Yony Leyser grew up in Chicago, where he studied writing, filmmaking and the dramatic arts, going on to start his career as a director at an early age. At 26 he finished his first feature-length film, William S Burroughs: A Man Within, which included appearances from icons such as Iggy Pop and Thurston Moore of Sonic Youth.

In 2010, Leyser moved to Berlin and dedicated his next movie, Desire Will Set You Free (2015), to the ever-changing, vibrant German metropolis. Leyser believes Berlin has changed since he first got there – and that it has also changed him. The Forumist met up with him to find out what he thinks about transition and change, and why he believes hedonism is important to finding yourself.

How did Berlin change you?
“I first visited Berlin in 2007 during a university programme. I went out to explore squats, queer parties, housing collectives, demonstrations, vegan restaurants, bike shops, parks and cruising zones. I was in heaven and somehow managed to complete my course at the same time. I fell in love with the queer scene here, with the public space, with the ability to meet diverse groups of people, often with non-conformist views and a desire to defy. I moved here permanently in 2010. The city has changed a lot since I first arrived, and so have I. I became a much more comfortable person here, which was due in part to being able to be around people like me, in a queer community with support from my friends, with basic human rights that the United States deny, like health insurance, public transportation, bike lanes and the ability to survive and thrive. My last two films were heavily influenced by the city of Berlin. Now that I am in my thirties, my priorities have changed and I have entered a new dimension professionally, which is more difficult here, but I’m getting there.

Desire Will Set You Free feels like an homage to Berlin. What fascinates you about this city?
“The city of Berlin is the main character in the film. Berlin is a city of death and disparity, of rediscovery and rebirth, a city for the queer and demimonde, for the outsider and foreigner. I hope that identity remains. In Desire Will Set You Free we were trying to preserve this identity. Together with my producer Paula Alamillo, we set out to document all our friends and various nightlife icons, and the venues where we used to hang out before they disappeared. We wanted to pay back the city for all it did for us. The film was largely improvised and everyone played themselves. It features the who’s who of Berlin and I hope it will serve as a time capsule or yearbook of the 2010s.”

Your movies deal with topics such as hedonism, punk and queerness. What and who inspires your work?
“Some people who inspire me are John Waters, James Baldwin, J Halberstam, Gregg Araki, Ulrike Ottinger, JT LeRoy and David Wojnarowicz.”

How would you personally describe hedonism?
“I guess it’s the pursuit of pleasure and the here and now.”

Do you think it’s important to find yourself, to satisfy your desires?
“Learning and self-learning are important lifelong endeavours. We all adapt, grow, develop and change. Our goals, friend circles, lifestyles, political views, partners, sexual desires, self-views change as we gather experiences and grow older. I think it’s very important to explore our desires and the desires of others, to move forward and to avoid suppressing feelings and emotions that could become very detrimental.”

During your twenties, you went to punk shows on a regular basis. Was this a support system for you?’
“Yeah, I used to love punk. It was a very fun community to be a part of. It’s a deviant way of being subversive and I think that’s important in today’s political climate. Although I don’t really consider myself punk any more, I still appreciate punk.”

What fascinates you about punk in general?
“I guess it’s about rejecting the status quo, capitalism, forming communities of people with similar views by going to punk and rock shows. Growing up in America in the 1990s, I just saw consumerism as the main religion and talking point, so punk became a very attractive alternative.”

You chose to play Ezra, the main part in Desire Will Set You Free, yourself. How much of Yony was in this character?
“Ezra was a mix of me and some friends of mine at that time. I chose to play the character because everyone else was playing themselves and there was so much improvisation that playing that role became a way of controlling the scenes from the inside.”

And what was it like acting and directing at the same time?
“It was super-difficult. I am really happy that I did it and I think it made sense for Desire, but I don’t think I would do it again.”

Desire Will Set You Free deals a lot with hedonism, sexuality and self-discovery, topics you won’t find in many mainstream movies. Why do you think they’re still taboo/niche topics? And how would you like to change that?
“With films, funding usually goes to ideas that are safer, those that are considered safe investments. The really wild people with hot ideas rarely jive with the funding and production elements of making movies, but people are interested in seeing those things. I am so lucky to have my films supported by German film funds and I hope they will continue to take more risks with films covering these topics and include more minority voices.”

Do you think our society is too prudish sometimes?
“Definitely. I guess it’s because people are scared, but I think Berlin is one of the least-prudish cities that I have ever been to.”

What are you hoping to change in people’s minds with your work?
“I don’t know if I want to change people’s minds. Rather, I strive to portray under-represented communities and to creatively document interesting moments in recent history.”

How would you define the meaning of transition?
“Many people strive to achieve constants throughout their lives and aim for stability and sameness, but life is always in transition and I think that embracing change and our journey is key to attaining happiness and unlocking creativity. For me, being an artist and being queer imply embracing a life in transition, and our work can reflect on those transitions and shed light on elements of society that many people ignore.”

Team credits:

Words by Ole Siebrecht
Photography by Tom Kleinschmidt
Styling by Veronika Dorosheva
Makeup by Hyenaz
Talent: Yony Leyser and Hyenaz
Production: Veronika Dorosheva
Special thanks to: Karin Kruse, Ringo Kaufold, Antonia at Hermés, Soma and Phoebe at Fake PR and Aisha at Agency V

Fashion credits: 

#1 Jacket and Shoes: Talent’s own, Top and Trousers by Pringle of Scotland, Glasses by Ace & Tate  
#2 Shirt by Joseph, Sunglasses på Ace & Tate, Hyenaz wears Harness by Mad Kate and Exit
Waistcoat: Talent’s own, Trousers by Pringle of Scotland
#3 Filmstills from “Desire Set Free”
#4 Top, Trousers, Shirt and Shoes by Hermès, Glasses by Ace & Tate 
#5 Harness by Mad Kate and Exit 
#6 Filmstills from “Desire Set Free”

Founded by Ellebasi Gorenpeng and Ida Aniz, the Berlin-based collective Vulvae deals with the topics of body, sexuality and gender using its protagonists’ artistic background to approach the subjects from a different perspective. Vulvae questions common beauty standards, talks about what is generally seen as taboo, celebrates imperfection and does not care for binary attributions. 

The collective brings together artists from different generations, countries and disciplines, including illustration, painting, photography, film, sculpture and installation. Some of their projects are intended to provoke: they conquer public spaces to raise awareness, they make caramel vulvas that are served them at one of Berlin‘s Michelin-starred restaurants to make people think again about our natural bodies, they have created a huge clitoris sculpture called Clitozilla as a way of teaching about the female genitals. They dedicate their creative energy to fighting for self-love, acceptance and confidence and overcoming the clichés. Join their fight.


Ida and Ellebasi, you are the initiators of Vulvae. How do you know each other? 

EG: “We’ve known each other since 2016. A mutual friend introduced us at [the counterculture music and arts] Fusion Festival. We noticed how much fun we had playing with stereotypes about men and women, especially in the surroundings of the festival. I still haven’t fully appreciated what’s happened since then and I’m incredibly happy and thankful – not only for the birth of Vulvae, but also for my fantastic friendship with Ida.”

Was there something in particular that happened that led you to found Vulvae? How did you come up with the idea?

EG: “Ida brought my attention to the documentary Vulva 3.0 by Ulrike Zimmermann and Claudia Richarz. This movie deals with a lot of aspects regarding the public’s perception of the vulva – the historic and medical-anatomic perspectives – with sexologists, psychologists and many others sharing their knowledge.”

IA: “The documentary deals with topics such as labiaplasty and beauty standards that affect us subtly and permanently. This trend of beautifying ‘down below’ wasn’t really on our radar, to be honest. The movie woke us up and so we started to deal with topics such as the human body, feminism, sexuality and gender in an intellectual and artistic way. Our art is not simply about the vulva, but about the perception of femininity and gender in toto.”

What’s the idea of Vulvae? What does it stand for? What message are you hoping to spread?

EG: “As a postfeministic art collective, we want to create a new consciousness about body, sexuality and gender. With the help of our art, we show the body as we see it – with all its beautiful, alleged ‘imperfections’, which is actually colourful and diverse to us. We don’t work with terms such as ‘man’, ‘woman’, ‘young’ or ‘old’. Personally, I have found really loving ways to access my own body and sexuality through my art – and these are exactly the experiences and values I’d like to share.”

IA: “Our art focuses on topics that are normally censored, seen as taboo or marked with shame – genitals, transsexuality or menstruation. We want to talk about these topics and take away the shame associated with them. We see our art as a visual vocabulary for body, gender and sexuality. We want to fill the gap that has occurred between porn and medical books. Vulvae stands for a positive, all-gender perception of all bodies and sexes. You could sum up our message as, ‘Acceptance, confidence and love for each and every body’.”

Do you really think that talking about female body parts or publishing photos of them is still taboo in our society?

IA: “It sure is a taboo, but we have also noticed that something is changing. There are a lot of ‘vulva artists’ and like-minded people on Instagram who are dealing with the female body in different ways. We are part of a movement that doesn’t want to be limited by outdated censorship or questionable standards.”

EG: “Society perceives the female body and the vulva in a pretty biased way that’s connected with media-propagated beauty standards and pictures of genitals seen in pornography, leading to us changing our bodies, even our intimate parts. Images and bodies that don’t meet these standards are considered offensive or ugly.”

IA: “That’s why it’s even more important to talk about our bodies and the improvement mania – and to question them. This concerns women and men equally.”

EG: “And when it comes to the language we use, we deny the existence of the vulva by talking about the vagina when we actually mean vulva. With that, we nullify the part of the female body that plays the strongest part when it comes to sexual pleasure. Even how we refer to it is connected to shame, provoking negative associations.”

What would you like to change in people’s minds through your art?

IA: “We want to change the perspective, not only of our bodies, but all bodies, in a positive way. We want to make our recipients question society’s standards and censorship – without a raised forefinger, but with joy, openness, curiosity and humour.”

What do you think is tempting about the vulva?

EG: “Primarily the vulva is an organ connected to sexuality, but that’s not its only role. And it’s important stress this, because we are much more than just a penis or a vagina. And our genitals are more than instruments of sexual pleasure.”

IA: “The vulva is connected with sex and fertility, but it also stands for the female mystery that still hasn’t been explored and decoded. This combination is especially what makes it so exciting and seductive.”

You’re currently collaborating with a well-known restaurant in Berlin, with diners being served vulvas made out of caramel. How did you come up with the idea? And how have people reacted to it so far?

EG: “We’re collaborating with the restaurant Nobelhart & Schmutzig because we both wanted to create more naturalness and freedom in art and in the kitchen. With them we question the current norms of foods and the human body, especially in connection with female genitals.

“With the project Feel the V! we want to involve different senses and show alternative images of the vulva. We want to see, experience, feel and even – in an abstract way –taste the vulva without it being in a sexual context. So we created a small delicacy in the shape of different, lifelike vulva imprints, with the aim of making people think about our consumption of images and foods.”

IA: “It’s a daring project that has attracted a lot of attention. Many visitors are surprised when they see their caramel vulva. That’s why it’s important to understand the message behind them – acceptance of our natural bodies. Seeing the caramel vulvas initially from a sexual point of view says a lot about the over-sexualized perception of the female genitals.”

How do people react to Vulvae in general?

EG: “People are more interested than shocked. They’re usually curious, sometimes irritated or amused, and some are disgusted – if puking emojis on social media count.”

IA: “Most of the reactions are very positive – from both women and men. I’ve seen a lot of sudden insights on the diners’ faces.”

You collaborate with different artists, what future projects do you have in store?

EG: “The special thing about our collective is that we all come from different generations and different countries. We welcome everyone to our collective who would like to deal with our message in an artistic way – so it’s not just for female artists. There will be performances at some festivals, social projects about sex education and various art installations. We meet at the Vulvae regulars’ table once a month – everyone is welcome!”

vulvae.co 

Team credits

Words by Ole Siebrecht
Special thanks to Vulvae

Credits
#Feature Image MONOCHROME V (2018) by Ida Aniz, photograph by Dabezi
#1 VULVAE’S CARAMEL VULVAS, served at the Michelin-starred Nobelhart & Schmutzig, Berlin, since May, photograph by Caroline Prange
#2 VULVAE’S Logo
#3 BUNTE VULVAE 3D (2018) by Ellebasi Gorengpeng
#4 BUNTE VULVAE 3D (detail) (2018) by Ellebasi Gorengpeng
#5 POLYCHROME V (2018) by Ida Aniz, photograph by Dabezi
#6 CLITZILLA (2017) by Ida Aniz & Ellebasi Gorengpeng feat Carbon Company, photograph by Ida Aniz
#7 BUNTE VULVAE by Cecilie Bluthardt

Rhyannon grew up as Ryan in a small village in England. “When I was a teenager, boys weren’t allowed to have long hair. But I always wanted to grow my hair long and I also wanted to wear girls’ clothes.” She felt trapped because of not being able to express herself and the femininity she had within. “I wasn’t particularly comfortable in a male presentation. Having a male body was OK, but I wasn’t comfortable about the demand to be a man.”

When Rhyannon was the little child called Ryan, she loved to dress up as a fairy. Suddenly she was herself. “It felt like, ‘Oh, I can be that girl, that fairy, if I want to.’ It was a sense of acceptance. I accepted myself.”

At this time, Rhyannon didn’t have any knowledge about what it was to be transgender or anything about transitioning. Transgender people were pretty much seen as outsiders – “They weren’t accepted in society, they were hidden away,” says Rhyannon. “They were sex workers or working at night clubs. They didn’t have another position.”

At the age of 18, Rhyannon moved to London. She describes this point in her life as a progression from being trapped in a cage to living with no boundaries: “Everything was possible. In my home town, gossip spread and everyone was watching each other. When I arrived in London, no one cared if I had blue or pink hair. It was very liberating.”

Rhyannon became a club kid, wearing crazy dresses, shaving off her eyebrows and hair. The atmosphere was a complete contrast compared with where she had come from. She was able to be anonymous in London, and the possibilities to do what she wanted were endless. “It was how I discovered my sexuality and my gender identity,” she says.

During her nights out, she saw more transgender women. “I realised they had done what I wanted to do,” she says. But it wasn’t until 2011, after watching a TV series called My Transsexual Summer, which documented the transitioning of trans people, that Rhyannon decided to take the next step. The show gave her a new perspective. “They were people my age, doing the same as me. I thought, ‘I have to do this.’”

Rhyannon had already realised she was transgender, but prior the TV show she had felt ashamed about it. “In my early years, I was told that it was wrong. In London I pretended I was a boy. I had a boyfriend and had relationships as a gay boy. But I finally accepted that it wasn’t making me happy.”

So she decided to transition and, in 2012, she started her hormone therapy. “It was scary telling my friends, because I wasn’t sure how they would react. But I also thought, ‘Thank God, now everyone knows. Now I can start the process and enjoy myself.’ I was moving forward.” She changed her name from Ryan to Rhyannon and a process of learning began: “I realised the world would act differently when I had become the person I wanted to be, when I was finally recognised as a girl. I knew I couldn’t behave as I did when I was Ryan.”

A lot has happened since. Rhyannon is now a writer for Elle magazine. In her column, The New Girl, she writes about her life as a transgender woman. Last year she published the book The New Girl: A Trans Girl Tells It Like It Is. Her writing is open and honest. “When I was growing up, transgenders wouldn’t be seen on TV. If they were, they’d be portrayed with a negative approach. Now, it’s very important for me to let people know that being transgender is OK and that I’m a normal person. It isn’t something to be ashamed of. It’s very important to raise awareness – that’s what encourages me.“

Rhyannon advises, “Believe in yourself and try not to let other people’s opinions about you stop you from being your actual self. Keep doing what feels good!” She smiles. No more words are needed.

rhyannonstyles.com

Team credits
Words by Ole Siebrecht
Photography by Jennifer Endom
Styling by Andrea Horn
Hair and make up by Julia Firefly

Fashion credits
All clothes from Lena´s Lovely Vintage, Berlin

Peaches is not just a singer. She is so much more than that: a musician, a producer, a filmmaker and a performance artist. She is the kind of artist who can simply enter a room and wow everyone inside. She instantly gets her audience’s attention and makes them think by using a simple tool – fun. “I think my music is fun. I think my ridiculous costumes are fun,” she explains. “I want people to enjoy the songs, dance to them, enjoy the spectacle. But when the lights are gone and the silence is there, then you actually start thinking about what you just saw and what you just sang along with.”
And Peaches’ lyrics are always to the point. “I chose this way to do it because I used to sing along with so many songs that were completely sexist,”

she says. “[I was] like, ‘Why am I singing along with this? This has nothing to do with me!’ So I have been presenting my world and my way and hopefully that’s helpful to people.” If you have ever experienced Peaches in her element on stage, you’ll know what she is talking about: dancers in bizarre, fetishistic costumes, vagina hats – even a huge inflatable dick. Peaches’ out-of-the-box performances are about showing resistance to the patriarchal system and she does it totally in her own way. “But I don’t wanna be preachy,” she says. “And I don’t wanna be angry. So I work in a way that brings people in – an inclusive way that celebrates.”
Peaches is devoted to creating concerts that are experiences for her audience. “You have to be devoted,” she says, firmly. “A lot of people ask me, ‘What advice do you have for young performers or musicians?’ It’s like, ‘Well, you better like what you’re doing, because you’re going to be doing it for a long time.’”

Peaches sees her presence as an artist as about more than making music, though. “Music is the core of making incredible art videos, making incredible performance art on stage, exhibition work beyond that. Music, for me, is definitely the core and the most important part, but it’s not the end… It’s just the beginning. It’s the jumping-off point!”
Her dedication to her performance is key to her success as a multitalented artist. “It’s over the top and it’s ridiculous, and it’s also political and it’s also a good time.” While some people have asked her to do less on stage – to take it a little slower, to calm down – she remains firm in her stance. “I can’t! This is how it is. I find it more exhausting if I don’t give it my all. Because [if I don’t], at the end, I have this empty, dissatisfied feeling.”
During her career, Peaches has been involved in lots of projects, including singing the title role in a production of Monteverdi’s opera L’Orfeo and touring with her one-woman performance-art show Peaches Christ Superstar. She chooses projects and collaborations that she feels are important – and if the defiant music she makes goes with them. “You know who I am! You know why you wanna use [my music]! You use it for a reason. I love that I established myself this way. You can’t use Dick in the Air for canned beans. It’s gonna make a statement if you use my music.”

Peaches makes statements with everything she does – every move she makes. She’s political and is more than happy to take on the patriarchal system. “People are full of fear and that’s what annoys me most. Fear of other people. Fear of something that’s not like them.” She aims to counteract this fear with the mayhem of her sound, lyrics and performances. “I want people to feel comfortable in their own bodies. That means everybody! I’m not just talking about queer people. Everybody needs to feel comfortable in their own body and that’s also the main reason why people have fear, or turn to power and greed,” she says. “It’s just something within them that’s not right, that they’re not dealing with. We’re all fucking insecure. All of us are!” But it’s important for Peaches to make clear that she isn’t fighting for sexual freedom – she’s celebrating it.
If music is just the jumping-off point for Peaches, we are excited to see where she ends up next.

Team Credits:
Words by Ole Siebrecht
Photography by Jennifer Endom
Styling by Nuria Gregori
Hair and make-up by Tony Lundström at Blossom
Hair and make-up assistant: Felix Conrad
Postproduction: Marius Wolfram

Fashion Credits;
#1 Cape by Nobi Talai, earrings by Xenia Bous
#2 Jacket by Acne Studios at COMME des COSTUMES
#3 Cape by Nobi Talai, trousers by Lena Voutta, earrings by Xenia Bous, belt by Urban Outfitters
#4 Cape by Nobi Talai 
#5 Jacket by Acne Studios at COMME des COSTUMES
#6 Jumpsuit by SAMSØE & SAMSØE, gloves stylist‘s own

The Australian-born musician Mikey Woodbridge lives in Berlin. When he’s performing his songs, the audience gets completely drawn in. His fragile yet strong, confident voice makes the lyrics come to life in the audience’s imagination, creating images and fascination in their minds. The Forumist found out exactly how Woodbridge creates his own experience.

When and why did you start doing music?

Mikey: “I don’t think there is an actual point in your life where you decide to start doing music or anything where you creatively express yourself. It’s either in you from the beginning and you just do it. Or you don’t.”

Why did you choose music as the medium to express yourself? What opportunities does it offer to you?

Mikey: “I don’t think music is just one medium. It is limitless. It is creating a soundscape and listening experience. Song concepts and lyrics, poetry, instrumentation, voice, sound frequencies, to movement and dance. Creating music is like painting a picture with so many paths and mediums to choose from. Then performing it and being able to manipulate the sound and performance in so many ways every single time. I like the feeling of not knowing what I’ll do next, whether it’s writing my next song or performing it in the moment.”

Is Mikey Woodbridge your real name or your artist name? If so, what does it stand for? Is there a story behind it?

Mikey: “Yes, that’s my real name. But MIKEY. is my artist name. I like writing it like that with a point, because I think one word can tell a whole story. Whether you know the story or not, I like that it encourages the use of one’s imagination and the sense of wonder.”

Your lyrics are very emotional and seem to be intimate. Are there personal experiences behind them?

Mikey: “Yes, writing songs is a very personal journey and even self-discovery therapy for me. I like what I learn about myself and the world through writing songs. It’s how I make sense of what’s going on around me. Sometimes I write personal, vulnerable lyrics, where I feel even embarrassed to perform the song, because they are such personal, intimate stories. But I’ve learnt that the feeling of embarrassment is a good one, because I know an audience is going to connect with that personal experience and vulnerability more than anything.”

What inspires your music?

Mikey: “Life. Moments. The unknown. Mystery.”

Bringing music and experience together, what do you experience when you’re listening to/making music?

Mikey: “It’s a journey of trial and error when writing a song. It can be a really thrilling process, but also sometimes a stressful one. There are songs that I’ve written in one night. Others where it’s taken me six months or more to get it right. Trying to condense so many ideas, lyrics and directions into one small song can be a total mindfuck, but I love it.”

How do you create an experience with your performance and music for your audience?

Mikey: “For me it is very important to be connected to the moment. I feel I really have to connect my core to that present moment and really root myself into the ground and space around me. I like to imagine when I’m performing that I’m sucking up millions of invisible energies through the centre of the earth. They run up through my feet and out through my voice and movement. I feel like that’s partly why my voice is so big and colourful on stage. Because I’m not just performing as one being, but connecting myself to the universe and something that is more timeless and endless and selfless.”

In these times of music-streaming services, do you think people are missing the real music experience when they consume everything only on their mobile devices?

Mikey: “We are just moving forward with the times and discovering new ways to experience and discover music. It’s a good thing. There is no wrong or right way to have a real music experience.”

We loved your performance at Berlin Alternative Fashion Week. You managed to bring music and fashion together by creating an awesome atmosphere and you left the audience almost breathless. Is this your goal as an artist – to spread emotions through your performance?

Mikey: “That was a collaborative performance for the designer Chaz Aracil together with dancers Benjamin Milan and Gianna Gi from London. Myself and Jon Dark, from the band Evvol, made the music together. It was something special. I like to make an audience feel something, yes – or get them experiencing something they weren’t expecting and catching them off guard.”

Does Berlin have an impact on your work?

Mikey: “Yes. The city can be magic for inspiration and ideas. There is no shortage of new experiences and connections. But it can also get repetitive if you don’t challenge yourself to seek new ones. It also has its dark sides, too, and sometimes I find it hard to channel the motivation into nursing my ideas and creating new work. Finding your own balance that works is the key. I’ve been in Berlin now for just over two years and I feel like I’m only just finding my feet and balancing everything that’s happening.”

In Scare U Away/Erotica, you sing “Gender was yesterday.” What does gender mean to you?  

Mikey: “In my music, I’m trying to break gender down and the way humans are taught to think of gender as just a man or a woman. That song is about seducing a man who is attracted to me, but doesn’t understand his attraction to me. So gender doesn’t mean anything to me, but rather I’m trying to challenge the way humans are taught to see it. Helping people understand multi-gendered or non-gendered creatures and beings is more important.”

What inspires your style?

Mikey: “The thought of being the embodiment of freedom.”

What was the most memorable experience you ever created on stage?

Mikey: “The last show I did here in Berlin with my good friend Oozing Gloop at Spektrum. It was called Blue Tears, Brown Temples. It was also the first time I let the audience see a different part of me, a comedy side and sense of humour where I let different guards within myself down. So I was being vulnerable in my music, which is dark, serious and full of emotions, but then also channelling this comedic presence, presenting the show and having this humorous chemistry with my friend on stage. It was like feeling many different layers of gratification, because there were so many performance elements that we put into a show for the first time.”

I think there are a lot of people who look up to you because you seem to be so confident in yourself. What do you want them to understand? Do you have a motto? Or a message?

Mikey: “Don’t look up to me. Focus on doing you and doing the best you.”

What will come next? Are you going on tour or releasing an LP?

Mikey: “I’m working on my first official EP. Finally. It will come with videos and a whole series of visual elements. It’s a slow process, but it’s coming.”

soundcloud.com/mikeywoodbridge

Team credits:

Words by Ole Siebrecht

Photography by Harling & Darsell

Styling by Gabriela Pintado Terroba

Hair and make-up: Katja Maassen at Liganord 

Fashion credits:

1. Blouse by Maks 

2. None 

3. Dress by Litichevskaya, shoes talent’s own

4. Kimono by Assembled Half

5. Top and trousers by Litichevskaya

6. Shirt by Assembled Half

7. Blouse by Maks 

The Berlin-based art collective Pornceptual deals with pornography in a different way: by creating a platform for everyone who is curious and interested in seeing pornography, sexuality, intimacy in a way that’s far removed from the grubby movies that propagate unrealistic body images or degrade women. Pornceptual questions these views by offering their own. The Forumist found out exactly what they were when they met the team behind this sexual revolution – Raquel Fedato (23), Chris Phillips (28) und Justus Karl (22).

Porn is often connected with films that degrade women and give unrealistic impressions of sex. How do you see porn?

RF: “Like any medium of expression, it is subject to the people that project their opinions and views on the world through it. The vast majority of mainstream porn today projects a degrading view of women. Like any other artistic product, pornography is subject to market conditions, resulting in a ‘race to the bottom’. It seems that what began as erotic art diverged towards a profane, disillusioned and oversaturated portrait of human sexuality.”

CP: “There is often confusion between porn as a concept and porn as the specific product of capitalist corporations. There is a porn industry that profits from dehumanising all involved while depicting hard-core, body-punishing sex in which people, especially women, are demeaned. We are proposing an alternative that brings back authenticity and intimacy, to blur the lines of porn and art. I see porn as an aesthetic experience.”

Nowadays we don’t deny pornography any more – it’s still #1 when it comes toonline traffic. Would you call us the new generation of pornography? How do we deal with pornography differently from our parents’ generation?

CP: “Yes, we are the first generation of internet pornography. Pornography is not recent, but past generations had very limited access to the material. Some agents like Playboy were able to push it into mainstream culture, opening the economic and cultural space for internet porn. With the democratisation of internet, mass production of pornography became possible. This shaped the way porn is now produced, perceived and consumed.”

But most people still deal with pornography in the same way as previous generations. It’s often seen as shameful, both for those producing it and the consumers. It’s not something a lot of people would feel comfortable about discussing with their parents or their bosses. There is still a huge hypocrisy related to it.

RF: “Not at all. I consider pornography and sexuality more of a taboo now than it has been previously. Our generation appears to consume pornography the same way we wind up consuming each other as objects. I think the constant availability of pornography has much to say about the lack of authentic, liberating sexuality many millennials are reportedly experiencing.”

Do you think our society is too prudish sometimes?

CP: “Of course. We live in a society that gets offended by a female nipple. Maybe our society has moved forward in terms of becoming more liberal and open-minded, but then this has also caused a reaction in the opposite direction. We have been experiencing a massive wave of conservative views that are reimposing outdated moral values and judgmental attitude. As Pornceptual, we are constantly struggling with censorship and, even that fact that we label the project as pornographic is often problematic, since there is still a lot of stigma around it.”

RF: “It depends on which society you are referring to. Prudish reactions are often a way of rejecting something you recognise on a certain level but do not wish to associate yourself with. I think people often deflect their deep-seated dissatisfactions with their lives by pointing fingers at people who are openly enjoying themselves.”

Pornography is available everywhere – just pull out your smartphone and there you go. Do you think this omnipresence makes it less interesting for people?

CP: “It doesn’t make it less interesting at all. This would be the same as saying that people are becoming less hungry because there are too many photos of food on Instagram. It makes it more interesting and more engaging. After the democratisation of internet, mobile technology is the second revolution in terms of digital pornography.”

RF: “There is a small minority of people for whom sexuality is not interesting. The omnipresence of porn is something of an issue, but it also presents itself as an opportunity. I think that the lack of options plays a big part in enjoyment. When was the last time you really enjoyed a movie on Netflix anyway?”

What are you hoping to change in people’s minds?

RF: “Our goal is to challenge people’s minds by questioning gender-, race- and ethnicity- based stereotypes from a body-positive perspective. The ultimate change would be people feeling empowered and realising we are able to use our bodies as a medium for fighting conservatism.”

CP: “We are questioning labels and trying to propose an alternative. It has definitely helped me become a more understanding person and allowed me to experiment sexually.”

How did you come up with Pornceptual?

CP: “I come from a very conservative background and started to experiment with erotic photography as a way of exploring my own sexuality. But then I realised this should not be about myself, but rather a collective platform where artists can share their views on the topic.”

RF: “The intention was to create a sexually affirmative movement guided by the need for our generation to develop a body- and sex-positive kind of porn that doesn’t exploit its participants or its audience.”

Who’s responsible for what?

RF: “Chris and I run Pornceptual together. He is responsible for the creative/artistic part and I take care of the marketing-/business- related development of the project. This is especially interesting due to the fact that both of us come from very different career backgrounds, which is in the end what makes Pornceptual work. Justus curates performances for the party and assists us in photoshoots and video productions.”

What exactly is Pornceptual and what does it stand for?

RF: “As mentioned, it’s an attempt to confront heteronormative gender roles that define and shape much of western society today. It is an online gallery, a party, a magazine and, most importantly, a platform to spread positive discourse. We aim to combine politics, art and pornography in an overarching vision of change.”

CP: “It is an art-porn project that stands for sexual freedom.”

How does Berlin and its vibe shape your platform?

RF: “It would have never been possible to develop Pornceptual to this extent in any other city. Its vibe and mentality have allowed us to explore different ways of producing and consuming pornography without having to deal with difficulties such as censorship and harassment. It has allowed us to grow – almost – free of judgments and it has given us the inspiration to expand the project into different areas.”

CP: “Berlin is a unique city. It has an amazing underground scene and we still have a lot of freedom to express ourselves here.”

Has Berlin shaped the way you see sexuality?

CP: “Yes, it has inspired me with its fetish scene and very direct approach to sex. It has encouraged me to experiment.”

RF: “Berlin definitely shaped the way I deal with my own sexuality. For sure the main reason is that it is a very open-minded city compared to Brazil, the country I grew up in. People love saying Brazil is very liberal, but it’s actually a highly misogynist and sexist country. Moving here made me feel secure about exploring different aspects of my sexuality without having to worry about my safety or about being judged in my professional and personal life.”

You regularly post photo series on Pornceptual showing models, mostly nude. Do these models and photographers contact you or do you ask them if they’re interested?

CP: “Both. I often photograph friends or people who have found out about the project and feel motivated to participate somehow. We also keep the platform open for artists to submit their work.”

Some people feel uncomfortable undressing in front of a camera/posing nude. Is there anything you tell your models to make them feel better?

CP: “I don’t photograph people who are unsure about posing naked as I don’t want them to regret it. During the shoot, I try to be as respectful as possible and always keep a dialogue so they can also participate in the creative process.”

When you launched Pornceptual, how did people react?

CP: “We had very positive feedback from the beginning of the project and a lot of support from friends. But of course people also criticised it, with some saying that it wasn’t art and others that it wasn’t porn. I was happy it caused this kind of confusion, it showed me it was relevant enough to cause a reaction.”

Pornceptual is not only an online platform, it’s also a party. What’s special about it? Do I have to come naked?

RF: “The special element about the party is definitely its artistic approach. It’s not only a club night but also an art event. Many also say it’s a less-aggressive version of common sex parties. We allow people to attend wearing normal clothes as long as they have the right mindset and respect guests who choose to be naked.”

CP: “The Pornceptual party is a mix of art happening, sex party and underground music event. Nudity is not mandatory, but encouraged. We do have a dress code and different entrance prices, depending on how naked you are or if you’re dressed in fetish gear or theme-related outfits.”

Where do you want to take Pornceptual in the future?

RF: “We intend to create a sort of art residency and focus on our film productions.”

CP: “We want to invest in the production of independent movies and offer the possibility for different artists to launch their art porn through our platform. The next step is to launch crowdfunding so we can finally make this possible.”

pornceptual.com

Credits

Words by Ole Siebrecht

Photography by Harling & Darsell

Styling by Gabriela Pintado Terroba

Fashion credits

1. From left to right: Jacket by Marciano. Transparent dress by Only. Body, stylist own. Leather coat, vintage. Shorts, KOLI and necklace, Rosa, both from Pornceptual. Third look all vintage.

2. Hand accessory, KOLI from Pornceptual. Belt, models own.

3. Latex shirt and shorts, KOLI and choker, Emma Big, both from Pornceptual.

4. Latex top, KOLI and necklace, Rosa, both from Pornceptual.

5. Transparent shirt by Monki. Harness, Imonstudio from Pornceptual. 

6. Body by Pieces. Belt Necklace, stylist own.

7. Necklace, Rosa from Pornceptual.

8. Choker, Emma Big from Pornceptual.

9. Latex top, KOLI from Pornceptual. Leather pants, vintage. Tights, stylist own. Boots, models own.

Nicolas Defawe belongs to Berlin’s alternative art scene like no one else; he’s the co-founder of the well-known Urban Spree Gallery which he started together with Pascal Feucher four years ago.

With the size of 400m^2 the gallery offers place for all kind of arts: here you can find exhibitions, Pop-Up markets, workshops and much more.

Since it used to be an old GDR train factory, the building was more of a ruin when Defawe and Feucher took over it. They had to rebuild almost everything – and to be honest, the result is awesome. You can catch the vibe of Berlin’s always changing, developing and adventurous art scene.

What did you do before you opened the Urban Spree Gallery?

I studied art and then I was an electronic musician. But I’ve always been drawn to creating venues where art meets party: Hbc, plus minus zero, cercle rouge and others …

What do you do at Urban Spree Gallery?

The gallery is run by Pascal Feucher, my part is more the music program of the concert room and big events . The gallery promotes a grassroots artistic approach, working closely with street artists and graffiti artists, urban photographers and contemporary artists; we have a book shop, an  artist residency, a tattoo studio, a big beer garden and an intense music program in our concert room.

Which artist were/are represented at the Urban Spree Gallery?

You will find all the names and the concept on the website www.urbanspree.com

What do you want to change in Berlin’s culture/art scene with the help of Urban Spree Gallery?

Berlin is currently changing a lot and perhaps our aim is to try to keep alive a certain idea of freedom and definitely a form of resistance.

What’s your personal life motto?

Haha , I love this question! I consider myself as something like a builder: I work hard to create spaces for culture and pleasure!

Are there any upcoming projects?

One project is definitely to connect our place with other places in Europe. Also, I’m working on a venue on a big barge to travel with across Europe.

Credits:

Photos by: Henrike Stahl
Words by: Ole Siebrecht

Leni Bolt

What inspires your looks?

“I’d say New York’s club kids from the 1980s and ’90s. I find it cool how the scene came up from the underground, with them defining themselves through their crazy looks – I just love it.”

Do you define yourself as a boy or as a girl?

“I define myself as in between. For me, gender is more than just male or female. I see it as a spectrum with a lot of different possibilities to express yourself. Platforms such as Facebook show that there are a lot of names for it, but for me, gender means self-articulation, to live out your social gender and to be free to do so.”

When did you create Leni?

“I didn’t create Leni. It was more like a natural process. During my performances, I’m in a certain character, but I’m the same as a private person. That’s why I’d rather say it’s not a just a fictional character I made up, but a part of me, of my real identity.”

What’s Leni’s intention?

“To give the community an understanding of gender because, even in 2016, I still have the feeling that a lot of people don’t really understand. But that’s why I’m here now – to rescue the world from evil politicians and other creatures putting stones in our way. I want to spread queerness in this world and I’m doing it with my pictures and performances.”

What did you discover or learn about people since you started defining yourself as Leni?

“It definitely got a little bit harder. When I’m on the streets, I cause confusion – people look at me, asking themselves if I’m a man or a woman. People always try to categorise you and that makes it hard, but you get used to it, although it’s exhausting to be put in boxes… I learned that. But I also got to know a lot of different people from the scene that understand. They share my point of view and I enjoy that because you can’t fulfil this mission when you’re all alone.”

What can other people learn from Leni?

“I want to make people understand that gender is nothing you’re born with, but something everyone can develop. I’d love to make people understand that they also have the freedom to express themselves. It’s hard in other countries, I know, but that’s why I think it’s cool that some people on Instagram see me as their role model and ask me for advice.”

What’s the idea behind Boltish, your choker collection? Tell us about your vision.

“To be honest, it kind of came from itself. I design my own performance outfits and a choker is always part of them. After my performances, people often ask me where I get them from, so I tell them that I make them myself. Because of that, I decided to focus my label on these chokers and, since the middle of 2016, I’ve been selling them on my online shop.”

Do you see yourself as a role model, teaching people that gender doesn’t define us?

“Gender is always an important topic for me. If people want to see me as their role model it’s up to them. But some people ask me about gender, for example on Instagram, and I’m happy to be their contact person.”

Do you have a life motto?

“I have a friend from London who used to say, ‘Be nice or f*** off !’ That’s a pretty cool motto.”

Lenibolt.com

Hungry

Your style and make-up is outrageous. Where do you get your inspiration from?

“Well, as cheesy as this might sound, watching Party Monster as a teenager definitely changed my view on things. I started sewing looks and going to school in self-made heels. But inspiration is a tricky word, as I approach things very technically. I find one piece I really like and start building a concept around it. Some take a day, some will take a few weeks. And since these concepts can go in very different directions, the inspirations vary just as much. I’d say my main inspirations are anatomy, fetishism, religion and, to get very vague, symmetry and distortion.”

When did you create Hungry?

“Hungry surfaced in 2014. What was I thinking? She started as a blonde, pouty hipster girl, then became an artsy pouty hipster girl and then had a full conceptual makeover after moving to London in late 2015.”

Why did you start to do drag?

“It wasn’t my fault. I wanted to try it once, so a friend took me out to buy hair and another gave me the femme face and some heels and we went out to this big drag party at Monster Ronson’s. And people loved me! I did! It wasn’t for another four months that I went out again, this time as Hungry. That second time I met Pansy Presents, who asked me to perform right away, so I was pretty much forced into feeling comfortable in drag. Thanks for that. No seriously.”

What does Hungry stand for?

“Hungry wants to give people a glimpse of a reality that could be. An organic, breathing image of another dimension’s life form. Like Alexander McQueen’s Plato’s Atlantis collection, Hungry is the human that adapted to completely new surroundings. And with Hungry being that, I just want to inspire people to be more. Put more passion into things.”

What did you discover about people as Hungry?

“I instantly learned how real the objectification of women is. I was being catcalled, followed and grabbed way too often. As a teenager I dressed to provoke, I wanted the stares, I wanted the insults, but just looking like a woman gave me all of this without me asking for any of it. And the moment they realised they were dealing with a boy dressing up as a cute girl, things got scary. These things are behind me now, though. Mainly because I look bloody scary most of the time, but also because you learn to carry yourself in a way that people don’t want to mess with you.

“A more positive thing to discover was how genuinely appreciative people can be. Seeing someone be thankful for all the time you put into your work can make a day. And being out as Hungry had me discovering incredible people, incredible artists.”

Why Hungry? Hungry for what? Why did you choose this artist name?

“So, I’m really bad with food. We’re not talking anorexia or anything serious, but I will just forget to eat for a day, or eat a bag of crisps for dinner and call it a meal. It mostly happens when I’m working on something I’m very excited about or when I’m sewing.

“I also just saw how genius a drag name this would be. It’s so open to anything. Hungry for fame. Hungry for love. Hungry for presidency?”

Does being in drag make you feel more confident?

“Of course it does. Every drag queen/king or club kid will say the same. No matter how much of yourself you allow to shine through in your drag, it is still a mask and it’s one that lets you decide how crazy you can go.”

Is uploading a picture or Snapping in drag as exciting as performing in front of a live audience?

“It’s a completely different kind of exciting, but in my case it’s pretty equal in importance. As soon as I am finished getting ready, I take the pictures that will go on my Instagram. From that point on, knowing that the look is documented, I can go into a night, relaxed and focused. And I can ruin as much of my make-up on stage as I need to, because that always sells.”

Where will we see Hungry in the future?

“On a stage near you soon. Spreading world hunger? I’m not sure what the future holds for Hungry. I travelled a fair lot this year and loved meeting new and like-minded people. I hope I get the chance to keep on exploring that way. I’m not going to think further than that, as I didn’t pick the careers with the steadiest future chances. We will see. Ta-dah!”

Instagram: @isshehungry

Credits:

Words by Ole Siebrecht
Photography by Henrike Stahl
Styling by Veronika Dorosheva

Hair and Make-Up: Patricia Piatke at Double Studio
Photographer´s Assistant: Mila
Clothes: Altendorfer Studios, Zoe Keogh, From AA Collected, Christina Braun

Special Thanks to Urban Spree and Nicolas Defawe

DENA

Musician

The 34-year-old singer Denitza Todorova, aka DENA, hails from Bulgaria, has lived in the German capital for more than 10 years and writes in English. The result is a genuinely catchy combination of R’n’B, rap and hip-hop inspired by life, love and friendship – and the scene she found in her adopted home.

Why did you choose to live in Berlin?
“I moved here in 2004, when I was 22, from Bulgaria via West Germany. I thought, as a capital, Berlin must be bigger and more liberal and open-minded than other German cities. Also, I got to study here.”

Berlin is probably the most multicultural city in Germany. What was it like for you when you first arrived here after growing up in Bulgaria?
“Socially, Berlin definitely made up for the experience of the two years I spent living in a small place near Frankfurt, where I remember feeling alienated and like I was ‘the other’. I quickly felt at home in Berlin and made a lot of friends from the art and culture scenes.”

Does Berlin feel like home?
“Totally, especially living in Kreuzberg, which is in the middle of the Turkish-German community. In Bulgaria I grew up in a town near the Turkish border that also had a big Turkish community. And, in 2008, I studied in Istanbul for six months. There is a certain vibe in the streets in Kreuzberg and that feels like home.”

Do you feel Berlin has changed much recently?
“Yes. There are a thousand times more people coming and going, which is a beautiful thing, because we are all searching and moving around the world. There has been a boom in tourism lately, especially in my neighbourhood. Sometimes I have to wait a while at the lights when I want to cross the road – that’s how crowded it is now. I’ve noticed something in the euphoric state of so many visitors when I look around that I can’t identify with any more. But I guess I remember the feeling.”

When and how did you start making music?
“When I moved here. I met a girl from Toronto who asked me if I wanted to start a band, and I was like, ‘YES!’ I played the synth and she played the drums. We were called Tschikabumm and lasted for about two years.”

What inspires your music?
“Life, love, friendship.”

Do you have a life motto?
“The future is tomato shaped.”

We love your music videos. Are you the one who comes up with these great ideas?
“Yes, thanks. I also always work with talented friends and we inspire each other.”

You rap about not needing cash or diamonds, so what do you really need in life?
“A house in a sunny place with a swimming pool and family and friends to enjoy it with.”

You just released your new EP, Trust. What’s it about?
“It’s about freezing the moment of heartbreak and observing it from different angles.”

What’s next for you?
“I am playing some shows in Europe and releasing another mini album soon, so stay tuned.”

Trust is out now on Normal Surround; denafromtheblock.com

Anne Bengard

Artist

The route to Berlin and her chosen career was not the most direct for Anne Bengard, 28, but her open-minded approach and unstoppable desire to push boundaries in her work meant settling into both was seamless.

Why did you choose to live in Berlin?

“I lived in Leipzig for the first three years of my life and grew up in Berlin after the fall of the wall. I was nine years old when my family relocated from Berlin to a small coastal town in southwest England. Even though it’s a beautiful place for kids to grow up, moving from a big, multicultural city to a place where I was the only foreign girl at school was quite a culture shock and I always intended to return to Berlin as soon as I’d finished school. That didn’t happen – instead I moved to London at 19 to study at Central Saint Martins, again with the intention of returning to Berlin once I’d finished my studies. That didn’t happen either. I got caught up in fast-paced London life, learning lots along the way, having a lot of fun, working different jobs, probably sleeping way too little and, suddenly, four years had passed. Things got a little difficult for me in London, so I decided to make the best of a bad situation and finally go through with the long-overdue Berlin plan to become a full-time artist.”

What do you like about Berlin?
“Many things, but mainly the space – Berlin has so much space! Compared with England, anyway. My work has developed drastically because of it.
I also really appreciate the balance of urban landscapes and nature. It’s amazing that I can just jump on a train and be somewhere like Grunewald in 30 minutes and feel completely removed from city life. Or I can cycle from my studio to Weissensee in 10 minutes to relax under a tree, let little spiders crawl over my legs and put on my mermaid tail to swim in the lake. That’s luxury.”

What inspires your work?
“Shortly after moving to London, I started working for Torture Garden, the world’s largest fetish club, and got involved in the city’s colourful alternative-nightlife scene. It opened my eyes to a world with an abundance of creativity, self-expression and open-minded, tolerant but above all respectful behaviour. It taught me to be a less judgmental person. The friends I’ve met on this journey have become my muses, feature in my paintings and aim to inspire people to question their own preconceptions and adopt a more thoughtful, less judgmental attitude.
“I’m also heavily inspired by Japan and Japanese postwar pop culture, having been influenced by anime such as Sailor Moon and Cat’s Eye, which were aired on German television in the 1990s. I also started collecting manga when I was 12. I think those influences are evident in my work, particularly in my colour palette.”

Does Berlin – not as a city, more as a vibe – influence your work as well?
“Yes, I think so. For example, my brushstrokes have become a lot looser and I’m slowly breaking my perfectionist habits when painting and just going for it. Splashing some colours here and there. Not being afraid of ‘mistakes’ and embracing the unrefined.”

How do you define your work?
“In one sentence – provocative, realistic portraiture in optimistic, bright-yet-soft pastel hues that is designed to make you question your preconceptions.”

When did you realise you wanted to make art?
“When I was three or four years old. I’ve been making art ever since, despite exploring other creative avenues, such as set design, venue styling, art departments. Art was always a hobby, then a sideline and, since 2014, full time. In future I might decide to work in other fields again, but fundamentally I just love being creative – to create, solve problems and learn.”

Who is your favourite artist and what do you like about him/her?
“One particularly notable favourite artist from my vast pool of favourite artists is Takashi Murakami. His style alone already inspires me, but also his entrepreneurial skills and informed yet honest and real approach to the contemporary art world and his own position within it. Despite having a whole company of artists, making pieces that sell for millions and having collaborated with big names like Louis Vuitton and Kanye West, he openly admits to constantly facing bankruptcy in the pursuit of making his artistic visions come to life. His level of dedication is incredibly impressive. I also love how he has championed his assistants and helped them launch their own careers under his company Kaikai Kiki.”

Do you feel like the art world is changing in these times of Instagram, Snapchat and co? If so, do you think that’s a good thing?
“Definitely. Suddenly, everyone with an Instagram, Snapchat or Tumblr account has a space to curate, meaning artists can rely less – or not at all – on galleries to promote their work. However, we need to be aware that algorithms can change at any time, which can also have a negative effect if your audience has been built purely on social media.
“In terms of galleries and museums I feel there’s an increasing demand for time-based and media art simply because a well-photographed painting or sculpture can easily be presented online – though, of course, experiencing it in real life is very different. This is more difficult for performance or installation art, for example, so if you want to experience it, you have to go to the gallery/museum. I wouldn’t label it a good or a bad thing, just interesting. Everything changes.”

You don’t only sell your images, you also sell clothes – why’s that?
“I’m interested in experimenting with the correlation of art and other disciplines, such as design, technology and science. I love to collaborate and see how my work can be applied and I believe in the power of teamwork and combining ideas to create something much greater than you could as an individual.
From a consumer’s perspective I also want to offer affordable art and target a wider range of people that way. Not everyone can afford an original painting to hang on their wall and not everyone wants an original painting to hang on their wall, but they might like to wear it. Also, it’s just quite a thrill seeing people actually wearing my art.”

What are your plans for the future? Are there any upcoming exhibitions?
“To continue learning, to continue working hard, to make good art. I plan to live and work in Japan for a while, within the next two years, so I’m currently hatching a Japlan – pun intended!
“In terms of upcoming exhibitions, I’ll be part of the Monster Madness group show from October 15 at SlushBox gallery in Florida. It’ll be my first time showing work in the US. My work will also be presented at the Affordable Art Fair in Hamburg in November. There are some other exciting things being planned, but unfortunately I’m not allowed to talk about them yet. Exciting times.”
annebengard.com; Instagram: @anne_bengard_art

Credits:

Words by Ole Siebrecht
Photography by Maximilian Attila Bartsch
Styling by Andrea Horn
Photographer’s assistant: Maria Lomschicki
Stylist’s assistant: Nuria Gregori

Fashion Credits:

1. Dena wears jacket by Cheap Monday, dress by Henrik Vibskov

2. Dress by Sparkle & Fade by Urban Outfitters, top by Nike, trousers by Frisur

3. Top by Pins & Needles by Urban Outfitters, T-shirt Dena’s own

4. Top by Nike, trousers by Frisur

5. Jacket by Ivy Revel, vest by Blank Etiquette, skirt by Pins & Needless by Urban Outfitters

6. Jacket by Oh Yeah! Berlin, vest top Anne’s own, trousers by SAMPLE-CM

Red is a warning colour. It means danger. Red is the colour of blood, meaning life. Red is the colour of fire, of flames. Red is a very powerful, flamboyant colour. And who knows this better than Christian Louboutin? The Parisian designer made the colour his signature. The soles of his world-famous high heels blaze in a striking red.

Red like love?

The French designer discovered his love for shoes at a very early age: the showgirls of Folies Bergère – a famous Parisian music hall – fascinated him, with their long legs, their attitude, their grace. They somehow burned into his memory and seem to inspire him to this day.

Some years later, Louboutin went to a museum, where a warning sign caught his attention. It said: “Stiletto Heels Forbidden!” The young designer could not understand why someone would ever forbid something that beautiful. He became obsessed. Obsessed with shoes, with their styles and patterns. A remarkable career was about to start.

But why the red soles? There might be a lot reasons, but Louboutin himself often tells of how he sat in front of his early sketches, dissatisfied with the results. There was something missing, a detail, a certain je ne sais quoi. Suddenly, he noticed the smell of nail polish in the air: his assistant was sitting at her desk, painting her fingernails. And at once he knew what was missing. He didn’t like the featureless, blank soles of his creations. So he took the nail polish and the world-famous red sole became the signature of his brand.

These days, everybody knows his creations. High society loves them. Is there a red-carpet event where Louboutins don’t make an appearance? They’re in all the fashion magazines, even in the yellow press. Some people call them the best therapy against depression, something every woman dreams about. But why?
Louboutins are more than articles of daily use. The designs are hard to define, they cannot be pigeonholed. They offer a great variety – you cannot pin them down to only one style.

Solely their red soles and the super-high heels mark Louboutins out from others. In addition, the shoes move from being classic, chic and kittenish to extravagant and dominant. Sometimes they’re colourful, with adventurous patterns, sometimes they’re monochrome and severe. Some might remind you of divine figures, with their wing-like elements, others appear dramatic and menacing, with their striking spikes.

For a lot of people, Louboutins are not normal shoes. They see them as unique and beautiful creations, they are obsessed with Louboutin’s work – that is to say, his artwork.

Louboutin’s designs have included some of the highest heels that have ever been made in the world of commercial and high-end shoe design. His talent for creating towering and unique beauties was nurtured during his time as a shoemaker for the cabaret and showgirls of the Pigalle area in Paris, which is known for its peepshows and sex shops. This could be one of the reasons for the versatility, the unconventionality of his designs. Louboutin seems to gather his inspiration from almost everything and everywhere.

Those heels are another unique feature of his work: they’re a woman’s dream and nightmare at the same time. More a deadly weapon than a shoe, maybe. Who is able to go through daily life in those super-high heels without twisting an ankle?

But maybe that’s the idea behind it: of course you can’t run through your life in high-heeled shoes. But do you have to? Is it really necessary to keep on running the whole time? The daily grind is enough: can’t we just slow down, pause for a while? Maybe that’s an inspiration, too. Which goes to show there is so much room for interpretation when it comes to shoes.

Louboutin has created a platform for shoe lovers – for those who think shoes are more than just two bits of fabric you put on your feet before you leave home in the morning. His shoes seem to offer the possibility of expression, of communication. He leads people into a creative world that is aimed at people who think shoes are more – an obsession, an emotion, an approach.

Credits:

Words by Ole Siebrecht
Photography by Alexander Gehring & Paula Winkler
Styling by Andrea Horn

Christian Louboutin