Brent Chua



Photography BRENT CHUA
Grooming SHIMU


  1. Full Look PRADA
  3. Shirt and Jacket COMME DES GARCONS
  5. Hat Willy Chavarria
  6. Shirt and Jumper GUCCI Trousers and Shoes THOM BROWN
  7. Jacket PRABAL GURUNG Trousers GUCCI Shoes Frye Miles Vintage
  8. Top ISSEY MIYAKE Jacket and Belt WOOYOUNGMI Trousers DIOR HOMME Shoes Ermenegildo Zegna
  9. Full Look PRADA
  11. Full Look THOM BROWN
  12. Full Look THOM BROWN
  13. Coat Vintage Burberry Trousers GUCCI
  14. Shirt and Jumper GUCCI Trousers and Shoes THOM BROWN
  15. Shirt and Jumper GUCCI
  16. Jacket GUCCI Coat and Gloves DIOR HOMME Trousers 3.1 Phillip Lim Shoes Ermenegildo Zegna

Lotte van Raalte

Body, an Ode to the Female Body

Over the course of 16 months, Lotte van Raalte photographed 46 women, aged 13 to 94, in their most natural form. The result is the launch of her first photography book, ‘BODY’. BODY is a documentation of the observant photographer’s encounters with these women – a celebration of individuality, life and the beauty found in both vulnerability and strength. An ode to the female body. Lotte van Raalte, photographer, comments:

«With my photography, I’m always on a quest for candid in-between-moments. It takes genuine interest and care to capture people in their most authentic and free way of being. BODY originally started as research towards the female body. Each time I photographed someone, I was left fascinated, curious and inspired at the same time. I think my fascination with the female body comes from different angles: the fact that women are dominantly sexualised and unrealistically portrayed in the fashion, movie and music industry. The fact that the female body is the carrier of new life, and the tremendous impact that has. And, last but not least, the fact that I’m a woman myself.»

The book and exhibition is a strong reflection of Lotte’s stand on body representation and the female gaze in the world of photography. As part of an empowering new wave of awareness, she hopes the images will be seen in the context of current projects challenging previous representations and perceptions surrounding the female body – as a celebration of diversity.


Photography and words LOTTE VAN RAALTE
The book will be available for online purchase here: book

Lotte van Raalte is a constant observer driven by a sincere curiosity and remarkable empathy. It’s with this approach that Lotte achieves her intimate and crisp compositions, firmly encapsulating her unique gaze in her pictures. No matter who is in front of her lens she always captures their individuality – with an infectious feeling of empowerment. Lotte’s work spans from athletes in action for adidas, smiles for Stella McCartney, introducing a new visual style for Arket, to school children in Cape Town. Alive and real. She has an eye for tactility and utilises nature, bringing a tangible and relatable quality to her work. With an ongoing stream of commissioned projects – including her directorial debut for Ace & Tate – Lotte is not one to stand still. With multiple in progress personal projects, an interest in womanhood, sustainability and education rights continues to inform her work. In 2020 she released her first independent photography book and a solo exhibition, BODY, receiving appraisals from the likes of i-D and Wallpaper magazine.

Nadia Ryder




Photography NADIA RYDER
Model LEX from Premier


  5. Full Look ISSEY MIYAKE
  6. Dress PAULA KNORR
  8. Dress DSQUARED2
  11. Jumpsuit ISSEY MIYAKE
  13. Dress PAULA KNORR
  14. Dress DSQUARED2

Eric Kogan 

Creatures, People and Places

My main passion is street photography. On what makes this genre what it is, I’ve heard many sides, but to me, the main points are taking candid photos in public places. The essence is that they are not staged and on touching the emotions point to our existence. 

Though not every photo in this collection belongs to the street genre, I feel like my relationship with it has influenced every image. They are the result of observation, of interpretation, and rely on impulse to the point where having a camera with me is a permanent practice. Even if I don’t take a photo for days, the greatest lesson street photography has taught me is that the best time behind a camera always comes with I least expect it.


Photography and words ERIC KOGAN

Bethel Dudt


I moved a few years ago to the suburbs. Right away, I noticed lots of classic cars in front of houses and in repair shops near my house. I suppose I began to shoot them because I found them so romantic. When I see a classic car, I am reminded of old movies and TV shows. You can see all kinds of possible adventures in these vehicles which I can’t yet imagine in more modern cars.

All my photos I see and shoot while on the street. Right now, during this virus pandemic, I am still walking and shooting cars on my days off from work. Only the most abandoned cars are left now in lots, and I love to imagine the life that they once lived. 


Photography and words BETHEL DUDT

Matthew Johnson

At Summer’s end my wife and I packed up our Brooklyn apartment and drove north. Congested highways gave way to windy, forest-lined roads. We were trading in the bustle of the city for a slower life, upstate. The skyscrapers and swarms of pedestrians that have become such a motif in my photography were being replaced with rivers and waterfalls, barns and abandoned buildings. I wondered how my work might change now that there wasn’t as much action. I was prone to looking for subtle, relatable moments in the midst of madness.

Now there wasn’t madness at all. In quite a welcomed way, there wasn’t much of anything.

It’s a new story to tell.

One that’s vast, quiet.

One that feels like home.

Niklas Bergstrand


Photography Niklas Bergstrand
Fashion Lani Elisé Dafter
Creative Direction Mateja Duljak + Lani Elisé Dafter
Make-up and Hair Marta Tayanouskaya
Discover more from this editorial in the Empowerment issue


  1. Hats Tsumori Chisato
  2. Jackets Rives Paris Socks Model’s Own
  3. Oleg wears T-Shirt Andrea Crews Jeans Acne Studios Wojtek Jumpsuit Acoté

Mary Elizabeth Ford

«Whatever someone thinks is out of my control, and I like it that way»

When did you start drawing and creating?

More intentionally, about 4 years ago.

How do you find the balance between the vision you have and the mediums you are using?

The vision I have is always so rough. I’m a moody person and because of that, I make things on a very emotional basis. I don’t quite set out with a vision of what I’m going to make. It just sort of happens. The mediums honestly differ by whats in front of me, or how much money I have to make something. When I started doing wire faces I was just too broke to buy paint and I had a lot of dry cleaner hangers, so I started furiously bending them. Most of my paintings on paper, are on really crappy paper because I don’t plan ahead and that’s usually whats lying around. So, it changes frequently and there is no method.

What inspired your style of work?

I don’t know if I can really control the style I have. I don’t even know what style it is, but every time I try to do something that doesn’t feel like me it really bleeds through and I have to scrap whatever I was trying to be.

Where do you get inspiration from? Are there any particular artists, photographers, painters drawers you look up to their works? 

The environment that I’m surrounded by plays a huge part in what inspires me. What I’m feeling, specific colors, where I live, structures, and personalities all play. Without thinking about it too much, Basquiat, Helen Frankenthaler, Vivian Maier, Kindah Khalidy, are what come to mind immediately. It really varies. I really lean towards following and getting inspired by people that have very different styles or approaches to me.

How long does it take to create a piece? What is the process being it?

Time varies. The process differs too. I tend to have an idea of what I’m feeling drawn too, go with it, hate it, rework it, like it, again and again, until it feels good, lots of layers. I’m a goddamn onion.

Would you say that there is a main thread connecting all your artworks and if so, which is it? 

I don’t know. I definitely get emotional with all my pieces. Maybe that bleeds through or maybe it doesn’t. But, I guess the main thread is I don’t hold back from all the things I want to make or how into it I get, so they are very honest to who I am and I guess I really hope that translates to all mediums and works of art that I do.

What kind of talks would you like to hear around your artworks? What kind of conversations would you like your artworks to spark?

You can not control what people say. If you make a thing and it’s out in the world, you cant get mad if someone feels differently about a piece than whatever idea or intention you had. I definitely put language to a piece after it’s done, not the other way around. Which is for context, not the only way it’s to be thought about. I don’t want to manipulate anyone’s thought process when viewing my work. I guess all I could hope is that someone felt something and wanted to talk about what that feeling is or lack of feeling they have about it. Providing a thing that encourages conversation is really what I want to happen. Whatever someone thinks is out of my control, and I like it that way.

Simon Nicoloso

Sharon Eyal

«it’s all art and it’s all life»

Emblazoned onto the vast white cube exterior where the Dior SS19 show was held at the Hippodrome de Longchamp last September was a quote: ‘The story comes from inside the body’. The woman responsible for this remark, Sharon Eyal, would also make her mark on the interior of temporary space that was built over the course of two weeks, especially for the show.

Eyal was approached by Dior’s creative director, Maria Grazia Chiuri, to choreograph a dance that would take place as models took to the runway. For the SS19 collection, Chiuri found inspiration in the world of dance; corsets were replaced with loose, tulle skirts, leggings and, of course, ballet pumps. For the performance, Eyal’s dancers weere clad in specifically-designed bodysuits. At times, dancers and models seemed inseparable. If the show reflected the unique vision for which Chiuri has become known for as of late, it also brought Eyal’s enchanting choreography to a new audience.

Eyal founded the L-E-V dance company in 2013 with fellow dancer and collaborator, Gai Behar – whilst the musician, Ori Lichtik, is responsible for the music and sound that accompanies the company’s productions. Performances of the company’s repertoire, particularly OCD Love and its second act, Love Chapter 2, have captivated audiences across the world. In this sense, the Dior show can be seen as a continuation of the ways in which Eyal utilises the body in its totality to convey emotion and feeling. Speaking with Eyal soon after the Dior show, it is clear that this idea that the story comes from within is one that Eyal embodies whole-heartedly. 

NR: What inspired the approach you took in choreographing the Dior SS19 show?

Sharon Eyal: For me, inspiration is life – it’s everything I’m going through. I met Maria Grazia [Chiuri], who is an amazing person, and then I saw the work on the collection as it appeared. I think it’s all about chemistry. When you work with people, or another artist, they have to inspire you. In terms of the Dior collaboration, fashion and material is something that I really connect with. It feels like you can see the material sewn into the movement. I really love all the layers that you can see in the connections. 

NR: What does the partnership between fashion and dance reveal? 

SE: It’s about a collaboration of feelings. I think it’s not just dance, or fashion, I think it shows the combination of something unique that you want to share together. When you create something, it comes from a certain point in your body; I think me and Maria Grazia were creating from the same point, so it was very organic.

«For me, dancing is something basic, like you eat; you dance.»

Life is about movement, and fashion is something that is so free, as if it has no limits. With the combination of fashion and dance, it’s something that seems so distant but very close, like it was growing from the same planes. Everything came together with an organic feeling.  

NR: Is dance a medium that can express human emotion better than other art forms? 

SE: I think every art form can express these emotions. Painting, cinema, music, and, of course, fashion. But also, something like, going to the beach: it’s all art and it’s all life. For me, there isn’t a difference between life and art. 

NR: How does dance reflect art and life back to audiences? 

SE: I think dance is something very physical and emotional. Everybody feels these emotions and, and I think that connects people. Everybody feels sadness, disappointment and loneliness, for example.

«There is something about the physicality of the body connects with people: dance doesn’t need to be a story in order for it to be something you understand. It’s emotion as seen through the body.»

NR: How do you hope audiences will interact with the combination of dance with music with lighting and movement?  

SE: If the elements are separated, or don’t connect, it doesn’t work because it’s one piece. I think it’s about total feeling and total experience. This connection is important. 

NR: When you’re creating a new dance, where do you start first?

SE: I don’t start a piece, it’s always a continuation of something; it’s like the story of my life, but we have deadlines and so, I’m always cutting it, but it’s a long story that carries on. I start by improvising movements, which my dancers record, and from there I cut, edit, and change: this is the first layer. I work with lots of changing compositions.  

NR: Would you say that your dances have a futuristic element to them?

SE: I don’t know how to explain movement in words, but it’s very natural and simple, but complicated at the same time.

«It’s about trying to be what you are, in a very, very physical way.»

NR: So are you stripping back the elements of dance to the body?

SE: It’s not just the body, it’s also about the body and soul. I believe in the heart and emotion, but I think that everything comes from the physical, from inside the body.

«Muscles are emotional; you don’t need to put anything on top of the way muscles move because it’s all already there.»

NR: Do your dances take on the traditional structures of ballet, or is it a completely new style?

SE: When you see our dances, you can see the roots of that. I love ballet because I feel like I can play with it; I love the technique, and I love to break it. 

NR: In future, do you hope to add another chapter on to OCD Love and Love Chapter 2? 

SE: I like chapters a lot, so I would love to add more to that. Anyway, I think it’s always a continuation of what we’re doing, or what we’ve done, so I’m sure it will be happen. 


  1. Sharon Eyal photographed by Eyal Nevo

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