Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency


Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency



*Social Currency | Interview

august 018

No one does social convention quite like John Yuyi. The Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency: a ‘like,’ a ‘retweet,’ a ‘match,’ a ‘follow,’ a ‘read’ receipt, the unnerving ellipses that appear just as fast as they disappear, etc. Instead of being confined to a screen, they are displayed on parts of the body for the world to see. 


  Her rendering of other status symbols, including Gucci’s green-red stripes, the LV monogram, the Nike swish, and two very famous interlocking “C’s,” has introduced us to a new type of logomania. Inspired by her own life, family, friends, strangers, and social media,

Yuyi is proving that sometimes connectedness is only a ‘follow’ away.

written + interview Hannah Rose Prendergast


Le Mile: Would you like people to view your work as more of a reflection on youth culture or a commentary?
John Yuyi
: I don't think about that too much. I think when I create my work, I don't anticipate what people will see. I recently kind of found out that my work is like my dairy, so maybe I give people the vibe of youth culture. I don't really mind how they define the works.


Le Mile: Do you have an affinity for all these luxury brands, logos, and social media or an aversion?
John Yuyi: I think both because I'm a really contradictory person; I'm positive, but I'm depressed. I'm sensitive, but I'm super chill about somethings people can't be chill about. I love social media, I see the positive and beneficial side of it, but I also feel kidnapped by it. Sometimes I just want to delete every account. So I think all the brands, logos, and social media things for me, of course, I love it, I love those things people love, but at the same time I’m thinking about the contrasting side to this stuff. Sometimes it makes me feel excitement, sometimes it make me feel emptiness. I guess I am always like that. I always feel really bipolar: at either two extremes.

Le mile: As a fashion design graduate, what was it like being commissioned by Gucci for Le Marche Des Merveilles collection last year?
John Yuyi: It's the craziest thing; I never thought it would happen in my life. As a fashion design graduate in Taiwan, I thought the only relationship you could have with Gucci was to buy a product in store or maybe work with one during a magazine editorial shoot. But I never thought that I could work as the individual, John Yuyi, with [Gucci] HQ. The project is global, it's really insane. Some people say I am so easy to buy, I'm capitalism, but I'm fashion design majored, so tell me the reason why I'd say no to this dream project. 

Le Mile: Your resume also includes graphic design, photography, styling, and modelling. Do you ever feel pressure to pick one? Or do you see your work as more of a collective effort?

John Yuyi: I think nowadays, people all require multiple skills or multiple identities. Yes, I feel pressure to pick one because I'm not a professional full time model, I'm not a professional full time stylist, graphic designer, etc. But I got different jobs doing different things, so I used to call myself a freelancer since I didn't know how to introduce myself. When I create my work, I’m doing a lot of different things, so I guess everything is involved a little bit. 

Le mile: Do you think art and fashion can be the same thing?
John Yuyi
: I think art includes a lot of things, and fashion is art. It's definitely art!


Le Mile: You’ve referenced Hokusai Katsushika in your 2016 works: “Megumu's browser” and “Ukiyo-e.” Is he someone that inspires you?
 John Yuyi: Yes! He is amazing and timeless. I definitely got inspired by his work. One of my favourite dresses has his art on it. But he’s not the only artist that has inspired my life theory.

Le Mile: Do you believe that sex sells and is it something that you agree with? Talk a little bit about your “Skin on Skin” project (2016), was your intention to portray the oversexualization of women?
 John Yuyi: No, I just wanted to play with a fake "skin on skin" cycle. But a lot of people told me that they think it's a reflection of the objectification of a woman’s body. I like that people have an unlimited imagination when it comes to what it means; it's the most interesting part for me. When I was at my solo show opening, one boy came up to me and told me his thoughts on "Julia's Twitter." He told me that her tongue, stuck out with a “Following” tattoo, indicated that she would do anything for a ‘follow.’ I was so surprised! I am so in love with people telling me how they see my work!

Le Mile: You’ve mentioned in the past that your work helped you cope with anxiety and depression. Is this something you still struggle with today?
 John Yuyi: Yes, I still do. Sometimes I feel better, but sometimes I feel that I’m getting worse.
I work because I feel anxious, and when I work too much I feel stressed. When I finally can take a rest, I feel guilty for not working hard. It’s kind of become a bad cycle for me.

Le Mile: What was it like doing the latest campaign for Nike Air Max with Lauren Tsai?
  John Yuyi: It's a celebration of Nike Air Max. Hypebeast found a few artists to do the artwork. I'm glad I was chosen as one of the artists, but Lauren and I worked on the project individually, so I didn’t get a chance to work directly with her. But she's so pretty and talented all in one. I'd like to work with more talented Asian women in different fields in the future!

Le Mile: How has your work evolved since you started in 2015?
 John Yuyi: I don't know, I just keep feeling like it's all about luck. I keep walking this journey, but unpredictable things keep happening to me. I feel flattered and I feel small at the same time. I need to push myself to move faster than what I've got.

Le Mile: Who did you last follow on Instagram?

I think it's @mylesloftin. I'm not sure, but the latest one that I remember is him! He’s the photographer that shot me during the Gucci Wooster opening in New York.

works_ © + The Artist: John Yuyi
© + Courtesy  Artist


Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.

Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.



*fashion illustrator | Interview*

august 018

Conversing with fashion illustrator and Instagram famed artist Phannapast blossoms into a larger dialogue about the relationship between fashion and art. A portfolio of multiple collaborations with Gucci, a creative studio and an DIY -approachable point of view establishes this mixed media artist as a progressive creative with a soft heart for romanticizing the details of human experience through illustration.


  Click through her social media posts, @phannapast and discover a fairytale filled with magical creatures; her illustrations, embroidered patches and beadwork dictates storytelling while inspiring a journey into definitions of human expression from art. 

For if art is a creative form of communication, fashion is the art of socially acceptable expression through clothing design and the manipulation of fabrics into a found culturally interested product.

With sensitivity this comparison stimulates a discussion about the purpose of fashion. In our conversation, the greater debate that defines fashion as art passes without obstruction; for fashion is a tool in Phannapast’s work that elevates communication.


written + interview Valerie McPhail


Le Mile: How would you describe your art? Do you have an artist’s vision?
: My art is another form of communication. It tells stories about my experiences or my view towards my surroundings. Sometimes, when I look back on it, it is like a personal diary. The art tells a lot about what kind of music I was listening to at the time, the book I am reading, or the people I have met. 

Le Mile: What are your thoughts and opinions on the relationship between fashion and art?
: Personally, I believe that art stays everywhere, including fashion. Fashion is the story of the art which appears on the body — in movements, and dimensions. Fashion speaks a lot about the mood, the perspective and the personality of a subject; therefore it is also a personal communication. Designing clothes requires a lot of creativity and imagination. There are different types of knowledge in fashion like fabric design — the choice of colors you use, silhouette design, the structure and the pattern of clothing. Combined with inspiration in the right amount this is when fashion and art meet. 


Draping maxi dresses on butterflies, suiting a young buck in a pastel, floral printed Gucci two piece: animals play dress-up in her work for the GucciGramTian. The animal motifs continue to tell the story behind the creation of Gucci jewelry at the Wonder Factory.

With intergalactic cats and an elegant elephant spraying rainbows from her trunk, Phannapast’s  drawings capture the imagination and eccentric personality of the Italian house. 


Le mile: I would like to talk about your experience working with Gucci: how did the work and collaboration with Gucci manifest? 
: Alessandro Michele discovered my work on Instagram in 2016. Shortly after I collaborated with Gucci on 3 projects: GucciGramTian, The Fairy tale book for Le Marché des Merveilles Jewelry Collection, and, recently, Bloom Acqua di Fiori perfume. They are very important experiences I am very happy and proud of. 

Le Mile: What is meaning behind the animal motifs in the work?
: I use the animals to represent my feelings. Whether it is a tiger, a bird, a crocodile: they represent a part of myself. Sometimes I draw them with a mole below the lip because I have the same mole. 

Le mile: Can you explain the story of your illustrations in this work?
: In every Gucci project, there is always a story of myself. It is the experiences or how I think at that moment or something that I have been through: self-acceptance and how we can see the value of ourselves and the relationships with people around you. In every picture, there is a personal symbol hidden, the character's act and how it expresses itself. There is also a physical and visual expression. I use both to convey my message through expression.


Le Mile: Have you always created work in fashion and fashion illustration?
 Phannapast: I always like to add a little fashion into my drawings. You can see the animal characters wear different clothing, sometimes, the flowery pattern has a little gimmick hidden in it, and sometimes I use the different palette of colors that is more special than the natural tone.

Fashion illustration is just a portion of her work. The artist showcases the larger part of her work in her workshop titled Pommecopine Studios, which shares her whole heart and vision as an artist. Embroidered sparrows nesting on button downs, collectable patches of fawns, cheeky babies and cats pay ode to a home base, her childhood. These expressions are patchwork pieces that will lead Phannapast to making her artistic dreams a reality.

Le Mile: And you have a studio, Pommecopine Studio, which showcases your solo fashion and artwork. What is the heart and soul of this project? Can you explain the meaning behind the name?
Phannapast: Pommecopine is a nickname my friend gave me when I was studying branding at the university. It came from my personal hairstyle, which looks like an apple. Pommecopine first became my brand of clothing for dolls and figures. Now, my intention is to create Pommecopine as a brand that represents what I loved during my childhood. I still like dolls, patchwork, embroidery, or handmade knickknacks. That’s why I also organize workshops for people who are interested. Now, I have a mascot for the brand named Rainbow Sue, which I named after my mother. She represents happy days.

Le Mile: The platform extends beyond illustration into embroidery, beading and patchwork, what inspires you to create new forms of art?
Phannapast: Embroidery and patchwork are my hobbies. I’m thinking of combining them to my art. At the moment, I’m interested in creating a soft sculpture from fabrics. 


Le Mile: Can you elaborate on the type of work we should anticipate next?
 Phannapast: Right now, I want to bring out my world into a form of work that in tactile, something that you can interact and share experience with. It is my dream for the future which I will take time developing.

Through her whimsical works Phannapast tells tales from her life experiences and shares with us her art, collaborations and  passion projects — they share her visions, aspirations and dreams — unveiling the soul of an artist.


portraits_ © + The Artist
Artworks (illustrations)_ © + Courtesy Gucci


Eckhaus Latta operates at the intersection of fashion and contemporary art.

Eckhaus Latta operates at the intersection of fashion and contemporary art.



*Possessed at Whitney Museum

august 018

Eckhaus Latta: Possessed highlights the work of Eckhaus Latta, a compelling young design team who belongs to a new generation of designers operating at the intersection of fashion and contemporary art.


  The New York- and Los Angeles-based fashion label was founded in 2011 by Mike Eckhaus (b. 1987) and Zoe Latta (b. 1987), who met as students at the Rhode Island School of Design. They are known for using unexpected materials, emphasizing texture and tactility in their designs, and for incorporating writing, performance, and video into their practice. Through collaborations with artists, musicians, and others, and an approach that plays both with and against industry conventions, Eckhaus Latta addresses the crosscurrents of desire, social relations, and consumption. 

For their first solo museum exhibition, Eckhaus Latta will present a new three-part installation that embraces and brings into conversation various aspects of the fashion industry, from advertising and the consumer experience to voyeurism.


The installation begins with a sequence of photographs that play on the tropes of iconic fashion photospreads, exploring how Eckhaus Latta’s unique aesthetic functions in relation to the highly polished look of the industry’s media. The core of Possessed is an operational retail environment in which visitors may touch, try on, and purchase clothing and accessories designed specifically for the show. Elements of the space—such as clothing racks, display shelves, and a dressing room—were created by more than a dozen artists with whom Eckhaus Latta has been in dialogue. The exhibition concludes with a darkened room, evocative of a security office, which features a bank of screens depicting surveillance footage. Visitors will have a voyeuristic view of the rest of the installation, as well as a glimpse into the tracking and surveillance that often accompanies the experience of shopping.


Eckhaus Latta: Possessed is organized by Christopher Y. Lew, Nancy and Fred Poses Associate Curator, and Lauri London Freedman, head of product development. On display: Aug 3–Oct 8, 2018 at Whitney Museum, NYC.

exhibition images: Akiko Kondoh, LE MILE Studios




Porsche gives artists opportunity to collaborate with photographer to the stars

Porsche gives artists opportunity to collaborate with photographer to the stars



Peter Lindbergh photographs Porsche models
*Porsche Talent Project

july 018

The “70 years of Porsche sports car” anniversary made it all possible: Peter Lindbergh, known for his fashion photography and his images of well-known subjects, has done Porsche the honour of making the concept study of the first fully electric Porsche, the Mission E, and the iconic 911 sports car the subjects of a new series of photographs. The location for this very special interpretation of the Porsche anniversary was a beach in Ault, northern France.

“For me, Porsche has always expressed something unique, something personal. And always without any claim to perfection. The result is a unique kind of poetry”,

says Lindbergh.


It was not just the subjects that made this shoot such an extraordinary project, for Lindbergh and for Porsche: The photographic series was created as part of the “Porsche Talent Project” that was launched by the sports car manufacturer last year with the aim of giving young artists the opportunity to collaborate with the greats from the field. Skander Khlif, a young artist from Munich, shadowed Lindbergh on the shoot, and had the opportunity to produce his own images under the guidance of the photographer to the stars. Lindbergh enjoys being a mentor, but rarely gets the opportunity.

“We are delighted that we were able to secure Peter Lindbergh for the ‘Porsche Talent Project’. His images offer a unique interpretation of a story, and his methods are completely inspiring. Seeing him work with the young photographer reaffirms our commitment to offering aspiring artists a unique experience that will help them to progress in their careers”,

says Bastian Schramm, Director Marketing Porsche Deutschland.

This is not the first success for the “Porsche Talent Project”, which at the end of 2017 gave talented young people the opportunity to work with Berlin-based designer clothing label “lala Berlin” on the company’s “triangle scarf” and produce their own take on this famous accessory. Working in co-operation with Porsche, networking site Talenthouse selected six finalists from a pool of more than 50,000 artists.


*The “Porsche Talent Project” is just the latest chapter in the Stuttgart-based automotive manufacturer’s ongoing history of involvement in culture and the arts. Among the events supported by Porsche are the Leipzig Opera Ball and the Ludwigsburg Festival. Porsche also has long-standing co-operations with internationally renowned institutions such as the Leipzig Gewandhaus Orchestra and the Stuttgart Ballet.





'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018

'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018



*HOFA Gallery, Mayfair

july 018

The House of Fine Art is celebrating what has been a fantastic year of expansion. Following the success of their first gallery in London, they have since opened a gallery in the stunning location of Psarou Beach in Mykonos, a third gallery in Mayfair and have now taken their brand to the US, with a gallery in the plush setting of West Hollywood.

NEMO JATZEN    Comic Relief , 2018 Original photography with resin on wood. 121 x 146 cm, 3cm domes (NJA015)


Comic Relief, 2018
Original photography with resin on wood.
121 x 146 cm, 3cm domes

  HOFA already has a huge reputation for showcasing the work of some of the best artists in the world and this growth will ensure that even more art collectors and appreciators will be able to visit the exclusive exhibitions that HOFA are so renowned for.

To mark the opening of the new Mayfair gallery, a summer exhibition titled ‘The Edit’ will be taking place from 4 July – 8 August 018. This second location in London really makes a statement – the newly renovated, charismatic Victorian gallery space is situated at 58 Maddox St crossing with Bond St. It is a very fitting home for some remarkable pieces of art, produced by world-class artists.

‘The Edit’ exhibition will feature some of the most talented artists across the world right now. Headline artists include Romina Ressia, Tian, Robert Standish and Marco Grassi.

Each artist brings their own very unique creativity to the exhibition, which will include a combination of sculptures, paintings + mixed media.

TIAN YONGHUA    Wave 3  Cast copper and acrylic. 50 x 45 x 55 cm Edition of 8 (TYO031)


Wave 3
Cast copper and acrylic.
50 x 45 x 55 cm
Edition of 8


Read the Interview with Collage Artist and Photographer Anaelle Cathala.

Read the Interview with Collage Artist and Photographer Anaelle Cathala.



*Collage Art | Interview*

june 018

Collage art can be traced back as late as the early twentieth century. Stemming from the French word, papiers collés (or découpage), it refers to the process of pasting together paper items onto a surface. Gradually the practice has introduced other materials including three-dimensional pieces and most recently, with the development of photo editing software, digital collage work has created its own place in the world of art. 


©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

  Through the piecing together of various images and materials a new image is formed which embodies its own unique identity. At times the smallest area of an image can be densely packed with new information and dialogue. The result is a work that can be subtle and dynamic all at once.  

Anaelle Cathala is a Paris based artist currently working in collage. Her work explores the built environment both at an architectural and city scale. Anaelle speaks about her work and inspiration via email with Le Mile. 


written + interview Michelle Heath


Le Mile: You are a self-taught artist, what inspired your path into the Visual Arts?

Anaelle Cathala: I don't really know what or how ...  I love art. I've always wanted to create. I searched through mediums, for the medium that would work for me ... but it was not particularly easy for me to find it. It has been complicated. And I did not allow myself. For me, it was always others who were the artists, not me. I did not go to an art school and I did not feel legitimate enough ... while it is only there, in art, that I feel in the right place. But I stopped trying to intellectualize all that. Just do, dare, work, try.  And the tide is reversed. Nothing precise led me to this but everything has led me there. 

Le Mile: You began as a Visual Artist working with photography before moving into collage work, is there a reason or story behind that transition into collage work? Why image collage work?

Anaelle: I did analogue photography for many years. I love it and I need to do it all the time and everywhere. However, it is "not enough" for me. I do not feel I am purely a "photographer." Since the beginning I have been working to do something else with these images. Project them, paint them ... I try to use them in many different forms and methods of my work. For the moment, this collage collection is my most accomplished and personal work. Working in collage interests me with its notion of infinite possibility. I am really caught up with the idea of ecreating new realities, new spaces, new dimensions. I sometimes even feel like just putting things in their place, putting my finger lightly on the gift of ubiquity, of being everywhere at once.

"Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent."


Le mile: Typically collage work is created using found images or objects, why do you choose to use only your own images? Do you find this informs or influences your photography or are the two practices exclusive of each other?

Anaelle: The first collages I made were not just with my photos but with images cut from magazines. However, it wasn’t the right fit for me and I did not find what I wanted. The approach did not suit me. The rendering did not suit me. Then one day, I realized that I had all the necessary material in my hands. You do not always immediately see what is so obvious … All the photos in this first series of collages were made prior to the idea of making ollages with them. So, there was no influence on them when they were taken.  And I will continue to do it that way. At least in a conscious way! I prefer to continue taking photos in an instinctive way, as I always did, and then to create my collage artwork afterwards. 

Le Mile: Your work has themes of architecture and urbanism: what is it about these realms that interest you?

Anaelle: Because these are areas that fascinate me. I have always been fascinated by architecture and urbanism. I live in an urban environment; therefore, I am necessarily fed by it from my confrontation with it every day. This really raw aspect pleases and touches me. Just as much as nature. And I like to confront them. I see obvious connections between all of this. In the sensations that it can provide. 

Le mile: Your collages are both realistic and abstract, what do you wish to communicate or portray with your work? 

Anaelle: I do not really think about what I want to communicate. But I think it's just my relationship to life and things. A precise notion of reality that I question a lot. Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent. That's what I like. 


Le Mile: Are your images from anywhere in particular or from various locations?

Anaelle: My images come from everywhere and from a lot of different moments! Absolutely everything is mixed!


Le Mile: Many collage artists past and present have incorporated a three-dimensional, almost sculptural element to their work. Do you foresee yourself taking that path at any point? 

Anaelle: Sometimes I think about this type of work but I don't yet know at all when or how ... It's at the research stage for the moment.


Le Mile: You are originally from the south of France but live and work in Paris now. What is it about Paris and its art scene that helped you decide to select that as your home?

Anaelle: I moved to Paris at the age of 21 because I have always loved this city. Because I love big cities. I don't feel right in small towns. I need to be in a big city that is teeming with either nature, space, or emptiness. No half-measures. Ideally, I need it all alternately, for my work and for my mental health! The artistic scene is not directly what made me settle here but it is part of the package. 


"I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out.


Le Mile: Where do you think your work will take you in 2018, both physically and in the production of your work (themes, content, etc.)?

Anaelle: I will, of course, continue to develop and work in depth on my collages because I have really found myself in this activity. Other series are under way. I also have a series of paintings of my own pictures in progress. I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out. I think we must attempt to remain free to do what we want. And try. All that we want to. I am now represented by the ALB Anouk le Bourdiec Gallery in Paris and that brings about great upcoming events. Physically, I want to move around and travel anywhere and as soon as possible and, if it is for exposure, it would be fabulous!  




Whitney Museum NYC presents ANDY WARHOL exhibition From A to B and back again through 2019.

Whitney Museum NYC presents ANDY WARHOL exhibition From A to B and back again through 2019.



*From A to B and back again at Whitney 019*

april 018

Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Uniting all aspects, media, and periods of Warhol’s career, this exhibition will provide an historic opportunity to better comprehend the work of the most American of artists.

Andy Warhol  (1928-1987),  Green Coca-Cola Bottles , 1962. Acrylic, screenprint, and graphite pencil on canvas, 82 3/4 x 57 1/8 in. (210.2 x 145.1 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 68.25. © 2017 The Andy Warhol Foundation for the visual Arts, Inc./ Artists Rights Society (ARS), N.Y.

Andy Warhol (1928-1987),
Green Coca-Cola Bottles, 1962.
Acrylic, screenprint, and graphite pencil on canvas, 82 3/4 x 57 1/8 in. (210.2 x 145.1 cm).
Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 68.25.
© 2017 The Andy Warhol Foundation for the visual Arts, Inc./ Artists Rights Society (ARS), N.Y.

  The presentation will illuminate the breadth and depth of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and '70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. Building on the wealth of new research and materials that have come to light since the artist’s untimely death, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century. 

This is the first comprehensive retrospective of Warhol's work organized by an American institution since 1989, and the largest monographic exhibition to date at the Whitney's new location. The exhibition tours to the San Francisco Museum of Modern Art in Spring 2019, and to the Art Institute of Chicago in Fall 2019. 


The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, curatorial assistant, and Mark Loiacono, curatorial research associate.


MoMA presents exhibition BEING: New Photography 2018

MoMA presents exhibition BEING: New Photography 2018



*New Photography 2018*

april 018

MoMA features recent works by 17 artists that address ideas of human experience, self-making, and collective identity.

Paul Mpagi Sepuya  Mirror Study (4R2A0857). 2016. Pigmented inkjet print, 51 × 34′′ (129.5 × 86.4 cm).  The Museum of Modern Art, New York. Fund for the Twenty-First Century.  © 2017 Paul Mpagi Sepuya

Paul Mpagi Sepuya
Mirror Study (4R2A0857). 2016. Pigmented inkjet print, 51 × 34′′ (129.5 × 86.4 cm). 
The Museum of Modern Art, New York. Fund for the Twenty-First Century. 
© 2017 Paul Mpagi Sepuya

  The works included in Being take on contemporary existence and human experience through a range of issues and tactics, including interrogations of traditional modes of portraiture in the history of photography, the use of surrogates or masks as replacements for the body, tensions between privacy and exposure, and the agency of the artist. Some works might be considered straightforward figurative depictions, while others do not include imagery of the human body at all. Since its earliest manifestations, photography has been widely seen as a means by which to capture an exact likeness of a person, and the artists featured in Being mine or upset this rich history in their considerations of the ramifications of photographic representations of personhood in the contemporary moment. In turning toward the personal, some arts evoke feelings of introspection or intimacy, while others investigate social relations of community, and in so doing foreground the subject of humanity or being in the world. 

Sam Contis  Denim Dress. 2014. Pigmented inkjet print, 34 × 44 1/2′′ (86.4 × 113 cm). Courtesy the artist and Klaus von Nichtssagend Gallery, New York.  © 2017 Sam Contis

Sam Contis
Denim Dress. 2014. Pigmented inkjet print, 34 × 44 1/2′′ (86.4 × 113 cm).
Courtesy the artist and Klaus von Nichtssagend Gallery, New York. 
© 2017 Sam Contis

    The works respond to diverse lived experiences and circumstances. “While personhood is something that we all share, also inherent in these representations is the recognition of difference, which is especially urgent in our current moment when rights of representation are contested for many individuals,” said Gallun. “Universality in humanity does not mean sameness.” 

Being: New Photography 2018 is constituted primarily of works made since 2016, both by artists who are just starting out in their careers, showing in New York for the first time, and by others with more established practices—and who, in some cases, have been supporting the field of photography through teaching or creating other platforms for production. For all the artists, this will be the first exhibition of their work at the Museum.


Blue Magic: Cuba by Alban E. Smajli

Blue Magic: Cuba by Alban E. Smajli



*Blue Magic: Cuba*

april 018

written Mikal Shkreli

We descended onto the island, with some expectations and preconceptions of what we were about to experience. However, what we didn’t realize was the reality of the stories we heard, existing in the multifaceted, aesthetic stimuli that enlivened our senses, that lead us to the same truth; we are now in Cuba. Like a safe place in the fast-changing world, Cuba exists as an island where manmade time stands still and nature takes over the measurements. 


 A rather large island, Cuba is a living memory of a world where humans developed towns and villages in accordance with nature; in the pastel colors and in the ease of shapes in the architecture that reflects the wind’s travels as it carries the scent of the ocean. I found our presence to be humble, honest, sincere, and real. As the birds fly overhead and the ocean waves lap onto the shore, the steady hum of diesel fueled cars and distant music echo in harmony together under the ever-present sun, which watches over this land. 

The ground feels more like the real earth, and the energy is steady yet moving, as the hummingbirds flutter nearby, carrying their hurried energy beyond blooming flowers and past car engines. We walk on the ground, with unsettled dirt from the driving cars on the street.

Of course, the scent of smoked meats and grilled onions passes through the air as well, and again, this harmony of human existence, with its rightful melodic accompaniment in the song of nature, is joyfully played, without effort, without stress, but with the natural highs and lows that we all repeat on earth as the sun soars from one end of our vision’s sight towards the next. 

The view might be iconic, as the type of cars with small subtleties in detail such as the round rear view mirrors distract us from the larger picture. However, this is life, and beyond the stillness in time for the women pushing strollers, the men in jackets walking by governmental buildings, and the men selling fruits on the street, Cuba is home. We take a taxi towards the water, speckled with tiny boats that float by the dock without anyone in them, being governed by an old castle of stone that prominently waves the national flag. Walking back towards the larger roads, we pass small streets with houses dressed with balconies, lined with women drying towels, sheets, clothes, as the sweat accentuates their furrowed foreheads and falls down the crevices of their plump faces. 

In the present moment, the feeling of eternity remains in the ever present ‘now’, and somehow in contrast, every passing hour has a complete different feel than the one prior. Almost a miracle, the sun seems to race from the sky and fall into the ocean, bringing with it, adornments that change color, change scent, change their energy that fills up the air we breathe when we continue to explore Havana. The houses too change their appearance, and their solid structures that stood strong in the sun, are now majestically placed to reflect the light of the moon on their colors, which now only seem to be in hues of blue, in this magic hour of dusk. At night, the heat stops rising from the ground, and the scent of the white mariposa, the butterfly jasmine, along with the cool, ocean air, sweeps through the streets that have become even more quiet. The air brings with it scents of stone, of metal, of a history that took a long time to build, and that happened to stand still like tombstones in a forgotten graveyard. We find a tree with oranges and can smell their sweetness from the outer skin. A baby cries nearby and we are reminded, that in this particular world that took time to build, had stopped its growth in reference to most of the world’s change, but what does take the lead, is nature.


Alban E. Smajli
Cuba, 2013
Courtesy the artist


LEXUS Design Award - Grand Prix Winner 2018

LEXUS Design Award - Grand Prix Winner 2018



LEXUS Design Award

april 018

Lexus International has announced the Grand Prix winner of the Lexus Design Award 2018―Testing Hypotheticals by Extrapolation Factory―leading this prestigious international event to a pinnacle of excitement. Lexus Design Award 2018 drew a record 1319 entries from 68 countries under the theme of "CO-".  


 "This year's winner permeates the current thinking about the role of design in our evolving and technologically shifting societies. Products played less of a role, and design education/teaching and thinking are at the forefront. How citizens and designers interact with products, processes and future is increasingly critical to mediating this influence of design in our increasingly future-orientated and technologically evolving world. The chosen design shows methods and techniques for engaging the public and designers in role playing possible futures and negotiating the influences of our technological world." said David Adjaye, Lexus Design Award 2018 judge and architect.

Elliott P. Montgomery of Extrapolation Factory commented, "It was truly fantastic, and the experience was incredible to have worked with our mentors Formafantasma. We could not have done this without the support of Lexus."

Since 2013, the Lexus Design Award has supported the next generation of designers from around the world. For our sixth year, 2018, the Award's theme is "CO-", a Latin prefix meaning with or together. Lexus believes that great design can ensure the harmonious coexistence of nature and society. In that sense, "CO-" is an approach that allows the brand to explore its true potential and that of the environment by creating new possibilities through collaboration, coordination and connection.


From among the wealth of "CO-" design submissions, our elite judging committee has selected 12 finalists, four to be prototyped and eight to be shown as display panels. These will be revealed to the international design community at Lexus' "LIMITLESS CO-EXISTENCE" exhibition, held 17-22 April 2018 in the Cavallerizze in Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci during Milan Design Week, the world's supreme design event.

For this exhibit, Lexus has called upon Japanese architect Sota Ichikawa to be the overall concept space designer. In the main installation, Ichikawa has used innovative methods to represent the ultimate experience of LIMITLESS CO-EXISTENCE. The Lexus LF-1 Limitless concept, earlier introduced at the North American International Auto Show, is also featured using Ichikawa's unique method.




C24 Gallery presents sculptures by Brian Tolle marking his inaugural exhibition with the gallery.

C24 Gallery presents sculptures by Brian Tolle marking his inaugural exhibition with the gallery.




march 018

C24 Gallery is pleased to present a solo exhibition of sculptures by Brian Tolle marking his inaugural exhibition with the gallery. The exhibition brings together Tolle’s iconic public work, Eureka, on view for the first time in the United States and in a gallery setting, paired with his Levittown sculptures.  


 A highlight of the exhibition is the monumental installation Eureka. At approximately 36 feet high, when standing, the sculpture is a 3D rendering of the façade of a 17th-century Flemish canal house as it might exist in wave form. Thus, it becomes an uncanny reflection of the kinetic water below it. Originally commissioned by curator Jan Hoet for his landmark exhibition Over the Edges (2000), as a site-specific public installation in Ghent, Belgium, the sculpture is re-contextualized in the gallery space. Lying flat on the gallery’s atrium floor Eureka confronts notions of place and process thereby questioning the function of art in public spaces versus art in specific institutions. Drawing ideas from a broad-based conceptual analysis, Tolle creates a dialogue between the contemporary and the historical and blurs the border between architecture and its evolving environment.

A keen observer of domestic life and identity, Tolle furthers his interest of politics of place in his Levittown sculptures. The sculptures are inspired by the planned housing community, Levittown: the historic town in Long Island, NY, which became the archetype of American suburban life in the early 1950s. Each of Tolle's eleven sculptures is a precise scaled model of an original Levittown home -- cast from the same mold varying only in color and displaying the architectural details of the original structures. The sculptural houses themselves resemble deflated or melting membranes, and are supported by various appropriated mementos of suburban life - found toys, tire swing, shopping cart, a plastic nativity set, and a recliner. These iconographic items rest underneath and inside silicone rubber skins of the houses, emphasizing a dialogue between sites and domestic artifacts.

As the title of the exhibition suggests, the artworks presented in Bent provoke a re-reading, or discord between reality and fiction. The formal play that Tolle visually articulates between shapes and textures, private and public spaces presents a challenge to standard architectural, as well as behavioral conventions and norms.


C24 Gallery, NEW YORK
January 11–February 24, 018
C24 Gallery


BETWEEN THE WATERS Exhibition at Whitney Museum 2018

BETWEEN THE WATERS Exhibition at Whitney Museum 2018



*Between The Waters*

march 018

This exhibition brings together a group of emerging artists: Carolina Caycedo, Demian DinéYazhi´ with Ginger Dunnill, Torkwase Dyson, Cy Gavin, Lena Henke, and Erin Jane Nelson. Responding to the precarious state of the environment, their work explores the relationship between the land, systems of use or governance of the land, and the forms or ways of life that exist on the land. 

LE MILE Magazine Rez Dog, Rez Dirt at Whitney Museum 2018 Between the Waters

 Experimenting with form and narrative in painting, video, and sculpture, these artists address how ideology and personal belief—as much as technology, industry, and architecture—impacts all living things. Though each contends with facts or histories that are real and observable, none takes a documentary approach. Rather, these artists adopt a highly subjective position, embracing emotion, intuition, spirituality, and myth to help understand our intrinsic place within the “natural” world. They share the sense that scientific, or “rational,” thought can reinforce a limited view of our planet and its inhabitants—one that assumes they can and should be controlled.

The works present a wide range of subjects, from communities affected by hydroelectric-dam construction in South America to those displaced during the controversial transformation of New York in the mid-twentieth century by city official Robert Moses. They draw from distinct visual traditions, including Southern handcraft, sixteenth-century architecture, history painting, and hard-edge abstraction. Through their varied interests and formal approaches, all of these artists assert the relevance of individual experience and perspective to address concerns that are global in scale and effect. In the words of artist Torkwase Dyson, this exhibition is not just about “the way we connect...but understanding also the waters that are between us.”


from March 018
organized Elisabeth Sherman
 curatorial assistant Margaret Kross

Demian DinéYazhi
Rez Dog, Rez Dirt, 2013
Video, color, sound; 3:59 min. loop.
Courtesy the artist






*Building the Indigenous Present*

march 018

Pacha, Llaqta, Wasichay gives center stage to contemporary art practices that highlight indigenous thinking around the built environment.


 The three Quechuan words—the indigenous language most spoken in the Americas—pacha (time, space, nature, world), llaqta (place, country, community), and wasichay (to build) each point to a decolonial approach of preserving and foregrounding indigenous concepts that transcend the English term architecture. Rather than upholding Western modernist architecture as a marker of development in the Americas, the artworks in this exhibition explore the conceptual legacies inherited from, and also still alive in, indigenous groups that include the Inca, Quechua, Maya, and Arawak, among others. Artists such as William Cordova, Jorge González, Ronny Quevedo, and Clarissa Tossin investigate the complex relationship that indigenous and vernacular notions of construction, land, space, and cosmology have had in the history of modern and contemporary art and architecture in the Americas. 

from July 018
This exhibition is organized by Marcela Guerrero,
assistant curator, with Alana Hernandez, curatorial project assistant.

Clarissa Tossin, Ch’u Mayaa, 2017, production still 
performer Crystal Sepúlveda
cinematography Jeremy Glaholt
Originally commissioned by the City of Los Angeles Department of Cultural Affairs
for the exhibition Condemned to be Modern 
as part of Getty Foundation’s Pacific Standard Time: LA/LA.
Courtesy the artist


Zoe Leonard exhibits at Whitney Museum with Survey.

Zoe Leonard exhibits at Whitney Museum with Survey.




written Nikkolos Mohammed

march 018

Zoe Leonard: Survey is a reflection of her body of work, which focuses on travel, editioning, excess and repetition within daily life; questioning identity within the landscape. Zoe's artistic practice demands you to pay attention to the mundane through a medium of observation - photography. Her poetic eye of universality with artwork reveals an idea of migration and documentation of presence.


 While our current political climate spotlights topics such as DACA (Deferred Action of Childhood Arrivals) and its expiration date, Survey is a very timely show. Currently, there is plenty of conversation which questions whether migrants are good or bad. With the celebration of America and the origins of its' homeland, one might question who is truly a tourist? Zoe Leonard’s body of work in Survey goes back as far as 30 years and questions presence and contribution in the now; present-day. Another language in her work is the idea of sharing. Ephemera of postcards, photography, luggage and store-fronts are all information to be shared as a reflection of contributing to existence within a place and a certain time. Our knit identity is a collection of experiences and more deeply, our experience in different places; an idea conceived in Zoe Leonard’s practice.

Survey opened at the Whitney Museum in New York on March 2nd, 018 and is organized by the Museum of Contemporary Art, Los Angeles, where it will make its' West Coast debut following the Whitney’s presentation. The exhibition is the first to assess the extraordinary range of the artist’s achievements over more than three decades of her career to date. 


MAR 02 –JUNE 10, 018


Zoe Leonard
detail of You see I am here after all, 2008.
p3,851 vintagepostcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall.
Installation view, Dia: Beacon, Beacon, New York, 2008.
Collection of the artist; courtesy Galerie Gisela Capitain, Cologne.
Photograph by Bill Jacobson, New York



COS collaborates with artist Phillip K. Smith III for Salone del Mobile 018.

COS collaborates with artist Phillip K. Smith III for Salone del Mobile 018.



COS x Phillip K. Smith III
*Salone del Mobile 018*

march 018

For this year’s edition of Milan Design Week, London-based fashion brand COS will present a large-scale sculptural installation by American artist Phillip K. Smith III, marking COS’s seventh consecutive installation during Salone del Mobile and its first collaboration with Smith.  Since 2012, COS has presented unique and innovative collaborations with artists, designers, and architects in Milan during Salone del Mobile. Past collaborators include Gary Card, Bonsoir Paris, Nendo, Snarkitecture, and Sou Fujimoto, in addition to Studio Swine, whose installation with COS, New Spring, won the Milano Design Award for Most Engaging Exhibition during Milan Design Week last year. 


 Inspired by Italian Renaissance architecture, the Milanese sky and the understated simplicity of the COS design aesthetic, Phillip K. Smith III will create a site-specific outdoor architectural sculpture in the 16th century courtyard and garden of Palazzo Isimbardi, designed to offer an individual experience to each visitor, through its interaction with light and time.  

At COS, we have been inspired by the way Phillip K. Smith III’s installations interact with their natural surroundings allowing us to experience spaces in new ways, whether in deserts or on beaches, and are eager to see how his work responds to the environment of Milan. It is from these experiences of art, which reshape the way we see the world around us, that we derive so much of our inspiration at COS,” said Karin Gustafsson, Creative Director of COS. 

Phillip K. Smith III noted of the installation, “My work is created in direct response to the surrounding environment, becoming a canvas that interacts with both the urban and natural landscape. I’m thrilled to partner with COS to create this unique sculptural experience which will reframe the historic space. Characterised by ever-changing spatial and temporal elements, every visitor’s experience of the installation will be entirely individual.”  

Palm Springs-based artist Phillip K. Smith III is known for his immersive, light-based installations that employ light, space, colour, the environment and change in order to inspire viewers to reconsider their surroundings. Smith’s works is intensely physical, seemingly ephemeral and highly meditative creating unique spatiotemporal experiences via shifting light, the changing colours of the environment and the movement of the viewer.
Through the atmosphere and pacing of his installations, Smith challenges viewers to slow down and align themselves with the work in order to see and hear the beauty that is in front of them. Phillip K. Smith III received his Bachelor of Fine Arts and Bachelor of Architecture at the Rhode Island School of Design, completing a European Honours Programme at the school in Rome, where the density and complexity of the city’s visual character informed his work around human connectivity, place and perception. 



NICK MAUSS - TRANSMISSIONS Exhibition at Whitney Museum, New York in 2018.

NICK MAUSS - TRANSMISSIONS Exhibition at Whitney Museum, New York in 2018.



Nick Mauss

february 018

For his exhibition at Whitney, NYC, artist Nick Mauss explores the history of American modernist ballet, continuing a hybrid mode of working he has pursued for a decade in which the roles of curator, artist, choreographer, scholar, and performer converge. New works by Mauss—ranging from scores for a ballet to scenic design, décor elements, and live performance—will appear alongside pieces from the Whitney’s collection and those of other institutions, including the Kinsey Institute for Sex, Gender, and Reproduction and the Jerome Robbins Dance Division of the New York Public Library. Central to the exhibition is a ballet conceived by Mauss in close collaboration with dancers, in response to archival material and the constellation of objects in the show.


 In the current vogue for contemporary dance in museums, the legacy of ballet remains relatively unexamined. This exhibition will consider the intersections of ballet with the visual arts, theater, fashion, and new representations of the body. Focusing on New York’s role in a transatlantic exchange of ballet and surrealist aesthetics, the show presents a vision of American modernist ballet as an artistic catalyst, filter, and vibrant, shared vocabulary. Through the intertwined languages of ballet, painting, photography, and sculpture, Mauss also mines a pre-queer history within the realm of supposedly straight cultural production of the 1930s and 1940s. The exhibition itself is a hybrid of a historical presentation and an unfolding artistic proposition that forges new modes of attention, viewing, and an engagement with history in the present.

This exhibition is organized by Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, and Elisabeth Sussman, Sondra Gilman Curator of Photography, with Greta Hartenstein, senior curatorial assistant, and Allie Tepper, curatorial project assistant.

MAR 16, 2018–MAY 018


Carl Van Vechten slides 
photographed Nick Mauss 
Courtesy The Carl Van Vechten Trust and
The Jerome Robbins Dance Division,
The New York Public Library for the Performing Arts,
Astor, Lenox and Tilden Foundations.


David Hockney MET exhibition 2018

David Hockney MET exhibition 2018



the metropolitan museum of art, nyc

november 2017

For nearly 60 years, David Hockney (British, born 1937) has pursued a singular career with a love for painting and its intrinsic challenges. A major retrospective at The Metropolitan Museum of Art—the show’s only North American venue, opening November 27, 2017—honors the artist in the year of his 80th birthday by presenting his most iconic works and key moments of his career from 1960 to the present.

David Hockney 2017 at MET by Akiko Kondoh for LE MILE Magazine

Born in West Yorkshire, where he attended the local Bradford School of Art, Hockney moved to London in 1959 to study at the Royal College of Art. His career is distinguished as much by early successes as by his willingness to flaunt conventions both societal and artistic. Hockney’s works from the 1960s brazenly reference homoerotic subject matter, from Walt Whitman to Physique Pictorial muscle magazines, while his dedication to figuration throughout his career runs against the grain of predominant art world trends on both sides of the Atlantic.

Many fine examples of Hockney’s work from California in the late 1960s and early 1970s, as well as his double portraits from New York, London, and Los Angeles, show the artist’s interest in the tension that exists in social relationships and the difficulty of depicting transparent material such as glass and water. By the late 1970s and early 1980s, Hockney turned to a brightly hued palette and fractured, cubistic perspective that mirrors both his interest in Pablo Picasso and his own experiments with Polaroid photography. In recent decades, Hockney has ventured outdoors to paint the changeable landscapes of his native Yorkshire across the seasons, while simultaneously returning to the study of figures in social groupings. Keenly interested in scientific innovations in the aid of art, Hockney recently experimented with an old technology: he created a series of portrait drawings using a camera lucida, first employed by artists in the Renaissance to render one-point perspective.  He has also always embraced new technologies, including the possibilities for colorful composition offered by applications on the iPhone and iPad. Examples of the artist’s experiments in that medium will be included in the galleries. The exhibition ends with his most recent, near neon-toned landscapes, painted in the last three years in Southern California, where he returned to live in 2013. The Met presentation marks the first time the series will be exhibited publicly in the United States. Even to the most committed follower of Hockney’s art, the unprecedented unification of his renowned early works with the newest, will be revelatory.

At The Met, David Hockney is curated by Ian Alteveer, Curator, with assistance from Meredith Brown, Research Associate, both in the Department of Modern and Contemporary Art.

The exhibition is accompanied by a fully illustrated, scholarly catalogue published by Tate.


All Images by Akiko Kondoh, LE MILE Studios



Blondey Mccoy unveils three Burberry murals in Manhattan

Blondey Mccoy unveils three Burberry murals in Manhattan



Murals in Manhattan

november 2017

British artist, designer and pro-skater Blondey McCoy has created three hand-painted murals in the Flatiron and Soho districts of Manhattan, designed exclusively for Burberry.

Blondey McCoy unveils three Burberry murals in Manhattan - Soho, Lafayette Street and Spring Street x LE MILE Magazine

The murals mark the first time Blondey's work will be showcased in New York and include his largest artwork to date. The three murals are inspired by the dichotomy of modern life and the traditions of the holiday season
and feature Blondey's signature mix of eclectic imagery and striking motifs alongside references to Burberry and British culture. This collaboration marks the evolution of the relationship between Burberry and Blondey, who most recently appeared in a portfolio of images for the brand captured by British photographer Alasdair McLellan. In September 2017, Blondey created an artwork for Burberry on the largest paintable wall in London, situated near the brand's show venue in Clerkenwell.


'Blondey is an extraordinary talent and I am blown away by the incredible artworks he has created for us in New York.
The passion, energy and skill that go into everything he does are remarkable and his approach to design, from inception to the techniques he uses to bring them to life, transcends his years...He truly is one in a million, and I am so proud to be collaborating with him on this very special project.'
- Christopher Bailey


'Christopher and I have kept in constant contact since our first mural in Clerkenwell, whose short but sweet lifespan only made it more pressing that we work together again. We decided to do three more, centred around the holiday season in New York, which is quite fitting as my favourite Christmas song is "Fairytale of New York". Over the last couple of years I have been collecting antiques and objects, some more sentimental than others, and incorporating these into my works. These new murals are a composition, a curation of some of these objects that sit aside references to Burberry and British culture.'
- Blondey McCoy

Photographer Michael James Fox
Artist Blondey McCoy 



A Modern View on Timesless

A Modern View on Timesless




august 2017


TIMELESS /ˈtʌɪmləs/ (adj) - not affected by the passage of time or changes in fashion. 


Italy is one of the crown jewels of Old Europe, a country that is unique and diverse from both a geographical and cultural point of view. One must live it to understand it right, to understand the way the time has passed the places, the streets, the way the time has shaped the forms, the values and the attitudes, the way the traditions have remained the same and on the other side, the way it all has stood the test of time. 

In today’s online world it’s becoming more and more difficult to recognize the origin of an object, to evaluate the quality and to understand the style. This fact creates a solid ground for the feeling of nostalgia to grow and develop. The word “nostalgia” comes from two Greek roots: νόστος, nóstos (“return home”) and ἄλγος, álgos (“longing”). Professor Svetlana Boym of Harvard University defines it as a longing for a home that no longer exists or has never existed. Nostalgia is a senti- ment of loss and displacement, but it is also a romance with one‘s own fantasy. In her works one can see that the feeling of nostalgia is not only backward-looking, but that nostalgia can be also forward-looking, prognosing. After reading Boym’s works and writing my own Bachelor’s about menswear and nostalgia, I would have never thought that years later, my hypothesis of nostalgia would reappear in my life not only within the texts and images, but also in a real and very original way. So, one day... 

Caraceni Sartoria Atelier

Caraceni Sartoria Atelier

One day I met by chance a Japanese guy, Kensuke Takehara. Ken has been living in Milan for the past 7 years, and he has worked as a tailor in one of the oldest and most respected tailor houses of Italy – Sartoria A. Caraceni. The guy knows probably more about Italian suit aesthetics and speaks better Italian than an average local. Why? He says that he had a strong vision and a very good teacher – Francesco Severgnini, one of the few gentlemen who still wears and is true to traditional Milanese style. The question is still “why”?
Wearing a proper suit is “forma di rispetto”– a certain form of respect. It is a gesture showing respect towards the occasion, the place and the people, and is most certainly, a bow towards the art of Italian tailoring. Francesco is in a class of his own, always dressed in his own – Severgnini Milano, with perfectly picked color combinations, one can inspect the best of masculine elegance in every detail of his look.

While catching up with Kensuke, he reproves his student for combining modern pieces like Supreme, Converse and Knickerbocker Mfg. Co. with a classic suit by De Petrillo Napoli. “Napoli!? I’m from Napoli! From the same place where this suit originates from!” says our photographer, Davide Annibale. Davide has been travelling the world to capture the nostalgia and the real essence of the streets of Paris, New York, Chicago and Milan. But he has never lost his Neapolitan identity. He says that growing up in Naples was the best school one could ever have and that it made him extremely aware of the people around him in every sense. “Naples is the place where you understand what it means to be smart, ‘italian smart’, and the place where you simply appreciate the history, because it’s still there very strongly,” he explains. That fact can be seen also in his works as his visual stories are ageless. Just as with a classical sartorial piece, either it’s sewn today or 70 years ago – it is timeless. 

Kensuke Takehara

Kensuke Takehara

Francesco Severgnini

Francesco Severgnini

Timeless like the creations of Sartoria A. Caraceni tailoring house. “Nothing has changed since we started. All the styles, the fabrics, the linings, the cuts and the stitches – everything is still made by hand by the best tailors of Milan, out of the best Italian and English fabrics,” tells Carlo Andreacchio Caraceni, accompanied
with a warm smile while continuing his work. He adds that though all the styles have remained the same since the very beginning, he himself is not a nostalgic person. He is rather positive and lives in the present moment: “Every day I make jackets, for me this is life, this is what I like to do and this is the present and the most important.” Speaking of importancy, the house of Caraceni has been responsible for the looks of internationally well-known actors, statesmen, counts and other significant personalities who have shaped the culture and the society. Having tons of stories to tell that happened in and outside of the tailoring house, from particular Japanese clients to tailoring a frac for the Nobel Prize winner, Italian poet Eugenio Montale, Mr Caraceni could go on with the stories and we could make an outstanding book of or a movie scenario. When I asked him, whether a gentlemen with an incredible life path like his believes in a chance or in a fact that everything happens for a reason, he says that he believes that everything happens for a reason. “Everything has a motif and I’m very sure of that,” he adds with a mysterious look and for a ‘dolce’ gives a tour in the tailoring house that feels like a squareshaped mini labyrinth. 

M. Carlo Andreacchio and Massimiliano Andreacchio Caraceni are the men behind a family-run tailoring house Sartoria A. Caraceni, that has been handed down over 70 years, since its establishment in 1946. The house that has been famous for cutting techniques and has an expertise of one unique technique in particular that is passed on to only one person per generation. Speaking of uniqueness, Alessandro Squarzi might be one of the few Italians who has the most unique col- lection of vintage menswear, not to mention the fact that his own wardrobe is a size of 500 square meters. Recently named as number one best dressing man in the world by Esquire magazine, vintage pieces and timeless style are his passion for life. “I am out of fashion,” says the man, “and I am very nostalgic, I love old military and leather jackets, I love old denim.” He says that it’s easy to wear a modern piece, but to mix ageless pieces with modern requires a good taste and a character to wear it. Clothing style is simply a self-expression. A significant part of Alessandro’s style and how a gentleman could be recognized is because of his White Pant Credo. “I come from Rimini, a beach city where a pair of white pants is a must. And I like to wear my white pants like denim, I like them to look warn, to show the history of a wearer, to be timeless,” says Alessandro and shows his soon-to-be-opened store in Porta Venezia – Fortela. “Fortela is timeless, has no seasons and all the models are the same,” describes Mr Squarzi. In Fortela he will enliven the traditional style of a shop, where you have a tailor always present upstairs and warm timelessness greeting everyone who will enter the store that feels more like a familiar home rather than a shop. 

Alessandro Squarzi

Alessandro Squarzi


Italians say often “la casa mia e la casa tua” meaning my house is your house. That is probably one of the best saying to summarize Italian way of doing things. Once you’re invited, you’re part of the family. And Milan, out of all the fashion capitals, is most certainly one of the most welcoming. This international city still holds its traditions strong, takes care of the styles and heritage, and passes the stories and secrets from one generation to another. From one persona to another. People you meet here all carry and care about the heritage, the knowledge and the experiences shared. Italian mystery could be solved by viewing the traditional menswear and the simple belief that everything happens for a reason. The essence of timelessness has been caught and the proof lies in its history. 


CREDIT INFORMATION | © Davide Annibale