Hello Julian, welcome to CAP74024. Could you please introduce yourself to our readers?

As much as everyone, I’m many things at the same time and I’ve been many things, I’m a mother, I’m a father and a child but there are two main forces inside of me, defining who I am. A wanderer who, in his own rhythm, moves along and this storm, this force that comes very sudden to take me away, picks me up and turns me around. My mind dances on this wind like a bird, soaring higher and higher away from everything. This distance between me and the world, is bridged over by art, but very much defines who I am.
When I was 15, I started working as a model in Milan and London, then later on as a fashion model all around the world and this combined with these forces inside of me, was a very peculiar mix, it made me who I am now, I guess. This life as a model was a very lonely one: always in different places at a young age, the money you have you spend, but I had the pleasure of working with a lot of very interesting and influential people. When I was watching these photographers and designers, I realised that they’re not working at a job, they are what they do every minute of every day. I knew then that I wanted my life to be like that. I was writing a lot in those days, and programming beats but I knew I was more into the fine arts, and when school was over, I packed my bags and left Vienna. I was heartbroken and I never wanted to go back, I spent a lot of time in Paris, New York, Milan, Barcelona – during those years art became the main focus of my life.
Then 9/11 happened.
I was in New York, staying with a jazz musician and his girlfriend from Vienna. We woke up and heard a bang, and we had this huge panoramic window with a view of Manhattan, and we saw the massive cloud and the towers. It was a nightmare which changed everything. Watching these poor people have everything destroyed and this huge hole in the world open up, at that moment and in the days that followed I realised that if you don’t start to live your life now and there is always only now, it might be over tomorrow. It sounds cheesy but that’s how it is; that’s when I decided to really do all the stuff that I had in my head and my hands and my veins and I said, ‘Okay I have to find a way to channel this and get it out because if I don’t, I’m going to regret it for the rest of my life.’ So once the airports were open, I flew back to Vienna I cancelled all my jobs and ended relations with all my agencies and started to prepare for university and trying to get into the creative process, now its 20 years later and that’s what I’m still doing. I’ve hiked a long way in that time and got lost a couple times on the way, now creation is an everyday part of my life with no beginning and no end.

In this particular photo project, you’ve referred to yourself as having ‘gender neutral DNA’. Has gender always been a concept that you’ve questioned?

Like I said before, I have a problem with stereotypes and gender is a stereotype. I would turn it around; I don’t have a problem with gender itself, but it’s about freedom. You can choose. I know for some people it’s a very hard thing, especially growing up it can be a real problem. But it wasn’t ever for me, I always felt who I am very much and that I would never fit in any off those boxes – there’s a strong core inside of me like an anchor that keeps me bound to who I really am and it is not defined by gender rules so I can float and feel very free and play with expectations across all borders. Also, I really love the word gender neutral, it’s a very cool word.

As someone who normally has complete creative control over projects such as your sculpture and painting, how easy do you find it to share a vision on an editorial like this with photographer Hilde Van Mas?

We haven’t known each other long, but when I saw her work, I totally felt a connection and wrote to her on Instagram and said if you ever want to work with me give me a call. I didn’t even realise it, but we were living in the same city, so she wrote me back and said she loved my work, and we should do something. She’s a very sensitive, very unique person; she meets someone and very soon she gets to their core, she sort of has a feeling for that. We had a back and forth of ideas over lockdown and then when we got to the actual shoot I just said,
‘Go ahead. Do what you want. I’m a blank canvas. I’m your clay – mould me.’
When I was a model, I was very young and scared of losing control, but now I enjoy giving up control. Hilde’s a brilliant maniac on set, shouting commands most of the time I didn’t even know who she was talking to, or in what language, so I just distanced myself and enjoyed watching the whole process – I didn’t know what was happening but it was good, I was just smiling the whole time and felt a strong connection, like a dialogue without words.

crystal wig DISCOCAINE

metal underwear DISCOCAINE

tights WOLFORD

The editorial includes a quote from the poetry of Emily Bronte, a literary figure who worked under a male pseudonym and whose work is renowned for displaying primal passion. How does her character relate to the creative direction of this project?

 To be honest, I’m not so familiar with her work. This part came from Hilde, I just took it, liked it, and thought it made a lot of sense as a piece of the puzzle. I love her story, it’s amazing. It would be farfetched for me to go into detail as it was more from Hilde’s side. But that brings us back to this idea of giving up creative control – sometimes in this line of work people get over protective of their own space and their own creations. You work all your life to get this space where you can lay your land, but you have to let people in. Hilde has her own space within my space.

 Throughout the 2000s, you worked as a model on some iconic fashion shoots, notably Jean Paul Gaultier’s ‘Fragile’ campaign. How do you think your experience as a model has influenced your vision as an artist?

 I’ve asked myself that question many times. I fell in love with light when I watched these people work. Photographers will cast these models, these personalities, get them in a room they set up like a stage, and then there needs to be a chemistry, something needs to happen, and you have to try and record that. I was going through my archive a few months ago and found a lot of my old modelling photos. There’s such a huge difference in the interpretation of my personality, of the room, of light, of the colours, and what’s deemed important. On a subconscious level this influenced me a lot, on a conscious level this helped me to define my own vision and realise how important lifestyle is, and not becoming a businessman. It taught me not to over professionalise things as an artist, and what does it even mean to professionalise art? Doesn’t it mean to be as independent as possible and not a slave to trends and market demands? I think it’s important to be true to yourself and your vision, your perspective. When I was working with Ellen von Unwerth, I could see that her work was her, it’s the same with Mario Testino, Jean-Baptiste Mondino, their work is them. Then the agents and clients come along and say,

‘I like what you do.’

It’s not the other way round and that’s important.

This editorial has a raw sexuality about it, somewhat reminiscent of the works of painter Egon Schiele, who comes from your native Vienna. Has his work at all inspired your own?

 When you’re from Vienna you can’t escape Egon Schiele, he’s like an alter ego for all of us. But growing up I sort of had to choose between Klimt or Schiele. I was a Schiele guy; I liked his rock and roll approach. In those days Vienna was the centre of the European world along with Paris and you can feel this intellectual consciousness in the freedom of his strokes. As you said the sexuality is so open; we tend to think these days that because we can see anything online and we can go to sex positive parties etc., that everything is free and open now and it wasn’t in the old days. It wasn’t legal or appreciated in public, but there was a real openness to things and some very interesting approaches to sexuality, life, and personal freedom. Although you have to be careful with Schiele’s interest in young kids, I don’t know if it had anything to do with his sexuality or it was just his way of showing things, but there’s a discussion to be had. I feel his sexuality more in his self-portraits and the way he works, not so much the nudeness. He loved the human body as a landscape, the way bones are dipping out, he painted sculptures out of humans, and himself.

For this editorial, you’ve mentioned the concept of ‘the artist becoming working material himself’ – would you consider this a form of performance art?

 I like that question. What is performance art? It’s hard to say. The answer is yes, of course. But I consider a lot of things in my life performance art. When I go to a club and dance all night that’s part of my artistic expression – is that a performance? Maybe. For me it’s a very spiritual thing. Art is the process of opening up like a flower to the world, and letting things seep in, I think this is a performance, and sometimes there’s someone there with a camera but most of the time i end up in the studio creating out of this flow. Now we’re back at labels, and putting things in certain categories

You have named your latest sculpture ‘First Kiss, First Love, First DUI’. What was the inspiration behind this title?

When I create, and step back to look at the finished work, I always give it a bit of time to let it sink in, to let it rest, and to see where it fits in within my universe. These creations are the relics of my life. When I was doing this sculpture, I had this feeling of total uncontrolled freedom, all the boundaries, all the good and bad stuff that had accumulated over the years just went for a few days, and I looked and it and wondered how I could describe that feeling in just a few words. Then I thought its exactly that moment. The first kiss which drives you to the first love and pretty much onto the first DUI sooner or later. This forbidden quality creates a spark and an energy that makes you fly above rules and society, even family values which are deeply programmed into your thinking – whatever stuff that normally holds you to the ground.

You’ve previously spoken about ‘irrational fear’ as an inspiration behind some of your work. However, in this selection of photos you come across as fierce and defiant. Do you think these are emotions that can coexist?

I did a podcast in Austria during lockdown, where I was talking about my realisation how much we are controlled by our fears. For me, the primal fear is always there, but once you find it, it becomes less powerful. To put it bluntly, I’m not so scared of my fears. When it comes across as me being fearless, that’s a great compliment, but I’m not, I’m just accepting my fears as a part of me, so they are just that, a part of me but only a small one and most of the time, they disappear.

Artist: Julian Khol (@julian_khol)

Photography: Hilde van Mas (@hildevanmas)

Artistic & Creative Direction: Thomas Reinberger (@thomas.reinberger)

Styling: Marlena Gubo (@marlena.gubo)

Make-up: Sarah Bzoch (@sarah.bzoch)

The Burden

Photography & Casting: Pep Pérez Guarro (@pepperezguarro)

Styling: Milagros Louzao (@milagroslouzao)

Art Direction: Laura López (@lalovilar)

Make-up: Jorge Zúnica (@lucifrede)

Photography Assistant: Juan de los Mares (@delosmaresfoto)

Styling Assistant: Marta Morales (@m.moralesalonso)

Art Assistant: Greta De Zani (@zelda_degrani)

Make-up Assistant: Laura Benavides (@laurabenavidesmakeup)

Models: Estrella (@estrelletaa_), Teo (@teoboulassys), Mohammed (@mewalga_nas), Ana (@anapayanoo),

Taís (@taisxvieira), Simón (@simonluvcadam), Xinyi (@xinyizhg), Joan Maria (@jmdotras), Fernando, Beza

All pieces are from Ura Pérez

Après La Pluie


blazer vintage, bra PRADA, shoes BALENCIAGA

(left) dress zara, pants vintage, sunglasses GUCCI, shoes BOTTEGA VENETA

top & leggings MARINE SERRE, shoes MISBHV, earrings LORETTE COLÉ DUPRAT

Photography: Raphaëlle Foulon (@raphaellefoulon)

Styling: Camelia Tlemçani (@camelia.tl)

Photography Assistant: Mariama Ambre Ndiaye (@yama.ndiaye)

Model: Manisha Pere (@maneeshapere)

Mystic Essence

Mystic Essence

Photography | Albert Font

Photography: Albert Font (@al.bertfg)

Model: Isabella Forget (@isabellaforget)


top stylist’s own


photography | LUIGI CIANFARANO

(left) dress REAREA STUDIO, sleeves ALBERTO ZAMBELLI, shoes stylist’s own
(right) top JIANG YULING, pants ROTATE by BIRGER CHRISTENSEN, bag & earrings LOST IN ECHO

top YOUWEI, jeans REAREA STUDIO, underwear LA PERLA 


coat stylist’s own, underwear LA PERLA, tights WOLFORD, shoes NODALETO

Photographer: Luigi Cianfarano (@luigi_cianfarano_ph)

Stylist: Sara Latella (@sarallatella)

Make-Up Artist: Lorenzo Stella (@lorenzostellamua)

Hair Stylist: Alessandro Firenze (@firac)

Model: Tanya (@tnxaa)

Deep Blue Day

shirt COTTONADE, shorts vintage, tights GUCCI, hat vintage


(left) skirt BLANCO VALIENTE, jacket MOSCHINO
(right) dress BLANCO VALIENTE, skirt MOSCHINO, necklace vintage


gloves CÓNDOR, ruff vintage

Photography: Alba Cantero (@albacantero_)

Styling: Martina Blanco (@bymartinabv

Make-up: Natalia de León (@nataliavila_makeup)

Model: Manuel Dominguez (@nelness)

Wardrobe special thanks to: Alto Copete (@alto_copete)

PUCCI: The Beginning of a New Age

PUCCI: The Beginning of a New Era

Camille Miceli’s first collection for PUCCI marks the dawn of a new era for the Florentine fashion house.

Camille Miceli, the Florentine fashion house Pucci’s newly assigned Artistic Director

The launch of Camille Miceli’s debut as PUCCI’s Artistic Director was far more than just a new collection, it was a rebirth. The brand’s new direction focuses on the ultra-contemporary, both in terms of style and way of life. This vision sees past the restrictiveness of seasonal releases and embraces the ‘see now, buy now’ spirit of monthly drops. Whilst this new ethos is incredibly modern, Miceli has ensured that the house does not lose sight of its history, hence why the first destination of this new journey is Emilio Pucci’s beloved Capri, where the brand’s first boutique opened in 1951.

Titled La Grotta Azzurra’, this release took the form of an entire weekend experience comprised of dinner, a yoga class, a villa party co-hosted with Mytheresa, a gran brunch, and more. Brand ambassadors and contemporary creatives ranging from Vittoria Ceretti to Gunna were in attendance for the festivities on the island.

Miceli at the Capri Casual dinner with Katia Toledano, Nicolas Maury and Imruh Asha

The Pucci yoga class in collaboration with Mytheresa

The spirit of the collection itself completely defies the conventions of the fashion world; the nomadic wardrobe does not confine itself to any one season or destination, allowing it to be mixed and matched as desired. This mix-and-match concept is also embraced in the reworking of PUCCI’s iconic motifs. Typically kaleidoscopic prints such as Geometrico, Girandole, Marmo and more have been reinterpreted via patchworking, as well as experimentation with scale, offering a modern impression on the house’s roots.

The modernisation of the house’s roots can again be seen with its brand-new logo. Inspired by a 1953 ‘Capri Sport’ label retrieved from the archives, the houses new chapter is spearheaded with an intertwining dual fish, shaped as an emblematic P. It features in various forms, as a belt buckle, jewellery, adorning sweatshirts, and more. Drawing on the joie de vivre essence of Capri, the collection offers caftans, kimonos, miniskirts and more, with details of fringes and ribbons giving it a true sense of crafted luxury.

Designed for ‘the timeless simplicity of a fleeting moment’, this is a collection which manages to feel distinctly modern yet unmistakably PUCCI; pieces have graceful curvature, yet transcend the boundaries of gender. The triumph in Miceli’s first collection is its ability to feel simultaneously refreshing and familiar, and its just a taster of what’s to come from the Parisian designers tenure at the historic brand.

Miceli grooving with Gunna at the Bagni di Tiberio luncheon

(left) Tiffany Hsu, Fashion Buying Diector of Mytheresa  (right) Emmanuelle Alt and Carlyne Cerf at the Villa Belsito party

Text: Harvey Byworth-Morgan

Sam Matthews


photographer | MATTHIAS OGGER  stylist | RHYS RIPPER

swimmers HVNC, blanket MISSONI, pendant CLEOPATRA’S BLING

shirt B, speedo TORCASIO, necklace CLEOPATRA’S BLING

(left) speedo SMITHERS, pearls WILLIAM HANNIGAN
(right) speedo SMITHERS, pendant CLEOPATRA’S BLING

shirt KLOKE, pants SOLID OCHRE, sunglasses VAANYARD

hoodie TOD’S, shorts POOL

(left) shirt FRESCOBOL CARIOCA, shorts GUESS, hat SAWFT WEAR (right) sweater ACNE STUDIOS

(right) speedo ORTC

Photography: Matthias Ogger (@matthiasogger)

Creative Director & Stylist: Rhys Ripper (@rhysripper)

Photographer Assistant: Ben Alexander (@toybonk)

Stylist Assistant: Billy Chambers (@billychambersstyling)

Talent: Sam Matthews (@sammatthews8)

sweater MR PORTER, pants VALENTINO

The Digital Fashion Revolution

The Digital Fashion Revolution

The luxury upcycling brand Rave Review transports their craft to the metaverse.

Rave Review, the female-led, high-end upcycling brand from Stockholm have officially entered the NFT sphere with their brand-new collection Cryptopanties. The set of one-off collectible items has been released on the carbon-neutral blockchain Solana.

The Swedish fashion house, born in 2017, has rapidly emerged as one of the leading upcycling brands in the luxury market. In the physical world, they have made a name for themselves utilising pre-owned fabrics to produce bespoke high-end items with a rebellious spirit. Now they are bringing this very concept to the metaverse, keeping their core values of subverting norms and upcycling at the heart of the project.

One of the key goals of the campaign within the metaverse, an emerging digital space that has already become male-dominated. In order to achieve this, not only have Rave Review collaborated with several female led groups such as RedDAO, Boys Club and Women’s Tribe, but they have also partnered the project with leading female personalities like Arvida Byström and Tove Styrke. On top of this, each set of panties has been named after trailblazing women in the creative industries, such as Frida Kahlo, Madonna and Erykah Badu.

Not only acting as futuristic pieces of art, the Cryptopanties NFTs will provide their holders with a variety of perks, in both the digital and physical worlds. Via the community platform WERZ, the holders have access to a community vast in gender, interests, and expressions. Furthermore, ownership of the NFTs also allows early access to drops, collaborations, and exclusive events. These groundbreaking steps taken by the ever innovative Rave Review offer us a progressive picture of what the future holds in the metaverse.

Words: Harvey Byworth-Morgan

British Summer

Arual_dress photographer’s own, clogs model’s own Vi_dress photographer’s own, socks COMME SI, sandals MIISTA

(left) top & shirt model’s own, trousers PEACHY DEN, earring JUSTINE CLENQUET, scrunchie GANNI  (right) total look model’s own

(left) total look model’s own

(right) Vi_top model’s own, shirt POLO RALPH LAUREN, shorts COMSI  Arual_total look model’s own

Photography, Styling & Art Direction: Carina Lammers (@carina.lammers)

Make-up: Katie Downer (@katiedownermakeup)

Photo Development: Rapid Eye (@rapideye.darkroom)

Models: Arual (@arual_cyer_mayar), Vi Lath (@vaibhavilath)