July 9, 2026
By Jee Young Park

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Above: courtesy of Jordan

Le Fool: Why do you sing?

I believe singing shifts the atmosphere around you. No matter what is it you’re singing, no matter whether it’s “good” or “bad” singing shifts the atmosphere in a positive direction. It charges the energy of the space around you. Growing up, my grandmother would tell me that my voice was a gift. It wasn’t a gift, though, until I gave it to other people, until I shared it with other people. That’s why I sing.

Le Fool: Where did you learn to sing?

My earliest memories of singing…I thought it was the karaoke CDs that my grandmother bought me as a kid or riding in the car with my mom and dad as they listened to the radio, but I actually remember learning how to sing from Barney, which was my favorite show. The songs on Barney are literally my very first memory of singing and learning how to sing. It was the infamous Barney “I love you. You love me. We’re a happy family” song.

Le Fool: When did you find out that your great-grandmother was a traiteur and how did it impact you?

I found out recently, I want to say the year was 2022 or 2023. It had a significant impact on me as a person as well as on my artistry. By that time, my mom had mentioned once or twice that my great-grandmother was said to have healing hands, and that’s a common thing that you’ll hear people say in Louisiana, that some people have healing hands and they’re able to heal people, but I never knew what a traiteur was until I was doing independent research. I was trying to figure out my own gifts and if it was possible that I was gifted because I believed that I was. I stumbled upon the word traiteur but I never told my mom. Fast forward, I don’t know how much time passed, my mom calls me, and she tells me she reconnected with that side of her family, and she found out that our grandmother was a traiteur. In that moment, my heart dropped. I had just learned about traiteurs and so many dots connected in that moment. It felt profound to hear that. It lit a fire under my tail to incorporate healing into my music and to take myself seriously as a healing artist.

Le Fool: What brought you to Chicago from Lafayette?

Chance and fate. I was visiting Chicago and I happened to receive an opportunity to not go home. With no money in my account and minimal belongings, I took that leap of faith and ended up here, but I could not have chosen a better place to land as an artist. Chicago is such a perfect hub for artists of every kind, honestly, so I’ve fallen madly in love with this city even though I didn’t technically choose it.

Le Fool: Where do you go when things get tough?

I go to the water. I go to the lake. Any body of water I can find, I’m going to sit by to breathe. I give all my problems to the water and essentially cleanse, cry, write, pray, and meditate. I go by the water and I leave feeling completely renewed every single time.

Le Fool: Who are you talking to in ‘Earth Angel’?

I’m talking to myself and to each and every woman and femme who is like me. Who is tender hearted and sensitive and emotionally in tune, while also very much someone who is not going to take bullshit from anybody! I’m singing to the women who are headstrong, who know what they want, who know themselves, and who absolutely refuse to close their heart after pain, after betrayal, after life has literally kicked our ass we refuse to harden.

Le Fool: How did you uncover the path to completing three EPs?

My first EP was very much thrown together and put together in a very chaotic way, whereas my approach to this EP has definitely been more structured, more grounded, more regulated, and incorporated a lot more research and studying, gathering references both visually and sonically. I took a more professional approach as well. But how did I uncover the path? Honestly, by going slowly and taking my time, and letting the answers and the steps come to me instead of frantically just throwing stuff together.

Le Fool: Did you end up recording the entirety of this EP on iPhone even after visiting the studio? What went into that decision?

Yes, I did record all of this EP on my iPhone even after going to a professional studio to record. It was my first time recording my own music in the studio, and that process is so intimate to me. I was unfamiliar with having an engineer and other people in the room; it wasn’t out of shyness. I wasn’t able to tap into that meditative state like I do when I record by myself on my phone. 

I do plan to work my way up to being able to tap into that frequency no matter where I am. But this time around, I was listening to the song I recorded in the studio and it didn’t feel right. Even though the engineer and everyone there insisted everything sounded great and that I shouldn’t make any changes, I felt in my heart that I wasn’t able to tap into that meditative presence I have when I record by myself.

Le Fool: What do I look for in a collaborator?

Ideally, I seek to collaborate with people who have a vision in place, who are very focused on storytelling and world building, but they have an identity already set in stone. Shared values is also incredibly important, as well as alignment with our ideas.

Le Fool: “Let’s Dance” shows off a little of your voice acting skills. Was it scripted? How did the idea for the conversation come about?

Yes, it was scripted. I wrote this script for “Let’s Dance,” and the male actor is actually my partner so we had a lot of fun with that! I wanted a dance track on the EP but I didn’t really have it in me to write an entire song, so I was like, you know what? let’s just write a little script and get the message out. The idea of dancing as society collapses, I just didn’t feel like writing that song, so I was like, eh, let’s just talk on it, you know?

Le Fool: Tell me a little bit about who the other person is in the interlude and when and where you recorded that.

If you’re referring to the child’s voice in the interlude, that is one of the little boys I nanny. His name is Joseph and he’s two years old, and I actually recorded that as a voice memo. It wasn’t intended to be a part of the project, it was just a voice note that I was recording while we were at the park playing. I don’t exactly remember why I recorded that. But as I was putting together the EP, I was like, hmmm, this provides context to what this song means, so I added it.

Le Fool: What do you think it means to be independent today?

To be independent is to be sovereign and to have control over your own mind. With our attention spans, thought process, and opinions being pulled and swayed in every direction, I believe the idea to think critically and come to your own conclusions and formulate your own opinions, on your own terms, is the epitome of being independent. That, and practicing autonomy and making decisions for yourself not rooted in anxiety or desperation and rather, complete and total freedom.

Le Fool: There were censorship issues with uploading your EP or so I thought based on your note. What recourse do artists have when these things happen?

I would tell independent artists to set your release date two weeks in advance so you can avoid this. If I would have run into this problem a couple of weeks ago, I think I would’ve been able to resolve it with the customer support team of my distributor, but because it was such a time crunch, I just had to move forward and push past this issue. Ideally, a recourse would’ve looked like sorting it out on the back end. We do have other options, other platforms that we can put our music out on, but I think in situations like that, it’s always best to not be like me and procrastinate and wait till the last minute. Upload your projects at least two weeks in advance! This was definitely a learning experience.

Le Fool: How did you prepare to be seen?

I definitely did a lot of exposure therapy on TikTok making goofy, silly videos showing my face and eventually talking about my artistry. I started opening up little by little about that. At one point, I never talked about my music at all. I straight up made funny videos, sometimes ranted, and talked about random things. I would say that exposure therapy helped a lot, as well as the nervous system work that I did. I would treat my time at the gym as a form of somatic therapy, as a means of feeling grounded in my body, present, and safe, as well as building a general sense of confidence. I did a lot of that in the gym, as well as various forms of meditation and visualization, envisioning myself on the stage, practically training and regulating my nervous system to a point where I truly felt and knew on a subconscious level that not only is it okay for me to be seen but I’m meant to be seen. That took a lot of work but that’s how I did it.

Le Fool: One thing that kept coming up for me in hearing you speak, reading your articles, coming across your notes, and finally listening to your music was the consistency of your voice and presence throughout. It’s not that we can’t be multifaceted or varied in our expression but there’s value in finding someone whose work feels aligned with who they are to the best of our knowledge. I think that’s rare. I think that’s something unique to indie artists by design. It’s hard to take that path without connecting with people from a place of ‘here I am’ so to speak, and I ultimately believe that to be a strength. Do you see yourself and your online presence in the same light or is it an altogether different situation?

This is such a good question and I really appreciate the observation that you made about me as an individual as well as my online presence. One thing I’ve always told myself since the very beginning is I want my listeners to trust me. I think in moments where I’ve overshared or showed up in ways that weren’t so palatable or easily digestible or even talked about things that I’ve gone through that are very hard to: 1) talk about and 2) hear about and read about, I’ve always had it in the back of my mind that I was building trust with whoever was paying attention to me, which also came with its downsides, but I think it’s had a good pay off in the long run. From an integrity standpoint, I really believe in practicing in what I preach before I preach it. In my artistry to some capacity, I am leading with my role as a healer. I believe it’s not to heal anyone but to teach, to teach people how to heal themselves. Without honesty I would not be able to fulfill that role and that calling, but I have mastered somewhat of a balancing act between being an open book as well as being private, and having aspects of my life and my inner world and even parts of my personality that are reserved for myself and for the people in my life. It’s kind of like an art that I’ve had to master of letting people in so much while still there being a significant amount of information that the world does not know. I see myself as my own entity and my social media presence is just an extension of me.

Le Fool: What does it mean to have faith in life and in your work?

For me, having faith is not spiritual bypassing reality, not denying reality, because that is something else. It’s having this inner knowing that no matter what’s going on around you, no matter what goes wrong, you will be okay. And some would argue that we are our own gods, and we have full control over our destiny and our fate, but to me, it’s more liberating to know that I don’t have that much control, because I be making pretty dumb choices sometimes. I say all that to say that there’s always a bigger plan whether you believe in God or not. There’s some type of intelligence or divine order that is always at play.

Le Fool: Throughout the process of preparing for this EP release, you’ve spoken about bullying, inter-generational trauma, and evolving past that, partly by sharing your gift in a way that could help others. When you shared this in our introductory conversation, it felt like you were embodying self-mastery. It’s a path that weaves the ease of a natural gift, embracing your greatest challenges, confronting the ego, and acting on a desire to contribute to the greater collective. I think that dynamic has always flourished in the arts but something about your work, which encompasses the storytelling you do in notes and articles on Substack, asserts that clearly. And I think it’s a departure from an over-reliance on spectacle in entertainment. How do you make sense of all these elements? Do you think you’re on a path of self-mastery or is it something else?

I do believe I am on a path of self-mastery in a way to which you expressing this last time we spoke definitely affirmed that for me. All the things that you mentioned, the elements of overcoming the trauma and the challenges, confronting the ego, and acting on the desire to contribute to the greater collective, I think it’s all interwoven. I genuinely believe there were aspects of my trauma that unlocked certain gifts initially. They were unlocked out of survival, but as I evolved and healed, I realized somewhere along the way that, oh, I can wield this ability for my own betterment and for the betterment of the people around me. I believe that through my life, my childhood, my story, my artistry, everything, it has all been a path of self-mastery from the very beginning. I think from my ego’s perspective, I could say this shouldn’t have happened or that shouldn’t have happened to me, but from an elevated perspective I can say, I was in this dark pit, this deep pit that I almost did not make it out of but I did! There are people who are still in that same pit of their own, and I’m in a position where I can take a flashlight and shine it into that pit and say, hey! there’s a way out. With influencer culture and pop psychology there are so many people who can hop online and give a step-by-step guide to regulating your nervous system and trauma, but what the collective needs is examples, like, real real-life examples. So yes, I would say self-mastery is a pillar of my work.

June 24, 2026
By Jee Young Park

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Above: Dimitri Rybaltchenko courtesy of Bureau Clinica

Le Fool: Your grand-uncle Phillippe Ledoux and father Vladimir Rybaltchenko worked with Hermès in the same role as you do now. How did their careers impact the way you conceived of your own? When did you consciously claim the position as a goal?

Dimitri Rybaltchenko: It’s true that I was immersed in Hermès culture from a very young age, watching my great-uncle and my father work on Hermès scarves. Back then, Hermès was a much smaller company, and its style focused mainly on the worlds of horses and seascapes. It was a world I found a bit too classic for my taste, and I was more drawn to more graphic and colorful styles. So I wasn’t particularly interested in designing for Hermès.

One day, when I must have been 21, my father asked me to come to his studio to help him paint a bath towel with gouache. That was the turning point. The bath towels were much more in line with my aesthetic: very few colors, but vivid ones; no details since they were printed on terry cloth; and very strong compositional lines. A bold, graphic, clear, and simple design. I quickly took advantage of a meeting my father had with Jean-Louis Dumas, Hermès’s Artistic Director at the time, to present my first bath towel designs. That’s how it all began. And I’ve been working for this wonderful House ever since. 

That said, I’m freelance and I also work for other brands and in other fields—which is actually very exciting! 

June 6, 2026
By Jee Young Park

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Above: At a tea ceremony workshop in Seoul.

In search of a well-immersed perspective, we checked in with freelance London-based writer, trend analyst, brand consultant, and cultural researcher J’Nae Phillips to discuss nostalgia’s evolving role within the Gen Z creative class, the London fashion scene, anime, and grounds by Mikio Sakabe. In addition to her newsletter Fashion Tingz, you can find her words in SCREENSHOT, Polyester Zine, Dazed Beauty, Dirt, and more. Keep your eyes peeled for the second edition of Fashion Tingz digital zine.

Le Fool: A take that has stayed with me are your thoughts on how the Gen Z creative class chooses to dress. You identified the visible traits of the trend in your forecasting piece, but also the possible motivation, which is an important caveat to consider in design.  A lot of creatives are struggling to be directional, not reactive or indulgent, yet resonate. How do you balance these forces in your work?

J’Nae Phillips: For me, the balance comes from separating observation from interpretation. A lot of creative work gets stuck at the level of “what is happening,” especially in trend-driven environments, but directionality only emerges when you start asking “why now, and what does this reveal about longer emotional or cultural shifts?”

I try to anchor myself in underlying motivations rather than surface signals. The Gen Z creative class, for example, isn’t just dressing in certain ways because those aesthetics are “in,” but because clothing is functioning as a kind of positioning system — a way to signal ambiguity, irony, protection, or refusal. If you design from that level of intention, you’re less likely to be reactive.

Avoiding indulgence, for me, is about restraint in interpretation. Not over-reading every micro-trend, and being comfortable with leaving space unresolved rather than forcing coherence too early.

Le Fool: In that same piece you talked about "functional nostalgia." How closely does that relate to our survival instincts? Are art and design strained in reflecting back the problems of today while inspiring people to continue to dream?

J’Nae Phillips: I think functional nostalgia is very closely tied to survival, but not in a literal sense — more in terms of emotional stability. In periods of uncertainty, people don’t just look forward; they reach for frameworks that feel already tested. Nostalgia becomes “functional” when it stops being aesthetic and starts acting as infrastructure, something that helps people orient themselves.

That creates a tension for design and art. If you mirror the present too precisely, you risk collapsing imagination into realism. But if you ignore it entirely, you lose relevance. The strain comes from holding both: reflecting friction while still offering projection.

The most interesting work, to me, doesn’t resolve that tension. It lets people feel the discomfort of the present, but still gives them enough symbolic space to imagine a different emotional future.

October 22, 2025
By Le Fool

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Photo: Isabella Bejorano Courtesy of Simon Ungless

To those in the industry, Simon Ungless needs no introduction. Others may know him as the brilliant mind behind the iconic prints that defined Alexander McQueen's early collections, but to see him only in that light is to miss his most profound contribution to fashion. In this age of financialization and greenwashing, he is proving that success is still possible for those who focus on craft and creativity. Le Fool sits down with him to discuss his sought-after label, When Simon Met Ralph, and the general state of the industry.

Le Fool: So, I have to start with this: Why the decision to start When Simon Met Ralph at this time?

Simon Ungless: The fundamental concept has been something I’ve worked on for many years, starting with my own clothes. I wanted to have things that nobody else had. I achieved this through various textile treatment techniques.

Through lockdown, I did a lot more of my own work to demonstrate to the students in the classes I was teaching that they could, in fact, continue to work from home without access to the studios and equipment. It started as a 30-day creative challenge that I extended as the pandemic went on.

My work received some attention from the industry, and I started freelancing. It was seen through social media, and I received requests from people to buy pieces and to work on things they already owned. It all grew quickly, and I was able to leave my full-time teaching job. I got into teaching by chance, and after 30 years, it was time to get back to the real world.

Le Fool: Obviously, I can’t not ask you about your views on the current state of Fashion Academics, since you have been so influential, for more than two decades, in training the designers we see all over the industry.

Simon Ungless: I became aware of how much of an industry education had become. Art and Design academics especially became a cash cow for so many schools. More students, more income. 

We talked in terms of ‘seats sold,’ customer service, recruitment goals, no barriers admissions, dumb it down with no regard for what the industry required in terms of numbers of graduates needed to fill open positions. We were all churning out 100’s of undergrads every year with no jobs to apply to, but loaded down with huge loan debts and the encouragement to apply for grad school. 

And that’s another thing; every school now has a graduate program. The reality is, there aren’t that many students who even need to go to graduate school. A few years ago, it was a selective pathway; now it’s just tool to keep unemployment stats down for the school. I despise the current model schools are following. It’s a recipe for disaster, and many are already floundering.

September 25, 2025

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Photo: SS26 Runway, Tokyo, courtesy of AKIKOAOKI

Le Fool: The title of your new collection can be considered very suggestive and ambiguous. Could you tell us a little bit about the theme, what it means to you and why it was an important title to your collection?

Akiko Aoki: This season, the collection is titled ‘where she takes shape’. This is because AKIKAOKI’s focus for this season is not on a woman’s identity, but rather on her individuality. Looking at each look, some are formal, some are casual, and some are uniform-like. The title is meant to convey the idea that these various personalities are brought together, sometimes creating a soft halo effect and at other times forming a powerful outline of the self.

April 23, 2025Interviewed by Ali Khan | Co-Founder

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Photo: AW25 ‘montage’ shot by Robi Rodriguez courtesy of AKIKOAOKI



Ali Khan: Japanese fashion has a long history of pioneering women designers who shaped global fashion. As part of the new generation leading Japanese fashion today, how do you see yourself carrying forward this legacy? Do you feel a responsibility to redefine Japanese fashion’s voice?

Akiko Aoki: I believe that Japan has its own unique sense of beauty, values, and character. Our predecessors have continued to face and challenge their own missions without pretense. Therefore, I believe that AKIKOAOKI should also uphold our brand philosophy, and always be in dialogue with the times from a uniquely Japanese perspective and with sincerity.

AK: 日本のファッション界には、世界のファッションを形作ってきた先駆的な女性デザイナーが多くいます。現在の日本のファッションをリードする新世代の一人として、あなた自身はこの遺産をどのように継承していくつもりですか？日本のファッションを再定義する責任を感じますか？

AA: 日本には独自の美意識や価値観、そして性質があると考えています。それらを持って創造を行なってきた先人たちが最も大切にしてきたことは、自身の使命に嘘偽りなく向かい続け、挑み続けたことではないでしょうか。なので、AKIKOAOKIも、AKIKOAOKIのフィロソフィーを持って、誠実に日本独自の視点と、都度、時代と対話していくことだと思います。

AK: Do you think the Japanese fashion industry has enough female representation? How can we achieve better balance?

AA: I feel that the Japanese fashion industry is a place where women can thrive. With that said, one thing I can say is that independent fashion designers in particular are very busy, as there are many situations where it becomes difficult to balance work and our private lives. It would be nice if there was some kind of support, not necessarily a support system from a company, but some type of support for women creators who are in such an independent position.

AK: 日本のファッション業界は、女性が十分に活躍できていると思いますか？どうすればもっとバランスが取れると思われますか？

AA: 日本のファッション業界は、女性が活躍できる土壌があると感じます。1つ言えるとしたら、特にインディペンデントなファッションデザイナーは仕事とプライベートを分けきれない場面も多々ありますので、本当に忙しいです。いろんな物事のバランスをうまく調整することは大変難しいですが、企業のようなサポートとまでは言いませんが、そういった独立した立場である女性クリエイターをサポートするものがあればいいですね。

AK: How would you describe the AKIKOAOKI muse? What defines her essence?

AA: There is no specific muse, but I guess she is a mature woman who never forgets to be true to herself and isn’t afraid of new challenges.

AK: AKIKOAOKIのミューズはどのような人物ですか？彼女の本質を定義するものは何ですか？

AA: 特定のミューズは存在しませんが、繊細さと挑戦を忘れない大人の女性、でしょうか。

AK: Could you walk us through your latest Fall/Winter 2025 collection—the concept, key pieces, and any new creative directions you explored this season?

AA: The keyword is ‘montage.'
First of all, as a premise, the brand takes “contradictions” and unexpected “bugs” that appear from close observation of reality, which we usually take for granted, as “hints of possibilities,” and expresses them as distortions of reality through the clothes.This season, the designer Aoki's natural point of view has been further applied to the brand's core concept. It is a direct realism of “the transformation of an outfit that appears through time and situations based on a woman's own reality”. Elements such as lingerie, for example, express an invisible realm where social norms and personal memories intersect, without contradicting masculine scintillation.

The items present two different approaches to tailoring, for example. On the one hand, the tops are reconstructed into an infinitely flat silhouette, with only the essential details extracted from the suit.  On the other hand, there is the jacket coat, in which pattern techniques are used to cut out the drape of the fabric, which is drawn by the natural roundness of the back, as it changes over time to nestle against the wearer's body. In the dress category, there is a draping dress that spatially captures the female body and creates a three-dimensional flow that responds to the body's movements using pattern-making techniques alone, without the use of gathers.

AK: 最新の2025年秋冬コレクションについて、コンセプト、キーアイテム、そして今シーズンの新しいクリエイティブの方向性について教えてください。

AA: キーワードは‘ montage ’
まず前提として、普段、私たちが「当たり前」と捉えている現実をつぶさに観察して現れる「矛盾」や予期せぬ「バグ」を“可能性を示唆するもの”として捉え、それらを洋服を通してリアリティの歪曲 として表現しています。そういったブランドの基幹となる考え方に、今季は、より一層、デザイナーである青木のナチュラルな視点が照射されていきました。 それは、「ひとりの女性において自身のリアリティに基づいた状況や時間を通して現れる装いの変容」という直裁的なリアリズムです。例えば、ランジェリーのような要素は、男性的な スーチングと反目しないかたちで、社会規範と個人の記憶が交錯する不可視の領域を表現しています。

アイテムでは、例えばテーラリングでは、二つの異なるアプローチを提示します。スーツという形式から本質的なディテールだけを抽出し、限りなくフラッ トなボディに再構築されたトップス。 もう一方には、時を経て着用者の体に寄り添うように変化していく様を、背中の自然な丸みが描き出す布地のドレープをパターンテク ニックで切り取ったジャケットコートがあります。また、ドレスでは、女性の身体性を空間的に捉え、ギャザーを用いずパターンメイキングの技術のみで、身体の動きに呼応する立 体的な流れを構築したドレーピングドレスがあります。

January 17, 2025Interviewed by Miu Xia | Editor

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Photo: Summer Lace shoe charm set Courtesy of KIKYO.


Miu: I first followed you after falling in love with your Summer Lace shoe charm set, a combination of dainty lace, crystal beads and perfectly layered metallic accents. What is your favorite medium to work with, and what are some textures, materials, or ideas you would like to experiment with next?

Sandra: Ah, thank you so much! I am so glad you love the set, you literally saw the lace vision! ~ ❤

After trying out resin, crochet and clay, I still choose beads as my favourite medium (perhaps it’s a bias), but I love mixing beads with fabric, such as ruffles, chiffons, and ribbons! (coquette still dominates haha). I find that fabric enhances the beauty and sparkle of the beads, it makes a creation look more complete as a piece. In line with this, it’s probably because I always see in a way if my pieces are wearable with something that my customers already have. For example: shoes > fabric, clothes > fabric, bag > fabric or leather — — — which is what I would like to explore next year… But for now, this is a sneak peek to my SS ’25.

I mostly find inspos from the runways instead of objects, I analyse the structure of the clothes and translate it into jewellery pieces.

M: I love the quote you used for the product description of the Jellyfish Ribbon keychain: “If I do get reborn, then I, I want to just rock gently on the ocean waves. I want to be a jellyfish. 私はクラゲになりたい」 (Watashi wa Kurage ni Naritai)” from Princess Jellyfish, episode 5. From your use of delicate chiffon flowers to freshwater pearls, jellyfish to black swan motifs, nature is such a big theme in your collections. What do you envision as the lifestyle of those who wear KIKYO, and what might they be similarly inspired by?

S: I am a huge fan of slice of life anime — just about everyday life, and just like the Jellyfish quote, it’s more of a enjoy your present, while trying your best — stay grateful and treasure what you have. Their lifestyle could be anything: indoor, outdoor, small or large group of friends, party no party, makeup no makeup, introvert or extrovert. I’d love them to be content with their lives :) If I were to give an inspiration to this lifestyle, it would be this particular [playlist] Oldies + Rain by Nemo’s Dreamscapes. Such an odd reference, but it gives you comfort and calm.

Interviewed by Ali Khan | Co-Founder

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Ali Khan: We are increasingly having to navigate between the digital and real world, creating tension and new challenges for artists. How does it inform your creative process?

Nana Mandl: Right now, I’m really enjoying this balancing act. Since much of my work relies on meticulous analog techniques, I feel like I’ve found a good equilibrium between these two worlds. And the process of translating one into the other has been a major part of my creative work.

Herbert De Colle: Analog plays an important role in my work. When I think of my work “EMOTION” for the Art Box in the MuseumsQuartier in Vienna, for example. It is about handmade papier-mâché faces modeled on Harvey Ball's smileys. Conceived in 1963 in analog form, later distributed digitally and now brought back to analog form by me.

In my work “LOVE, PEACE, FOREVER” – which consists of cut posters and prints – the subjects I designed are also crafted in analog form in a very time-consuming, repetitive gesture.