range of ready-to-wear pieces and accessories that really reflect the brand’s style and values. Then we have CUPRA Collabs, where we team up with top-tier brands and artists who share our DNA and creative spirit. And finally, CUPRA Beyond, which is all about taking our design obsession into completely new territories. Each pillar stands on its own, but together they explore different facets of our forward-thinking design vision, always driven by collaboration and a desire to keep pushing boundaries.

You launched the CUPRA Design House during Milan Design Week. Why was that the ideal stage for its debut?

Milan is where creative worlds collide – design, fashion, art, architecture. It’s not just a fair, it’s a mindset. For us, that was the ideal environment to debut the Design House, to share a vision and connect with people who think beyond the expected.

With the CUPRA Design House, you’re deliberately breaking away from conventional expectations of automotive design. What challenges did that present?

It meant rethinking our whole approach, how we design, how we build, how we communicate. Integrating processes like 3D printing and parametric design isn’t just about tools, it’s about a shift in mentality. That was tough, but also liberating.

What do you feel is missing from the global design landscape – and what can CUPRA bring to it that has perhaps been lacking?

There’s often a gap between people and technology. Things can be smart and functional but still feel cold. We want to bridge that, to create designs that are not just efficient, but emotionally resonant. Human connection is the key.

What does the future hold for the CUPRA Design House – what projects or visions can we look forward to?

We want to keep growing the culture. That means more work in fashion, architecture, and digital design. We’re interested in how design can shape how people live, feel, and move.

As CUPRA evolves from a car brand into a design culture, what does that mean for your role as Creative Head?

It’s both challenging and rewarding. Expanding our design vision across disciplines requires constant adaptation and the pursuit of innovation.

And finally: If you had to describe the CUPRA Design House in a single sentence, what would it be?

Authentic.

TO WATCH: TWIN PEAKS BY DAVID LYNCH AND MARK FROST NOW ON MUBI

Anna Klusmeier — Wed, 11 Jun 2025 16:53:07 +0000

The iconic ’90s series Twin Peaks saw a rapid rise and fall as it was cancelled after just two seasons, but over the years, it built a devoted and memorable fanbase that has kept the story alive ever since.

Now, three and a half decades since the series first aired on cable television, the first two seasons and the mini series Twin Peaks: A limited event series from 2017 are set to be re-released this Friday, June 13th, on MUBI, global film distribution, streaming, and production platform. This release also serves as a tribute to the groundbreaking work of the late David Lynch, whose unmistakable style and vision as an artist shaped filmmaking like no other.

Numéro Berlin spoke with Mark Frost, who co-created the first two seasons of Twin Peaks alongside David Lynch and also served as executive producer on the miniseries.

Numéro Berlin: So, the reason we’re here now: Twin Peaks is returning next week to MUBI on a streaming platform, 35 years after its debut. How do you feel about the series coming to new generations on a streaming platform?

Mark Frost: It feels like this is the third generation that’s now kind of getting it. And I guess that speaks to its ability to still have something to say to people, to still entertain them, to still engage them. And honestly, you can’t ask of anything more than that from your work, that it has a way of finding a new audience with each new wave of people who come through.

And now, there’s this switch from television to a streaming platform, where we have the event of binging episodes. How do you feel about the shift from classic event television to this new way of consuming episodes?

When we started with network television, the rhythm was once a week. And when we brought it back in the States, on the premium cable channel Showtime, we still wanted to do it once a week because that was the rhythm people were used to experiencing shows with. That gave them time to kind of download it internally and talk to their friends and have maybe a day at work to discuss it.

But it’s also been available for quite some time on various streaming services here and that does lend itself to binging. I mean, I know people who’ve done like 18 hour marathons of the third season continuously, I guess with a break for dinner, I don’t know, maybe a nap somewhere, but I think the show can be consumed either way. And now, many people might be seeing it for a second time, so binging might be ideal for that. So I’ve always felt the more choices we give the audience with how they consume the stories that they like, the better it is for them and for people who do this for a living.

Why do you think shows from back then feel like they created a different kind of fandom? It’s kind of magical, especially with a show like Twin Peaks that grew to be appreciated much over time.

It’s about the attention to detail that we had, to the way the stories were constructed, the way that the show was made. We always thought of it as if we were doing feature film work on a different medium that had that kind of comprehensive production, art design, costumes, cinematography. We were always, and David particularly, because he was such a brilliant film director, wanted to marshall all those kind of departments to work at a different level than what you were used to seeing on television. I think that was part of its appeal. That you didn’t feel like you were watching just another episode of just another show.

Dreams play a big role in the storytelling and in the creation of Twin Peaks. I know also because of the great David Lynch, but what is your connection to dreams and the mystery and the mythical parts of the small town Twin Peaks?

He came from the visual arts. That was really the world that he grew up in and the world that he knew. And I came from a literary playwriting background, the theater, novels. Short stories, plays, I wrote them all, I consumed them all, even though I was in love with the movies and television. So I think it was somehow a blend of both of those disciplines created.

I particularly had a strong interest in mythology and the role that mythology has always played in storytelling. I was educated in the Greeks and in the classic plays. And I always feel that if something has a mythic underpinning, it speaks more directly to people. And what we wanted to do was apply that to a story that was quintessentially American, which hadn’t been done very often. How can a small town be a kind of a stand-in for really all of us? We found that almost everybody could find someone they truly identified with. Then we used the mystery story as a way to take you into the town, introduce you to all the people, and that way it became kind of sneakily mythical. As we got further along, we started to introduce the subconscious and the dreams and the roles that those elements play in people’s lives, which you certainly hadn’t seen depicted on television very often up to that point.

I think it’s super interesting that it’s set in this small town Americana vibe. Do you still like to go back to the Pacific Northwest?

Well, we shot the pilot all on location. And when we did the series, we shot most of it in and around Los Angeles on a soundstage where we have all the major sets. We still went up and shot exterior shots.

But when we went back and did the third season, 25 years later, we spent almost two months up there working and revisiting all those original places. And that was an amazing experience to see it a quarter of a century later: The town itself had changed. This little town of Snoqualmie had become kind of famous. So it’s very interesting how there was a kind of synergy between the real town and the town that people assume it is now. I probably met two dozen people who actually moved there as a result of their relation with the show, they just felt a kinship to it.

You mentioned the continuation of Twin Peaks in 2017 with the limited event series, and also you wrote books that dive deeper. Did you always know the story of Twin Peaks was not yet done telling?

In the back of my mind, yes. I mean, when we were cancelled after two seasons, it was very disappointing, because we thought it would go for a longer period of time. But as it turned out, it allowed us to let the show kind of build an audience over time after we’d gone off the air. Beyond anything that we had any reasonable expectation of doing. And then the demand for coming back was that much greater. We were even able to use the time gap to fit right into the story we wanted to tell.

To finish off, I’m a young creative. What advice would you give to young storytellers and creatives in collaborating and creating? Of course, you and David Lynch were working together on this for many years. How was your experience?

Well, it was great. It was based really on our friendship to start with. We just got along incredibly well, and I had never written with a partner before, and neither had he. And I don’t think either of us ever really did much of that again. So it was a special relationship.

And if you can find fellow creatives who you vibe with, particularly with an art like telling stories on film or digital, you need more than one person. It’s not a solitary pursuit, it’s a collective. So look for your group, look for the people that you feel that kinship for, that’s number one. And then, given that the entry to writing or producing your own thing on digital video now is so much lower than it used to be, I would advise everybody to get out there and make a short film. Do something together that excites you, that moves you, that makes you want to share this with an audience and put it out in the world and see what happens.

TRUE EQUALITY REQUIRES ONGOING EFFORTS: NUMÉRO BERLIN IN CONVERSATION WITH BRAZILIAN DESIGNER ALINE CELI

Anna Klusmeier — Mon, 02 Jun 2025 12:32:54 +0000

Aline Celi‘s path to design wasn’t a sudden revelation. It was a lifelong fascination with its beauty but also a vision that goes beyond, an urge to really make a difference in this world. The Brazilian, now Berlin-based designer creates a dialogue between her native culture and Germany, mixing the vibrancy, warmth, passion and connection with nature coming from Brazil, with the precision, minimalism and mission for sustainability, influenced from her life in Germany. Between Brazil’s rich artistic traditions influenced from indigenous, African and Portugese/European threads, and the contrats coming with realities of ineuqality, systematic barries affecting race, class, and LGBTQ+ rights, Celi aims to create from a sense of civic responsibility. We spoke to the ready-to-wear designer about the complex tapestry of traditional Brazilian fashion and its contemporary changes as well as why purposeful fashion can organically give space for co-existing beauty, sustainability, and ethics.

Sina Braetz: Describe yourself in 3 words.

Aline Celi: I would say I’m passionate, determined and conscious.

Do these words also describe your fashion brand CELI?

Yes, absolutely. CELI is an extension of who I am and what I believe in. It’s about creating fashion with purpose – where beauty, sustainability, and ethics coexist. I would also describe it as timeless, refined, and responsible.

What is fashion for you? How would you personally define it for yourself?

Fashion, for me, is storytelling and a way people can express themselves through clothes and style . It’s about expressing who we are, what we stand for, and the energy we bring into the world. It’s also about emotions – how a piece makes you feel when you wear it, clothes can make you feel more powerful. I believe that true fashion isn’t just about trends; it’s about creating pieces that carry meaning and stand the test of time, pieces that represent you and that you will want to wear everyday.

Do you have a fashion/design or style icon?

I don’t have just one, but I admire designers who stay true to their values and create with intention. I really like Chanel and Dior, for example. I also think Stella McCartney’s commitment to sustainability is inspiring, and I love Phoebe Philo’s minimalist yet powerful aesthetic. But beyond fashion, I find inspiration in strong, independent women who use their voice to make a difference.

When was the first time you understood that you wanted to become a designer?

My path to design wasn’t a sudden revelation. It was a lifelong fascination that began in childhood. I grew up surrounded by beauty, with a particular love for elegant fabrics and the sparkle of gemstones. Even as a young child, I was always sketching dress designs, and I remember eagerly taking my drawings to the local seamstress, fascinated by how she could turn my visions into reality. That early love for fashion, coupled with a deep appreciation for the artistry of creation, solidified my desire to become a designer.

Do you remember the first clothing piece you ever designed?

Oh, absolutely! It was a sketch of a dress that I made, it was my favourite of them all and I wanted to bring my imagination to live so I took it to a seamstress and ask her if she could do it and she ended up saying yes. When she gave me the dress I was so happy that my idea was now a physical piece. That’s when I realized how much joy a simple piece of clothing could bring, and I think that’s where my love for design really started.

How did you learn to design? And how do you usually work on a new collection?

I learned through a combination of formal education, self-exploration, and real-world experience. My approach to a new collection is very organic—I start with a feeling or a concept that speaks to me. I gather inspirations from nature, art, and everyday life. Then, I experiment with materials and silhouettes until the collection starts to take shape. It’s a deeply intuitive process for me.

What is your favourite part of designing fashion? Do you have favorite fabrics you like to work with?

I love all the parts of designing, the search for inspiration, the making of a moodboard, the first sketches, until the last design is chosen and I also love the moment when an idea turns into something tangible – when I see the first sample and realize that my idea has come to life. Fabrics play a huge role in this, and I am especially drawn to organic linen, silk, organic cotton and recycled materials such as recycled polyester, that is one of the fabrics that we mostly use. They not only feel luxurious but also align with my values of sustainability and trying to make fashion more circular and sustainable.

Sustainability plays a big role for you. Where did this vision start and how do you envision to extend on this further – anything you want to explore next?

Sustainability is not just a concept for me – it’s a responsibility. The fashion industry has caused so much harm to the environment, and I want to be part of the solution. This vision started from my love for nature and my belief that luxury and sustainability can go hand in hand. We work with recycled PET bottles transformed into fabric, organic linen, and ethically sourced materials. We also made pieces with 3D printed fabric as well as pineapple leather. Moving forward, I want to explore more plant-based and new technology fabrics to push the boundaries of sustainable fashion even further.

What do you think has to change in the fashion industry? Where do you see the biggest problems currently and where the biggest potential?

The industry moves too fast. Fast fashion has created a culture of overconsumption, waste, and exploitation. The biggest problem is the disconnect between consumers and the impact of their choices. But I also see a huge shift happening – people are becoming more aware and demanding transparency. The biggest potential lies in brands that prioritise ethics, craftsmanship, and sustainability over mass production.

You were born and grew up in Brazil. What are your most shaping experiences of this time?

My Brazilian upbringing was a complex interplay of cultural vibrancy, social awareness, and natural splendor. The nation’s rich artistic traditions fostered a deep appreciation for expression, while the stark realities of inequality instilled a sense of civic responsibility. Coupled with the awe-inspiring natural landscapes, these experiences forged a nuanced understanding of the world, shaping my values and approach to life.

How would you describe Brazil to someone who has never been?

Brazil is a country of immense scale and breathtaking diversity. Imagine a place where the Amazon rainforest, a realm of unparalleled biodiversity, meets sun-kissed beaches and vibrant, bustling cities. The nation’s culture is a rich tapestry, woven from indigenous, African, and European threads, expressed in its captivating music, dance, and art. Brazilians possess a palpable zest for life, a love for football, and a warm, welcoming spirit. However, Brazil is also a land of contrasts, where wealth and poverty coexist, and where modern skyscrapers cast shadows over historical neighborhoods. The nation grapples with social and economic complexities, yet it radiates an undeniable energy and passion that captivates all who visit.

Tell us more about the contemporary style and fashion in Brazil. What is it that makes it so special? And how do you think it has changed throughout the years?

Brazilian contemporary fashion is a vibrant mix of bold colors, sensual silhouettes, and a laid-back, yet luxurious, aesthetic. It’s special because it effortlessly blends tropical influences with urban edge, reflecting Brazil’s diverse culture. Over the years, it’s evolved from a focus on beachwear to a more sophisticated, globally-influenced style, while still retaining its unique, energetic spirit.

When I think of Brazil, I think of passion, joy, sex, and carnival above all – do you feel that this is influencing Brazilian fashion mostly? Tell us more about traditional Brazilian fashion?

The vibrant imagery of passion, joy, sensuality, and the spectacle of Carnival undeniably permeates Brazilian fashion, contributing to its distinctive, exuberant character. These elements manifest in the bold colors, figure-enhancing silhouettes, and a general celebratory spirit that defines much of contemporary Brazilian design. However, it’s crucial to understand that this is not the sole influence. Traditional Brazilian fashion is a rich and complex tapestry, deeply rooted in the nation’s diverse cultural heritage. It’s a fascinating blend of indigenous, African, and Portuguese influences, each contributing unique elements. Indigenous traditions are evident in the use of natural materials, intricate weaving techniques, and elaborate featherwork. African influences brought vibrant textiles, such as wax prints, along with intricate beadwork and rhythmic patterns that are often seen in traditional garments. The Portuguese colonization introduced European tailoring styles and fabrics, which were then adapted to the Brazilian climate and aesthetic.

How would you judge the space in Brazilian culture for diversity and freedom?

Well on one hand, inclusivity is celebrated but on the other hand, deep inequalities persist, affecting race, class, and LGBTQ+ rights. Legal protections exist, but systemic barriers and economic disparities remain challenges. Progress is being made, but true equality requires ongoing efforts.

Do you think that with your brand, you have a conversation between Brazil and Germany?

Yes, CELI is a dialogue between both cultures. From Brazil, I bring warmth, organic textures, and a connection to nature. From Germany, I take precision, minimalism, and sustainability. The two influences balance each other beautifully, creating something unique.

Which cities/markets do you want to focus on next and why?

I’m very interested in expanding in Italy in cities like Milan and in France in Paris because they appreciate high-quality, sustainable fashion and I think the brand represents that market very well and would be welcomed there. But no matter where CELI goes, my goal is always the same – to create sustainable fashion that makes a difference.

IN CONVERSATION WITH K8 HARDY

Anna Klusmeier — Wed, 28 May 2025 16:51:29 +0000

K8 Hardy is a Brooklyn-based artist whose work cuts across video, performance, photography, and sculpture – all laced with a fierce punk sensibility. For years, she has been reshaping the language of identity, visibility, and style. Deeply influenced by second-wave feminist artists, Hardy channels that legacy into a deliberately unruly, genre-defying practice. Her work plays both within and against codes of pop culture, often veering into the territory of “bad taste” to interrogate systems of consumption.

Numéro Berlin: How would you describe your work in a few words?

K8 Hardy: I would say it’s dissonant and irreverent, placing fashion within a broader political and economic context.

What was the initial concept behind this performance?

Well, the concept started with the dress, which was inspired by the house dress. I was thinking about a vehicle for making art – and I wanted to bring the dress to Berlin. People often do that through a runway show or a presentation.

Why did you choose Checkpoint Charlie in Berlin for this performance?

Because it involves a car, and there’s so much American context tied to that space. There are so many crazy things happening right now that I felt, if we bring all these elements together, it might reframe them – or at least get us to think differently. I liked the centrality of the location, but also the idea of owning the Americanness of this project.

What’s the idea behind the studio dress?

The idea is to create my own house dress and to examine women’s workwear. Men’s workwear has been analyzed to death, but women’s hasn’t – and I think it’s such an interesting area of clothing. Grandmothers all over the world wear it, but it’s usually made at home, so there’s no industrial production history to refer to. Still, the form remains surprisingly consistent, and that’s what fascinates me.

And finally – what does fashion mean to you?

It means style, and it means having a conversation with the public.