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On the 2nd of May, our vision takes physical form. The first-ever printed issue of The Cold Magazine arrives with a double launch: two exclusive coverstelling two different stories of the contemporary soul.

We are proud to reveal our first cover shoot with London-based Folk artist Florence Rose Broomfield.

@florenceros.e founded@turningoftheseasons.ldn one year ago, accumulating a dedicated community who turned to folklore and ancient ritual as a way of seeking connection with eachother and themselves.

Pre-order now. Link in bio.

Photography: Luvi Camera @luhcrezia
Photography Assistant: Anti Camera @anticameraaaa
Creative Direction: Penelope Bianchi (@penelope.bianchi) and Valeria Berghinz (@valeberghinz)
Cover design: Willow Shields @wwillla

Special thanks to Ivy House @ivyhousenunhead

On the 2nd of May, our vision takes physical form. The first-ever printed issue of The Cold Magazine arrives with a double launch: two exclusive coverstelling two different stories of the contemporary soul.

We are proud to reveal our second cover shoot with LA-based multi-hyphenate artist Siiickbrain.

@siiickbrain is a social media personality, model and musician with an arresting new-gothic style - her hybrid sound, commanding and experimental, is imbued with a dark feminine energy that makes it impossible to turn away. (Interviewer @smhlorn)

Pre-order now. Link in bio.

Photography: Raphaele Sohier @raphsohier
Creative Direction: Piper Ellis @d6rkangel
Creative Production: Mel de Melo @meldemelo
MUA: Cameron Polonet @cameronpolonet
Styling: Rachel Thorson @rachelthorson
Set Designer: Anna Mueller @annammichele
Light Tech: @garrettsarchive
Studio: @studiomoonlightla
CGI: @willschy
Cover design: Willow Shields @wwillla

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

About twenty minutes into my conversation with Niamh Campbell (@niamh_campbell_xx), a baby cries out into the dark room. “Sorry,” she says, “I’m going to have to jump up for one moment and grab my baby, she’s just woken up.”

This is the reality of a working mother – one who’s an author and who’s also on the brink of launching a new book into the world. Make Strange, her third novel, is the eerie, milky-scented tale of a little girl named Sunny, who, one October afternoon, looks up at her mother and says, “Mama, do you remember when I died?”

The revelation rocks the family. Stories of drownings, skeletons and a “Before Mother” are soon to follow. Has someone been feeding Sunny these disturbing tales? Is she having hallucinations? Or, maybe, she really is a reincarnated soul?

Through the course of our conversation, Niamh and I spoke about her message for expectant mothers, reincarnation ghosts, graves and why she will only ever write about Ireland.

Read the full interview at the link in our bio.

Written by @lexicovalsen

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

The Central Saint Martins BA Fashion Class of 2026 (@bafcsm) decamped from the beloved Granary Square south of the Thames to show their graduate collections in Bold Tendencies, a multi-storey car park turned arts centre, in the heart of Peckham. The collections themselves saw the designers at their most conceptual and ambitious, unfettered by the corporate restraints of whether a piece is commercially viable.

Here are some of COLD’s favourite designers of the night.

Featured designers: @ichili._, @dan.na.reyes, @matteodunkley, @sl333pingbeauty_, @hxxacism, @sunkissseeed

Words by @flosivie
Edited by @penelope.bianchi
Photography by Rebecca Maynes @rebeccamaynesphoto

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

“Playing with dress-up is queer,” says Patty Mañá, founder and creative director of NIMPH (@nimph_). Mañá was inspired to begin the ethereal, upcycling-led fashion label through time spent alongside MARICAS, a Barcelona-based queer party community whose name reclaims the Spanish slur “marica” (“f*ggot”). Emerging in the late 2010s, MARICAS became one of the city’s first femme and non-binary-led nightlife collectives. “It was for this community I started doing this,” Mañá reflects. “I wanted to create things that could be worn by everyone.”

NIMPH blends innovation with sentiment; each piece is handcrafted in the heart of the city. Material remnants are reimagined into romantically distressed silhouettes of delicate rebellion, androgynous and experimental. Collections are reclaimed as “chapters.” Mañá’s conscious practice is driven by nostalgic narratives and nature. From swimming in the ocean each week of the year to gathering lace from her grandmother’s closet, NIMPH’s garments reflect the visionary’s mind like a mirror.

“What drew me to fashion was the freedom that happens with clothes: the game of identity, the power of how clothing can make you feel.”

Read the full interview at the link in bio.

Words by @wordsbyfreya
Edited by @penelope.bianchi

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

@poster__girl__official has broken a world record for the biggest cake sitting attempt in history to celebrate its 9th birthday. Nine women sat on nine cakes baked by @lily_vanilli_cake, earning one of Cold’s favourite fashion brands a Guinness World Records certificate.

POSTER GIRL is the tongue-in-cheek “internet vixen” label serving latex, chainmail and popstar shapewear by @natasha_somerville and @francesca_capper

Cake sitting is performance art involving the destruction of a cake. The tradition can be burlesque, drag, theatre or whatever direction the performer takes it. In London, the performance art is also practised monthly by @cake.sit at @theoldnunshead – featured in a previous Cold editorial.

Words by @phoebe.la.pirata
Images from @poster__girl__official

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

“Every god is created to be eaten”, declares philosopher Edgar Morin in his 1957 book on the Hollywood celebrity-machine, The Stars. Just as Christians consume the bread-body of Christ, so too, Morin argues, do the faithful followers of celebrities seek to “possess, manipulate, and mentally digest the total image of the idol”.

If to be a “god” is to be eaten, then no god/star has been more digested, consumed, and cannibalised than Marilyn Monroe. One hundred years since her birth, Marilyn Monroe remains, as Alissa Bennett puts it, “one of America’s most enduring cultural fetishes”, a tantalisingly elusive, deliciously contradictory figure whose influence we continue to dissect and debate nearly a century later.

Tap the link in our bio to read the full story.

Written by @arianna.inesmunoz
Edited by @valeberghinz

Dua Saleh (@doitlikedua) is The Cold Magazine’s June cover star!

On January 22, 2026, American federal agents arrested the lawyer and activist Nekima Levy Armstrong. A vocal defender of human rights and an equally vocal opponent of ICE, Armstrong was accused of preventing free worship – a violation of the First Amendment – after organising a protest against Cities Church in St Paul, Minnesota, which had allegedly been collaborating with ICE on its deportation regime.

On January 23, the following day, the official White House X page posted a celebration of her apprehension, sharing a photo of forces escorting Armstrong from a St Paul courthouse in shackles. However, something about the photo wasn’t quite right. It had been manipulated with AI, artificially darkening Armstrong’s skin and turning her visage into a snotty, tear-wet grimace.

The incident shocked politicos and pundits, even those already hardened to the arbitrary cruelty of the Trump administration (three weeks earlier, ICE agents had assassinated the poet Renée Good in the streets of neighbouring Minneapolis; the next day, they would do the same to Alex Pretti, an intensive care nurse). However, the image was particularly disturbing for LA-based musician, activist and actor Dua Saleh, who grew up in Minneapolis; Armstrong, they explain, was “one of my mentors.”

Read the full cover interview at the link in bio.

Words by @jude_j0nes2002
Photography by @bradenxlee

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

When E.R. Fightmaster (@genderless_gap_ad) pings onto my computer screen, my eyes can’t help but roam over the home studio behind them, looking for clues. Bathed in California sunlight, a drumkit sits under colourful posters. What appears to be a Tree of Life tapestry hangs high – dark, russet leaves float around a strong centre. Verdant and life-giving.

It’s a serious, tranquil environment, and dear reader, when you hear the debut FIGHTMASTER @fightmastermusic album, Tolerance (out 5 June), it will make sense why this is the room of its birth.

Tolerance is their debut full-length album that sees the heartthrob asking, what is it like to grow old in a queer body? Before they hit the road, touring with Lucy Dacus and Lord Huron, as well as performing headline shows across the U.S., we sat down with E.R. to go behind the scenes on their songwriting process, their relationship with younger audiences and how they’ve learned to write about exes with kindness.

Read the full interview at the link in our bio.

Written by @lexicovalsen

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

It’s a Wednesday morning and Tsatsamis (@tsatsamis) answers my Zoom call from home, a few days after his first two tour dates and a week before he plays Village Underground. For someone who has just finished a mixtape, started a tour, and is mid-press cycle, the 26 year old is suspiciously calm. Tsatsamis tells me he has the kind of anxious-perfectionist relationship to his work that turns the run-up to a show into a private hostage situation, and his pre-tour fix has been pragmatic, to keep someone, anyone, in the room.

“I’ll try and have someone who’s with me, just to distract myself, because otherwise I’m just spiraling by myself.” After the highs of his Glasgow and Manchester shows, now he wants more stages, more blaring rooms with sweaty bodies jumping and many more nights of hearing his own lyrics come back at him from people he’s never met. “It’s the first time I’m actually like, wait, I’m really excited.” he says.

Words by @roisinteeling
Edited by @jude_j0nes2002
Photography by @samtayloredwards

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

After graduating from the Royal College of Art with a Masters in Textiles in September, I began to apply to hundreds of jobs only to get rejected from all of them for “not having enough experience.” After trying to get the “experience” these jobs required by hosting my own events and workshops, I discovered how expensive it is to find a space to do these things. It felt so wrong to be spending hundreds, sometimes even thousands of pounds (saved up by working a minimum wage job) to rent a pub from an older cis white man for a night.

This began my journey to build Rhizomatic, a craft cafe, wine bar, and third space centered around textiles and making with your hands and getting off your phone. A space that looks beyond the normal, basic, beginner workshops, instead offering weird, esoteric, interdisciplinary and boundary pushing programming centered around women, disabled, working class, young, queer, and POC voices.

Rhizomatic is a space that gives artists a shot and bets on their careers, providing opportunities and space to help them get those jobs that require more experience. A space that prioritizes local suppliers and feeding into the young East London community as much as possible. And more importantly, a space where you can connect with other young people trying to do the same thing. A space made FOR the community, BY the community.

Words and photos by @rhizomatic.ldn
Edited by @smhlorn

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg

WHEN THE ICE MELTS

A new editorial is now out 🔍

Set within everyday environments such as garages and suburban railway tracks, the project introduces subtle surreal elements that disrupt the familiarity of these spaces. An inflatable structure and ice-related objects appear slightly out of place, creating a quiet tension between reality and imagination.

Shot with SEBii, a Shanghai-based artist who has been actively performing across cities including Tokyo, New York, Hong Kong, and London, and Australia, the project is grounded in a moment where underground and alternative culture across Asia is becoming increasingly visible through music, image, and youth-driven scenes.

Within this context, SEBii is presented as a youth extending an inner imaginative world into physical space. The images reflect a condition where creative impulses often develop in personal, self-constructed environments before becoming visible.

Through this, the work carries a subtle sense of anticipation and emotional drift, allowing energy and identity to surface gradually rather than fully resolve.

Art Direction / Photography: @chloeeege
Stylist / Set Design: @8bit.gurl
Producer: @rotten_avocadoo @euphemia.agency
Talent: @sebseb122
MUA: @rio_kinoshita_01
Hair: @um_takayuki
Photo Assist: @luc1li
Styling & Set Design Assist: @iyu.yiyu @jacelnn @theprettiestheart_ @p1r0s1c0

Fashion: GENERAL EXPERIMENT | CLEIONER | RYW | DUVETT | Chrome Hearts | JOLLY SICK | ANTONY RIDDLE | iseder | The Corner Passed | DESTROYER OF WORLDS | 3Mg