ModaPortugal 2022 - A Spectacular Fashion Showdown

Porto, mid-December. Winter in North Portugal is chilly. With the continuous drizzle and the wind blowing along the valley, a damp smell envelops the slippery city. But this did not dampen the enthusiasm and excitement of those young fashion talents who have just arrived. Hailing from six European countries, eighteen aspiring fashion designers were welcomed by ModaPortugal for the annual event. Over the course of their four-days sojourn, the designers visited six of the top manufacturers from Portuguese’s thriving textile industry, had an in-depth experience with Portuguese cuisine and wine; and most importantly, participated in a fashion showdown for the best collection of the year.


These young designers, representing eight fashion institutes all over Europe, came to Porto with their fresh and unique vision. A jury of seven fashion experts from different disciplines convened in a beautifully decorated chamber in Pálacio da Bolsa (Stock Exchange Palace), the city’s Neoclassical architectural gem and the UNESCO World Heritage Site, to evaluate the young designers’ collection from concept to outcome. After an intensive day of evaluate, they selected a best collection from each of the six countries, and a best collection across all.

Creative director Miguel Flor’s installation “LIFE CYCLES” took place in Salão Árabe, Pálacio da Bolsa

Designer Taneli Ukara from Aalto University is the winner of Best Collection Award Finland. Ukura approached the collection as a puzzle and developed an alternative pattern-making methodology under the principle of zero-waste pattern cutting. This new method allows the clothing to structure into a more universal, pre-defined and multifunctional elements which could be purposed in garment in various different manners.


The title of Best Collection Award France was given to Zoé Gerolymous from Institut Français de la Mode. In her collection “RANDONNÉE”, Gerolymous wanted to return to the original purpose of clothes, which is to cover oneself, and focused on the practicality and utility of the garment.


Experimental laboratory Agapornis snatched the Best Collection Award Switzerland. Founded by designers Zoé Marmier and Louise Jarrige, the duo collaborated on their collection “SELF LOVE LETTER” during their masters at HEAD Genève. Their cute and romantic design blended couture perfectly with sexy and functional ready-to-wear.

Chinese designer Fengqin Yue from Polimoda was crowned as the winner of Italy. His collection “WARRIOR, POET” juxtaposes two groups of people who hold contradictory view on warfare. Poets laud for peace and warriors appear in wars, this contrast made him think about the pain that wars bring to mankind. Using fabrics and support materials that came only from vintage military garment, Yue’s collection also incorporated some unconventional materials like parachutes, tents or camouflage nets. Through this collection, Yue wanted to express his views on calling for peace and opposing wars.


Also from East Asia, award-winning South Korean designer Dayoung Jang from London College of Fashion joined the league as the winner of Best Collection Award United Kingdom. Her collection “HYPER BOBUSANG” focuses on the functionality and versatility of outfits, but with a humorous touch. Taken inspiration from her personal travel experience, she wanted to offer some experimental suggestions on how to dress wisely while traveling. The long-haul flights from Seoul to London often got her sweaty, and to carry a lot of luggage with her is truly bothersome. These inconveniences inspired her to merge accessories like neck pillows, belts, pouches or backpacks to her garments. The draping resembles the sweat-drenched clothing, and the waterproof fabrics enhance the functionality of the garments.


The winner of the host country Portugal is Andreia Reimão from Modetex. Previously the winner of Portugal Fashion’s Bloom and a finalist at ModaLisboa’s young designers’ competition, Reimão is not new to fashion competitions. Her collection “PLEASE (BEHAVE YOURSELF)” is dedicated to the fragility of masculinity. The concept came from Polish photographer Paweł Jaszczuk’s photography series of drunk Japanese men in suits and ties. These men in formal attire succumbed to alcohol and slept alongside the streets in uncontrolled postures, but they were inserted well in the society. Reimão aimed at creating a feeling of being out of place, designing a collection that seems incoherent while it is actually not.

Designer Ivan Hunga Garcia explains his collection to the jury in the beautifully decorated chamber

Norman Mabire-Larguier is the winner of ModaPortugal Best Collection Award

The evening culminated in Swiss designer Norman Mabire-Larguier taking home the biggest prize. Sensitive and radical, his ModaPortugal Best Collection Award winning collection is an intimate and progressive personal journey in quest of freedom. Mabire-Larguier refused to label his collection or to summarize its interpretation in a few sentences. According to him, the strongest way to connect with his work is through breathing. Between inhaling and exhaling, he dived into the heart of his emotions, gave shape of his inner world and expressed the unspeakable feeling of hinderance that has suffocated him in his development as a queer person through his garment. Body is his raw material and garment is medium. He worked directly in 3D, on the body of someone whom he felt close to. This rendered a sense of intimacy to his design, which won him the favor of the jury and the ultimate glory.

Aside from the seven award winners, there are also some designers worth mentioning. Australian-Taiwanese designer Samuel Lewis, who represented Polimoda and Italy, pulled out a quirky and whimsical collection filled with art and cultural reference. Inspired by Lou Reed’s anthology “Do Angel Needs Haircut?”, the idea of the collection is to prove that an angel is not necessary all that it seems. Due to his parents’ job, Lewis has lived in various countries around the globe. Behind his loud, campy, eccentric and flamboyant design, the collection is actually a tender retrospect of his childhood love and memories, his cross-cultural identity and the artworks he has seen.


Also represented Polimoda and Italy is Polimoda’s 2022 Best Collection Award winner Federico Di Nisio. His collection “MODERN ANTINEUTRAL” is a manifesto of cubism in the early 20th Century. The main concept of his collection is liberty, and it reflects on the materials and the techniques he used. Growing up, Di Nisio searched freedom through skateboarding and sailing. He combined scraps from sail and styling details of skater boy with the silhouette of the 40s tailoring. As Di Nisio stated, he loves to match tailoring with sportswear, making wearable and fashionable clothes for people.

The final credit of the fashion showdown

The ModaPortugal event was held in the beautiful Neoclassical building Pálacio da Bolsa.

Portuguese designer Ivan Hunga Garcia’s collection is based on the theory of object permanence. He used SCOBY leftovers from fermenting Kombucha as material to make fabrics. The symbiosis of bacteria and yeast is alive and is susceptible to external factors. This kind of uncertainty will affect the eventual outcome. According to Garcia, the collection is a combination of all of his long-term projects, which is to create biodegradable designs. Since his materials are alive and organic, the clothes will eventually die and be completely waste-free and sustainable.


Also taking about sustainability is designer Benjamin Ethan from London College of Fashion. He used recycled garments and fabrics to create his collection “Cloud Troubadours”. As a sustainability practitioner and a person who always has his head up in the air, he reinterpreted the everchanging form of cloud within the textile and gradually shifted the narration to the innovative ways of reusing and repurposing fabric scraps, deadstock and vintage garments.


Closing the ModaPortugal fashion show is the design of Leo Prothmann from London College of Fashion. It is no exaggeration to describe his collection as the most theatrical and fetishistic of the night. Inspired by German artist Rebecca Horn’s philosophical concept, the collection is a personal journey of finding “safe spaces” amongst outsider communities. This led him to look at loads of sculptures because they are silent and they looked at him back without judgement. His fondness for Japanese bondage art Shibari inspired him to incorporate ropes into his design, and his childhood memory of lorry carrying water to his home in Mallorca gave him the idea to fix metal on the shoe soles. All the elements resonate with Berlin’s underground techno subculture, which is known for its diversity and open-minded energy.

Finland | Ellen Rajala, Jarno Kettunen, Taneli Ukura (from left to right)

France | Mouyakabi Diomandé, Paul Billot, Zoé Gerolymos (from left to right)

Italy | Federico Di Nisio, Fengqin Yue, Samuel Lewis (from left to right)

Portugal | Andreia Reimão, Ivan Hunga Garcia, Rita Miguel Costa (from left to right)

Switzerland | Agapornis, Neils Raonison, Norman Mabire-Larguier (from left to right)

United Kingdom | Benjamin Ethan, Dayoung Jang, Leo Prothmann (from left to right)

Text: Yves Tsou



Collaboration between Olivia Ghalioungui & Julen Iztueta

Olivia and Julen collaborated on a series of images, remixing them into collage format to combine the elements that inspire both of them. From nature and the physical body, these inspirations serve as an expression of the identity and the self. Parts of the way we see ourselves may sometimes feel broken and mangled, and a lot of the time people can find themselves in nature again. Through the action of ripping – which symbolizes the aggressive and oftentimes harsh view we have of ourselves, and placing the different pieces in naturescapes, it all seems to fit and the chaos balances itself out again. Then, in some other images, the pieces of the body are scattered, representing the chaos surrounding self-image and identity when lost.

Photographer: Olivia Ghalioungui (@oliviaghalioungu)

Collage Artist: Julen Iztueta (@juleniztueta)

Napoli Napoli Napoli

Napoli Napoli Napoli

Book launch and photography exhibition of Brett Lloyd’s love letter to Naples

As one of the most quoted contemporary names in fashion publications, British photographer Brett Lloyd never ceased to express his fondness for Naples in his photography. He compiles his affection for Naples in his new book “Napoli Napoli Napoli“.


Born in the north of England, Lloyd spends most of his time in Italy, particularly in Naples, a city he fell in love with and has been visiting regularly for twelve years. It is to this city that Lloyd dedicates the book, which recounts ‘a day in Naples’, an excursion from dawn to dusk that meditates on classicism, the cathartic power of the sea and the unique influence of the ancient landscape.


Coinciding with the book launch, Lloyd held an exhibition in Paris during ‘Paris Photo’ – Paris’ answer to photography week on November 10th, 2022. Another exhibition will take place in Spazio Maiocchi in Milan on November 17th from 9 am to 5 pm (according to the space’s opening hours). Lloyd will also be launching specially designed t-shirts to promote local businesses, 100% of the proceeds of which will go to support the non-profit organisation ‘Friends of Naples’ for the restoration of the city’s historic structures. The t-shirts will be made by the Naples design team Vienmnsuonno1926.


To understand the backstory of the book and his creativity, CAP 74024 invited Berlin-based PR office Reference Studios to have a talk with Brett Lloyd, which Lloyd talked about his discoveries, experiences,  creativity and ties to his beloved Naples.

Why napoli? Or better, how did you discover napoli and what brought you there for the first time?

It was 12 years ago, on my way to visit a friend who lived in Sorrento. I arrived late into the city and missed my last connecting train to the Amalfi coast so I was stuck in this city I had not been to before. I wandered into the historical center through Porta Nolana. Discovering the city for the first time at night. It was very impactful. The infrequent yellow lights brought shapes out of the walls and alleyways, it was a dream. I had left by mistake my passport in Rome so no hotel would accept me as a guest that night but I was more than. I was happy to spend my first night in Naples walking around exploring until the following morning, after that night I was hooked for a lifetime.


Which reasons made you go back there so often for so long?
The list is endless, I think the chief reason could be the calm I feel being surrounded by the chaotic beach life in Naples. In a great crowd and bustle I feel tranquil and solitary than on other occasions and really manage to relax. You have the ocean, the volcano, the roman ruins, the vistas. You need only to walk along the foreshore, and keep the eyes wide open, to see the most unequaled scenes. I have been going for 12 years now and you would expect some sense of complacency but there is none. Each day I see something so remarkable I think it’s impossible to see more. Always something new, some fresh absurdity.


As pretty much all southern italy, napoli can be very warm and welcoming but also exactly the opposite; what was your experience in this sense?

It’s for this reason that it is magic. It reminds me a lot of my upbringing in a working class town in Yorkshire, a poor town with great warmth but a lot of worry, a great amount of cares and concerns. My book is only a slice of Neapolitan life. I focus on life by the water, the beaches and the time in Most people’s day when they can relax and unwind. The cathartic power of the sea. Naples has far too long been documented only on the harsher realities that exist there, and although. Yes it’s a part of the culture since it’s a relatively poor city, it should not be the only vision that’s presented to the world. I hope my book can shift some of those preconceptions.

What are the main changes you saw in the city throughout the past 12 years?

Not much thank goodness, it is not a city that changes, hallelujah. One great thing is the money spent in the city recently on the restoration of the cultural landmarks in preserving them. Restoring the damaged churches and historical landmarks for future generations to enjoy.  I have collaborated with one of the charities in the city “Friends of Naples” who do just that, I have made four t shirts that Celebrate four of my favorite businesses, all proceeds of the sales go to the charity.


How did Napoli impact your artistic production?

The book was photographed over four summers, starting in 2018. It was refreshing to take my time, great to work on a project that would be ready when it’s ready. Coming from the fashion photography industry we are used to tight deadlines. This was the opposite. Pasquale Nappi became my muse who I would shoot each Summer, we would work on images together, some spontaneous as we were having a day on the rocks whilst others such as with the golden face portrait we would plan in advance. My limited Neapolitan meant that a lot of the portraits were achieved with little to no dialogue between us, so the beauty in those shots for me are the peoples own creative input, their instinctive posing and glances at the camera. Full of soul. I am an obsessive of archaeology and ancient history,  I’m in my element along the bay of Naples. From the ancient baths at Baia, along Posillipo to Pompei and even Paestum, it was a joy to learn and  develop my technique of landscapes and still life, just me, my Rolleifelx  and the ancient Roman and ~Greek fragments of those civilisations.

Look at You by Leo Luchini

As the son of acclaimed German film director Rolf Liccini, music artist Leo Luchini approaches his craft through character work based on acting techniques, combining songwriting with performative storytelling so as to pick apart the perils of life in his own international charm.


‘Look At You’ is Luchini’s 3rd self-produced and co-directed music video following his acclaimed ‘Bubblegum Creep’ in 2016. This also comes on the heels of his opportunity to remix the legendary Tricky earlier this year on iK7. He’s also been featured on line ups with Cakes Da Killa, and producing with Nasty King Kurl and Brava Blings in the late.

© David Mesa

Starting out his music career in London in the Peckham rap scene, Leo Luchini is now programmer of Berlin’s Trauma Bar und Kino, as well as an actor. His signature moody and multifaceted production create the foundation underneath his classic melancholic melodies and ever-evolving lyrical deliveries.


CAP 74024 is pleased to invite Leo for a talk, sharing his inspiration, creativity and growth during the making of ‘Look at You’. From composing, to remixing and further to filming the music video, this black comedy-esque performance is a masterpiece styled to match the dense clash of distorted metal guitar and slick trap syncopation: a filmic fantasy where deathly spectres are counterbalanced with the vastness of an angelic infinite afterlife.

1. Where did your inspiration come from for your new track ‘Look At You’ in terms of the lyrics and direction of the video?


With this track and video I wanted to build a framework that could encompass a range of inspirations for me. From the lyrical standpoint I wanted to further develop my lyrical themes of existentialism and equilibrium and reflect that on screen through concepts of limbo and the afterlife [I was reading Sartre’s ‘No Exit’ at the time]. From a performance aspect, I’ve been hungry to act and perform more – so I developed a character for myself that was a subconscious being with a body language based between exhaustion and exorcism.


Honestly, what fuelled this project most was my frustration with what I felt was becoming lukewarm standards. I had been through a lot this year and I needed the release to shed old skin and free myself again through a performance with urgency. So my main inspiration was this hype-denier energy – this bluff-caller energy – a call for real connection that is un-swipe-away-able – a wake up call for looking at oneself at was has become, as one does in any therapy. It’s a battle with ourselves first and foremost. The song and video are really about this romantic die-hard commitment.

2. What was your favourite part about recording the video?


My favorite part was working on this character behind the lyrics, which is already inside me, and connecting the voice in front of the mic to the person in front of the camera. So much can be found on this level. I dug deep in preparation with Meisner technique workshops to embrace meaningful moments, body language exercises and psyching myself up through revisiting intense memories. It was extremely therapeutic for me.



3. Did you learn anything about your artistry while putting together ‘Look At You’?


I learned the ironic reward of discomfort. This commitment itself to perform the story whatever it takes. Shooting 12 hours straight in the cold rain, literally lying on the floor and throwing my body around, wearing contacts lenses that itch like crazy (nearly couldn’t get them out), wearing fake blood on my skin all day, doing my own stunts – then sleeping 3 hours and walking to the basketball court with my angel wings, my acoustic guitar and a ladder to shoot the end shot sitting on a freezing metallic hoop 4-meters high at 5am golden hour was hardcore. It’s a reminder that if it’s not a little uncomfortable, its probably not worth doing.

© David Mesa

© David Mesa

4. You recently remixed Tricky, how did this collaboration come about?


I hosted Tricky at Trauma Bar und Kino last December for the premiere of his directorial debut “Lonely Guest”. We got along like a house on fire and a few weeks later his team hit me up about being part of the remix release for the album of the same name. I was so gassed – I had to pinch myself. I chose the Rina Mushonga track ‘Pipe Dreams’ because her vocals are such a raw expression on it and the lyrics really hit home for me at the time. I must’ve made like 10 versions…. Was definitely an honour to be part of it and also alongside artists like Space Afrika also.



5. Can you tell us a little bit about your work as programmer and music curator of Berlin’s Trauma Bar und Kino?


In my role there working on the music programme, I definitely take from my past experience working in venues like the ICA and Bold Tendencies in London but also take a lot from being an artist myself. With this, I try to lead with a collaborative spirit, behaving more like a project-space for immersive, site-specific and cross-disciplinary performing arts, not just a music venue. Luckily we are a well-equipped hybrid space with an incredible team of individuals who equally seek the beyond together with me.



6. Do you have anything coming up you want to tell us about?


You can expect a remix compilation of ‘Look At You’ out in December 2nd featuring several producers to raise charity donations for the situation in Iran.

© David Mesa

© David Mesa

‘Look At You’ by Leo Luchini will be self-released on Oct 27th, 2022. Follow his artistic trajectory via his Spotify.

The Creators

Photography & Creative Direction: Jelena Jankovic (@bitefzena)

Styling & HMUA: Street Casting

Terraforma 2022 - Bonding with Nature Through Music and Dance

The pandemic is not over yet; but thankfully, things are gradually back on track. For two years, our freedom of movement has been limited; traveling round has become an unattainable luxury. Events were cancelled, same as holiday plans. As an underground electronic music lover and festivalgoer, missing the opportunities to see my favourite musicians play live was definitely excruciating. Among all those tickets I got refunded, Terraforma was the one that I felt most pity for.


Taken place in Villa Arconati, an 18th century manor house located at the northeastern outskirt of Milan, Terraforma is one of the most-anticipated music festivals here in North Italy. Luckily, I had the luxury of experiencing its charm pre-pandemic, and it was truly fantastic. This music festival is one of a kind; it is an eclectic mix of sonic experimentation, contemporary art and our relationship with nature. Centered on environmental sustainability, Terraforma renders partygoers an extraordinary sensational enjoyment under the pretext of eco-friendliness.


Adopting sustainability as leitmotif, Terraforma not only have their core thinking written on their website, but also put them into practice. All drinks are served in reusable containers; any refill with them will be entitled to a discount. Only eco soaps are allowed in the camping area, bio soaps will be provided for those who don’t have any.

Sofie Birch, a sound artist specialising in soft soothing ambient  © Stefania Zanetti

DJ Paquita Gordon playing at the Vaia stage  © Riccardo Fantoni

Aside from on-site practices, Terraforma also collaborated with various architecture and design studio on some long-term projects on the restoration of Villa Arconati’s landscape. Over the past  few years, they restored a pre-existing 18th century hedge labyrinth with local flora from scratch and reforested the camping area by planting more than 100 saplings on the event’s territory. Almost all the facilities (tables, benches, bins and shower cabins) and architectural structures inside the venue were made out of woods. This year, Terraforma took the project even one step further. Together with an avant-garde architecture studio Space Caviar, they built a new stage, Vaia. Named after the extreme weather event that occurred in northeastern Italy in 2018, the stage was constructed by wood from the tree fell from the Vaia storm, making use of the substantial amount of lumber that the community has invested in removing from the distressed area.

Even during the worst period of the pandemic when events were shut down, Terraforma kept working on their vision and ecological agenda by planting trees, launching creative incubator of artistic languages and hosting an open space for contemporary sustainable practices. They even started a new editorial project, the Terraforma Journal, a platform to showcase works and discuss topics on sound, art, ecology, and contemporary culture. Their efforts pay off. Villa Arconati is greener, lusher and livelier, and the event was awarded as one of the “improvers” by the non-profit organization A Greener Festival for the commitment on reducing its environmental impacts.


Before COVID-19 struck, lounging around was easy. Things were going places, and maybe went a bit too fast and too far. The pandemic gave us a chance to slow down and contemplate on what are the essentials for our lives. Living a simpler but better quality life is a trend, and it also reflects on Terraforma’s curation this year.

Some happy Terraformers  © Stefania Zanetti

Mykki Blanco from EXPAT  © Riccardo Fantoni

Morning yoga session  © Edoardo Comba

With the motto “For once we only dance”, Terraforma 2022 is a music festival with no talks, no panels, no workshops and a small self-caring yoga session between sets, putting a special focus on the musicians’ creation post-pandemic. Talents from all over the world gathered in Villa Arconati, pulled out a three-day music galore that is full of diversity, creativity and experimentation. The range of the music genre is wide, spanning from more fashion-oriented acts that fit to Milan’s ambience, to some authentic techno and house sets that stimulate festivalgoers’ impulse to dance. By having only one act at a time, the festivalgoers were transformed (or terraformed if you will) into one nomadic collective drifting between the stages together over the course of the weekend. This collective experience gave the proceedings an intimacy that is rarely found at festivals. Delving between the woodlands, the stunning Villa Arconati, and the labyrinth, one had an almost psychedelic sensation of shifting between dimensions; this was accentuated further still by the diversity of the music.

Representing CAP 72024, my colleague Harvey and I participated in the Saturday’s event. Dog days haven’t started yet but Milan was quite warm already, the afternoon sun had us hidden under tree shadows. Thanks to the successful reforestation they’ve been doing over the years, we enjoyed the whole afternoon of music shaded. Our experience started with the performance of EXPAT, a 9-month old band with no recorded music focuses on intense, dramatic and theatrical live show. Chanting political-related catchphrases like “White supremacy causes climate changes” with grating guitar sound; their provocative performance sent the crowd boiling. The afternoon proceeded with Milan-based electronic music producer Piezo’s DJ set and charismatic alternative and art rock inspired sound of London-based band Moin before the ravers swung to the hedge labyrinth grooving with Birmingham-based musician High Intelligence Agency’s electronica set, a true masterpiece mixing his 90’s classic with his new release.

Ravers gathered at Alpha stage © Edoardo Comba

The revolutionary performance of Teto Preto is nurtured by female and LGBTQIA+ leadership  © Edoardo Comba

Uganda-based Kenyan rapper MC Yallah and her powerful beats  © Edoardo Comba

Lafawndah was the opening act of this year’s Terraforma  © Riccardo Fantoni

Then it was MC Yallah & Debmaster. The duo stepped on the newly constructed Vaia stage at nightfall. Hailing from Uganda, the Kenyan rapper Mc Yallah made her Italian debut in Terraforma. Pairing with French producer Debmaster, they blended the explosive rap with some powerful sounds. Carrying a hint of African exoticness, the performance had the audience swooned in the evening breeze.


The night culminated when the closing DJ of the day, Berlin-based PLO Man started to play, drawing all the ravers to the spacious Alpha Stage for some 4-hour long dance marathon. His exceptional DJ set took the ravers from Milan to Berlin in a split second, indulging in the most authentic and orthodox Berlin electronic atmosphere. For Harvey and I, there was no better way to end our Terraforma experience than with some perfect beats from PLO Man.


Overall, our experience this year is phenomenal. Coming back to festivals after two years of hiatus is great, and to start our post-pandemic rave marathon with Terraforma is even greater. Deep from my heart, I truly wish to hear more from them in the near future. Not only because of the excellent lineup they have built, but also the endeavor of their sustainability movement.

Text: Yves Tsou, Harvey Byworth-Morgan

A Coastal Closet

A Costal Closet

The GIORGIO ARMANI Mare collection offers an exotic summer wardrobe with a focus on freedom

The Mare collection from Giorgio Armani, available at pop-up shops in all of the most iconic summer hotspots, bring us a holiday collection with a Mediterranean spirit. The range was devised with an exotic travel lifestyle in mind but works just as well in an urban setting as it does on the sun kissed shores of the continent.

The women’s range utilises a palette of soft nautical tones with the occasional flash of red and orange. The items themselves range from sarong skirts and pullovers to lightweight dresses and one-piece swimsuits, employing a variety of materials including nets and matting. The men’s portion of the range takes a traditional maritime wardrobe of shirts, polos and Bermuda shorts and gives it a contemporary twist with geometric patterns in multicoloured jacquard.

Having been available at Porto Cervo’s Cala di Volpe Hotel and Yacht Club Costa Smerelda as well as La Gritta in Portofino, the collection is coming to various summer hotspots across Europe with Mykonos’ Nammos the next stop on the circuit. As well as the pop-ups, the range is available in the Giorgio Armani boutiques in Cannes, Miami, Monte Carlo, Porto Cervo Rome and St. Tropez and can be found on Giorgio Armani’s official website.

Event Photography: Lucas Possiede (@lucaspossiede)

Editorial Photography: Bruno+Nico Van Mossevelde (@brunoandnico_vanmossevelde)

Text: Harvey Byworth-Morgan

Golden Boy: Interview with Chris Baker

In the rising heat of the Parisian summer, I tucked myself away in the shadows awaiting the upcoming interview with Chris Baker, eying the phone being answered in LA. I have followed Chris through his career and the whirlwind that has been his life since his latest release, ‘The Estate’. Having written and starred in the film, alongside having it show on a major streaming platform, Chris appears to be the full package for the gay community in Hollywood. As a seemingly open, eccentric, and upbeat individual, I was curious to see how life has changed for him and his thoughts on the current industry’s approach to the queer narrative. Speaking, laughing, and pondering over the subjects, I was able to see the raw and genuine personality that has made him so loved both on and off our screens. Benjamin K. Johnson speaks with Chris Baker following his shoot with Emil Kosuge in the dawn of the LA Summer.

 Can you tell us about your most recent film? How do you believe it stands out in a very saturated industry?

Yes. My film, The Estate is a throwback to films of the nineties, which, I think, were nastier and screwed in a lot of ways. I think it is in your face, it is colourful, it’s beautiful, and it’s sexual. I think the dialogue, the characters, and the performances make it impossible to ignore, in my opinion… I am biased of course [laughing]. I mean, when you watch it, you’re either going to love it or you’re going to hate it, but you’re never going to forget it.”

The other films you mention, do you have some examples of this?

Wild Things and Cruel Intentions, alongside some films by John Waters. They are kind of campy, maximalist, either incredibly queer coded, or just straight up incredibly queer films. I think these have been gone for a while from the industry, for a lot of reasons, and they are currently just trying to survive.

How do you feel playing a gay character, who didn’t rely on his queerness within the role, and wasn’t pinned as ‘the gay supporting character’?

I saw that, for me, to be the lead in a film and to be gay, the only option was to write my own role. I think that says a lot about the industry and where people are in terms of taking risks and taking chances. But, throughout that entire experience, no one ever said “Oh, this is too gay” or, “Oh God, you know, this is only going to make sense to queer people.” I mean, everyone on set was laughing at the same jokes. So, there’s something really important there. I don’t know if it was necessarily the character or the situation, but it’s about a rich family who are killing each other for their inheritance. And to me, that’s not an exclusively gay thing. You know, every type of person does evil, horrible things. So, I wouldn’t want to show a gay character, more so to show a character who happens to be gay. But my intention also wasn’t to show that gay people are like every everyone else. I personally don’t feel that way. I think part of whatever artistry or absurdism that I notice about the world is all because I’m gay and having that vantage point. I think it is a gift.

How much further can this side of the industry still be pushed?

Well, I’ll start by saying this. It is really hard to make a movie. And I mean any movie, about any subject, no matter what it is. And I think going through the experience once, and I’m going through it again right now, I have so much more capacity for empathy for all filmmakers. Personally, I just really want to make great movies and I don’t know how to write something that’s not queer [laughs]. That is just something that will naturally come out of me whenever I’m writing. In terms of the industry, I do think people are pushing a queer narrative. I don’t know yet on how much of a scale it’s going, but I certainly feel like people are more receptive and open and see the money that can be mined. Frankly, it is what this is all about. I think people realize finally, in a capitalist way, how lucrative it can be to have projects that are more queer. But, when I look at the landscape, at least from the U.S., it does seem like people are getting more opportunities than ever before. But, I think that gayness is really about sex when you sort of distill it. So by pushing gayness, it’s also pushing sex and what I’ve learned being in this industry is that movies in particular are incredibly chaste and often critiqued more heavily. They are not like TV shows. And so, I don’t know, honestly, how far in films we can push queer sexuality if movies don’t want to be sexual.

Do you think we are existing in the development of a Golden Age for queer represention in Hollywood?

It’s hard for me to believe, and I am someone who makes films. I think if the output is really shi**y, then the culture will suffer. So, I think in terms of the dawn of the golden age of queer representation, again, it comes back to what we were talking about earlier, which is, the stuff has to be good. I do think that right now people are taking more risks, putting their money where their mouth is, and giving more queer creators opportunities. But those opportunities have to work, and this remains to be seen. If the stuff is not commercially successful, then the pocket which opens will just close again. The input has to warrant a good output.” Yes, often there are cases of rainbow washing? “Yes! But corporations are going to “corporate”, you know? [laughs]. I think that the audience has to show up. If that support is not there from our own community, it’s also going to hurt the money situation for everyone, and nothing will get made. A rising tide lifts all ships. So, if one of us [the queer community] does well, they should leave the door open for the rest of us to come in.

Are you allowed to talk about the upcoming film?

Um, I can only say that it’s a far more commercial movie than this one. There’s no murder in it! [laughs]. It’s a romantic comedy!

Well, we’ll hold out hope for it when we see it on the screen. For young creatives making a space for themselves within the arts, what advice would you offer?

Well, the first thing I would say is that you can’t let your feelings dominate your life, okay? To be an artist, you have to be able to access your feelings. But to be able to do this as a job, you can’t have your emotions run over you because the amount of rejection that every single person faces is so overwhelming. So, I think if younger people are going to enter into this industry and not make short form content like they do on TikTok and Instagram, and actually step up to longer narrative storytelling, it takes a lot of work and it takes a lot of tries. Storytelling can be grunt work and you have to be fearless.

So do you think that failure may be one of the most important things?

“Yeah! It’s essential. And it’s not just failure. It’s like failing a lot! No one who did everything right ever learned anything. My dad used to say that to me all the time. Like, you say all the right things and everything goes well for you, who are you? You’re no one. Life is not fair. It’s easier for some people by virtue of luck or circumstance, but, to be an artist is to understand all of those things and accept them, but also use them. Use whatever you have.”

How has life been since the creation of ‘The Estate’?

Well, my wedding and the film were released within three weeks of each other. So my life just kind of drastically changed in a single month. I think I’ve been kind of riding that high since! In terms of opportunities that have come since, I would always love more, but I do think that writing and starring in a film that gets released in theatres, and on a major streaming service, really doesn’t happen often. I’m so proud that it happened. I really am. And I think that it’s even harder to do it twice. I really want to build a body of work because I have a lot of stories!

How has life changed for the married Chris Baker?

I feel more settled. I’ve been with my husband for eight years, but we’ve only been married for nine months. I think that a lot of people are like, “If you’re in a long-term relationship, and you get married, it’s the same” It’s not the same! [laughs] I feel like, as a couple, in terms of how we plan things, there’s more runway and we can settle in now. And that’s really, really special. I’m a creative person that does not thrive in chaos. My best work comes when everything is just smooth. Yes. So creatively, it’s been great for me [laughs].

Do you find pressure in thinking of the next move and your plans for the future?

Honestly, I think less about it than I used to. Pre-film release, I think I was overthinking everything. And now I just think it’s about getting stuff done. If one project doesn’t go, which happens 98% of the time, I have other projects lined up and ready. I think that it’s just about building a body of work… however long that takes. We live in a very volatile time. So, if I’m able to get anything done, in whatever order, that’s already a win.

With Emil, does it create a different atmosphere when working with other people who exist within the queer side of the industry?

Yes. I mean, I certainly felt more comfortable being in my underwear in front of another gay guy. I worked with straight male photographers before and sometimes they can’t understand what it is to sexualize a man. But I think that even if they appreciate it, it can be strange for them. Not for me! I don’t know what it is. I don’t know what went wrong in my life, but I’m okay with being naked in front of everyone! [laughs]. But Emil’s work is so incredible. And his work stands out so I was just so proud that he asked me and felt very lucky. And I’m so impressed with them!

What are the next plans that are emerging within your life? Will we see more of you on our screens?

So, I have a podcast that will be coming out in the fall. It’s about sex, and relationships, and advice. And it’s going to be really fun. Really funny! So, I’m very, very, very, excited about it. I haven’t been excited about a project like this in a long time. And I think it’s also because it’s a little bit like independent filmmaking, where you’re making stuff on your own terms.” It sounds like a time for your individualism, and how you want to approach your creativity. Will you have guests? “Yes, but it’s mostly a call-in show so everyone can interact with us. The director and producer of my film are shooting and producing it. And so it’ll exist on YouTube, TikTok and on all podcasts apps, so you can watch it or listen to it as you prefer.

Talent: Chris Baker (@bakerseebakerdo)


Photography: Emil Kosuge (@emil_kosuge)

Interview: Benjamin K. Johnson (@benjaminkjo)

Mugler X Mytheresa: A Feminine Future

Mugler X Mytheresa: A Feminine Future

The brand’s marked the release of their new capsule with a chic Parisian dinner

Julia Fox, Cindy Bruna, Tiffany Hsu, Hera Pradel, Tina Leung and Jazzelle

In celebration of their new exclusive capsule collection, French fashion house Mugler and luxury online retailer Mytheresa hosted an intimate dinner at the historical Parisian brasserie Le Grand Véfour. As well as leading figures from both brands, such as Pascal Conte-Jodra and Michael Kliger, the event hosted a star-studded guest list including Julia Fox and Nina Kraviz.

The 17-piece collection, which draws upon the traditional hyperfeminine bold spirit of the Mugler brand, is currently available globally. The collection is made up of second-skin silhouettes which feature unconventional cuts, sculptural shapes, and graphic details. Mugler’s Creative Director, Casey Cadwallader, characterized the collection as ‘an illusion as if it’s defying gravity’ incorporating ‘impossible fits and necklines’. With bodysuits, leggings, bodycon dresses and denim all included, the capsule offers the brand’s signature styles reinterpreted in the new shades of nude, bright blue, and pink.

Ever since Thierry Mugler founded his synonymous house in 1973, the brand has always championed a strong vision of women and the upholdal of that spirit by Cadwallader can be seen with this stunning new collection. The meticulous tailoring and striking silhouettes of the range demonstrate a contemporary vision of Mugler’s message of empowerment. The guestlist of the dinner can be seen to reflect this essence too, comprised of pioneering women who are leading in their creative fields and breaking down barriers for future generations.

Shop the ground-breaking collection now at

Jazzelle and Raya Martigny

Nina Kraviz

Michael Kliger, Mytehresa CEO, and Pascal Conte Jodra, Mugler Managing Director

Event Photography: Virgile Guinard (@virgile.guinard)

Editorial Photography: Max Vom Hofe (@maxvomhofe)

Creative Direction: Julian Paul

Modelling: Marie-Lou Gomis (@marielougomis)

Text: Harvey Byworth-Morgan (@harveybmorgan)

MOR Beach Club - A Luxurious Holiday Experience by Lake Como

The Como side of Lake Como might not be the top choice for hasty traveller’s day trip when they visit Northern Italy’s famous lake, but it is without a doubt favored by holidaymakers for a pleasant waterside sojourn. Dotted with historical mansions and luxurious villas, the viridescent coast between Cernobbio to Tremezzo is a beautiful crossing point where culture meets nature. Here is also where MOR Beach Club, the newly opened exclusive vacation spot run by Omnam Group and Bain Capital Credit LP, locates.

Situated a few steps along from the poetic village Tremezzo, MOR Beach Club utilizes the structure of the former Lido Cadenabbia, reinventing it into a chic and luxurious resort perfect for your holiday getaway. Renovated by design studio De.Tales, the colour palette of the architecture and interiors resonates with the natural surrounding, blending harmoniously with the picturesque lakeside scenery.


Inside the over 2,300 square meters area is a private beach equipped with cabanas, an outdoor swimming pool, a summery tiki bar, a restaurant and a terrace overlooking the panorama of Bellagio – Como’s famous touristic hotspot situated right across the lake. The impeccable balance between the Lake Como’s rich heritage and tradition, and MOR Beach Club’s innovative and sophisticated atmosphere is beyond description and can be experienced only in person.

The cuisine is another highlight of MOR Beach Club. Directed by Israeli Chef Sharon Cohen, the plates MOR Beach Club offers is a flawless fusion of Mediterranean and Middle Eastern cuisine. Combining local Italian Ingredients with Israeli flavors, chef Cohen creatively infuses elements from other cultures into his recipe. You can see Japanese sashimi drizzled with Argentinean Chimichurri sauce, caramelized pecan sprinkled on Italian snapper carpaccio, various Israeli breads (Lachoch, Non and Ash Tamur to name a few) to be dipped in Greek tzatziki, as well as Middle Eastern tahini and North African aubergine mashwia. The creative concept of Chef Cohen culminates when the food is served with mixology expert Emmanuele Broccatelli’s cocktail and pastry-chef Fabrizio Fiorani’s dessert proposals, taking the dining experience to another level of perfection.


If you also crave for a luxurious escape from the chaos of the city or your bustling life, MOR Beach Club might be a perfect destination for you. For more information visit their website

Text: Yves Tsou