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)

Donnie Dix

Shot in New York City, Donnie Dix is a tribute to the brashness of the 80s. Directed by Sascha Taylor Larsen and produced by Oliver Finley, it is a parody of the type of naive self-obsession which characterised this period in our cultural history. The main character, played by Eli Cusick, embodies the absurdity of an era filled with excess. He represents a particular type of machismo coupled with a total lack of personal accountability. In just over three minutes, Donnie Dix’s character arc unfolds as he moves from total self-assurance to an increasing self-awareness, then the self-doubt which ultimately paralyses him.


Donnie Dix is a representation of the collective consciousness of the late 80s based on the films, music, literature and cultural references we have been brought up with. This playful mood is reflected through Josh Herzog’s cinematography, Alex Hass’ lighting and Alexia Salingaros’ colouring. The feeling of the late 80s is also portrayed through Alexandra Ruggieri’s production design, which was influenced by old 1980’s Ikea catalogues and postmodernist design. The styling choices of Gaby Sprenkle, who was inspired by iconic productions such as Miami Vice and The Lost Boys, also served to create the 80s vibe. 


The singularity of this music video is that the whole concept stems from the lyrics, written by Taylor Larsen himself. These lyrics reflect a young man who exudes self-assurance, but underneath it all is riddled by self-doubt. Based on this vision, Taylor Larsen asked award-winning composer Eivind Hannisdal to create a sound reminiscent of Jan Hammer’s Miami Vice soundtrack but filled with irony. Hannisdal recreates an authentic 80s sound with live musicians and Taylor Larsen’s humorous lyrics are further exaggerated by this use of the 80s sound.  


Donnie Dix is currently touring across the international awards circuit, with the first screening taking place at the Academy Award® qualifying Norwegian Short Film Festival in Grimstad between June 8 – 12, 2022. 

Starring: Eli Cusick


Videography Director & Editor: Sascha Taylor Larsen (@satisfiedsascha)

Producer: Oliver Finley (@oliver_finley)

Photography Director: Josh Herzog (@josherzog)

Casting Director: Cameron Debe (@camdebe)

Production Designer: Alexandra Ruggieri (@sweatticoat)

Costume Designer: Gaby Sprenkle (@gabriellalorensprenkle)

Hair & Make-Up: Elena Kaleda (@elenakaleda_makeup)

Music & Producer: Eivind Hannisdal (@eivindhannisdal)

Art Assistant: Alyssa Franks (@a_list_of_ranks)

Cast: Eli Cusick, Greg Valenti (@gregvalentiofficial), Daddy (@directordaddy), Erik Ramberg, Christina Springle (@springlesprings), Gjermund Gjesme (@gjermspiration), Christopher Torem (@toremof_the_future), Verena McBee (@mcbeellangelo), Amelya Salva


Layer © AdeY

Coinciding with Photo London, Internationally renowned photographer and choreography AdeY will be in London for his first ever solo exhibition in the United Kingdom.


With a background in performance, choreography and contemporary dance, AdeY’s photographic works is a fine combination of these art forms. He studies subjects such as the human body’s balance, strength and physics. Through the lens of AdeY, these naked bodied were bent, stretched, contorted and curled up into different forms, showing the complexity of movements in authenticity.


Titled as Uncensored, the exhibition and its namesake book are in response to the constant censorship he experiences on Instagram. With the increasingly stricter censorship rules on sensitive contents, the exhibition is undoubtedly a powerful yet beautiful protest against the application’s reckless decision and unreasonable deletion. Previously at Los Angeles in December 2021, the exhibition will arrive in London at The Little Black Gallery Pop-Up (4 Garden Walk, Shoreditch, London EC2A 3EQ) from 13-15 May 2022.

Yin-Yang © AdeY

Laundry Time © AdeY

Multifaceted © AdeY

She-Man Part II © AdeY

Breast Friends © AdeY

Are You Sure? © AdeY

Hangout Part IV © AdeY

Synergy © AdeY

The exhibition UNCENSORED by AdeY is at The Little Black Gallery Pop Up from 13-15 May at 4 Garden Walk, Shoreditch, London EC2A 3EQ. Visit www.thelittleblackgallery.com for opening times. The artworks and book can be purchased online from www.boysboysboys.org and www.girlsgirlsgirls.com

Viva Las Vegas

Photography: Paolo Santambrogio (@paolosantambrogio)

Thicker Than Water


Michael Oliver Love (@michaeloliverlove)


Sergi Adonis (@itsonlydylon)

Brandon Alastair (@brandonalastair)

Tommie Fourie (@tommiefourie)

Chad John Payne (@chadjohnpayne_)

Innes Maas (@innesmaas)


All apparel from KVRT STVFF



photography & visual art | ANTONIO MIUCCI

earrings & dress Arcadia’s archive

shirt Stefano’s archive, trousers ACNE STUDIOS

dress vintage

cape VIKTOR & ROLF HAUTE COUTURE, skirt & gloves tailored custom-made

gloves & skirt tailored custom-made

on the left_jacket custom-made, shirt COS 
on the right_dress & gloves Arcadia’s archive

earring vintage

jacket custom-made, earring vintage 

on the left_shirt Stefano’s archive, trousers ACNE STUDIOS

dress & gloves vintage

on the left_dress & gloves vintage
on the right_shirt & gloves GUCCI vintage

on the left_shirt Stefano’s archive styling
on the right_shirt & skirt Stefano’s archive, gloves vintage

dress & earrings Arcadia’s archive

Photographer & Visual Artist: Antonio Miucci (@antoniomiucci)

Key Stylist & Make-Up Artist: Stefano Filipponi (@stefanofilipponi), Arcadia (@arcadia_queen)

Stylist: Fabio Messana (@fabiomessana)

Make-Up Artists: Mattia Attorre (@piangoarcobaleni), Daphne Bohémien (@daphne.bohemien)

Wigs: Marcoswigs (@marcoswigs)

Talent: Stefano Filipponi, Arcadia

Undress Me Mentally


photography | ROMAN VALYNKIN

underwear CALVIN KLEIN


Photographer: Roman Valynkin (@bold__and__young)

Model: Aleksandr Blinov-Lepëshkin (@magic_maan)



Photographer | Il Retallack      Stylist | Emanuel Catrina

Photography, Hair & Make-up: Il Retallack (@ilretallack)

Styling & Fashion Creation: Emanuel Catrina (@ecatrinaa)

Model: Chris (@chrisjohnflora)

The Blur of the Distortion in the Future

Photography: MASA (@photography.by.masa)

Makeup: Miki Matsunaga (@mikimatsunamakeup)

Hair & Headpiece: Massanori Yahiro (@massanoriyahiro)

Models: Lula Cauthery (@lulacauthery), Luise Kircher (@luselmann)

By the Lake

Photography & Styling: Niv Shank (@nivshank)

Model: Jakob Jokerst (@jakob.jokerst)