
<h2 class="wp-block-heading"><strong>French DJ and producer Dabeull is one of the contemporary representatives of funk and disco music.</strong> His style that blends retro textures with modern electronic sounds, sets him apart on stage. We experienced this uniqueness up close during Dabeull&#8217;s night in Istanbul.</h2>



<h2 class="wp-block-heading">We caught up with Dabeull during Selectist&#8217;s &#8220;Are You Disco?&#8221; night at Frankhan. His performance offered the audience more than just music—it delivered a vibe, a soul, and a full-on experience.</h2>



<h2 class="wp-block-heading">An artist who carries the evolution of disco from past to present in his music, Dabeull captured attention with his performance. He doesn’t follow a specific ritual before going on stage, but his natural presence and energy while performing make him stand out.</h2>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p><strong>“Disco culture has changed a lot. New instruments and samplers have emerged; we could say it transformed into house music. But we’re still trying to keep that spirit alive.”</strong><br>– Dabeull</p>
</blockquote>



<p><strong>Do you have any special rituals before going on stage?</strong><strong><br></strong> Not really. Sorry if that’s a bit disappointing, but I don’t have a specific ritual. Whatever comes… I just fool around a little, that’s it.</p>



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<p><strong>How do you think disco culture has evolved over the years? Does it still carry its original spirit today?</strong><strong><br></strong> It’s changed a lot, of course. New instruments, samplers came into play—it turned into house music, you could say. But we’re still trying to keep that spirit alive.</p>



<p><strong>How does the energy you get from the audience affect your music while you’re performing? Do you change your set depending on the moment?</strong><strong><br></strong> Yes, I usually adapt in real time during DJ sets. For live performances, though, we take notes as a team after every show—how people reacted, which transitions worked, what made them dance… All of that is communication for us. It’s not the same in Japan, France, or the U.S. Every place has its own vibe.</p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p><strong>&#8220;It’s not the same in Japan, France, or the U.S. Every place has its own vibe..&#8221;<br></strong>– Dabeull</p>
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From France, with Funk: Dabeull


<h2 class="wp-block-heading">Fifteen years in, Jacquemus is no longer the young brand. It’s the archive in motion. The signature re-seen. The silhouettes that once defined a mood now returned with intent.</h2>



<p>With <em>Les 15 Ans</em>, Simon Porte Jacquemus turns his own past into material—revisiting iconic pieces not as nostalgia, but as code. La Robe Saudade. La Robe Favola. La Robe Col U. Not replicas, but reflections. Each shape re-entered with new proportion, each reference softly re-edited. It’s a look inward that points forward.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1279" src="https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-1024x1279.jpg" alt="" class="wp-image-66917" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-1024x1279.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665-1200x1499.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072516728239_242323665.jpg 1440w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p>This is not a greatest hits collection. It’s a conversation between eras, stitched from memory. The draped lines of <em>La Robe Castagna</em> (2024) sit beside <em>La Robe Riviera</em> (2018), recalling both the sensuality of La Bomba and the sculptural rhythm of Les Sculptures. The result is less about chronology, more about instinct. An emotional map of Jacquemus—the obsessions that return, the shapes that stay.</p>



<p>More than a collection, <em>Les 15 Ans</em> is a portrait. Of a brand in flux, yes—but also of a woman whose style doesn’t follow time, it rewrites it. Slipped dresses, micro skirts, and sixties necklines become fragments of a larger language: one that has always said more with less.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1279" src="https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-1024x1279.jpg" alt="" class="wp-image-66919" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-1024x1279.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665-1200x1499.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/04/jacquemus_1742230970_3590416072550212149_242323665.jpg 1440w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p>Unfolding across Galeries Lafayette in Paris and Saks Fifth Avenue in New York, the collection lives not just in boutiques, but in windows—like poems framed for passing strangers. It’s a celebration of where Jacquemus has been. But more importantly, it reminds us: the brand has only just begun speaking.</p>


JACQUEMUS: LES 15 ANS — A MEMORY, CUT ON THE BIAS


<h2 class="wp-block-heading">For Spring/Summer 2025, Paloma Wool steps sideways from conventional campaign structure, inviting artist and photographer <strong>Fumiko Imano</strong> to construct an atmosphere rather than a narrative. The result is a collection of images that feel more like scattered memories than fashion photography—fragile, surreal, and quietly staged.</h2>



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<p>Known for her intimate self-portraiture and analogue collages, Imano builds a visual space where identity is fluid, moments are doubled, and reality is gently tampered with. This season, that same language is applied to Paloma Wool’s SS25 collection, where clothing appears as an extension of character rather than product—another layer in a carefully constructed fiction.</p>



<p>The campaign features <strong>Petra Collins</strong>, absorbed into Imano’s world of mirrored gestures, soft interiors, and imperfect symmetry. The scenes feel domestic yet distant—like pages from a family album that never existed, or snapshots from a dream only half recalled. There’s an intentional awkwardness to it all: figures doubled but not quite identical, spaces familiar but somehow off-kilter. It’s this tension between the known and the imagined that gives the campaign its weight.</p>



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<p>Nothing is overworked. The garments—loose knits, washed silks, soft tailoring—drift through the images with a natural ease. They are lived-in, unhurried, and grounded in the kind of real-life rhythm Paloma Wool has always embraced. And yet, through Imano’s eye, even the most understated look carries a certain theatricality, a sense of being part of a scene that’s been quietly choreographed.</p>



<p>There is no storyline here, no obvious statement. Instead, the SS25 campaign functions more like a memory exercise: a fragmented visual diary that explores the space between intimacy and invention. Imano’s analog approach—the visible seams, the hand-cut collages, the subtle imperfections—resists the hyper-slick polish of traditional fashion imagery. This is not a campaign that tries to be definitive. It lingers, suggests, and slowly unfolds.</p>



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<p>In the world of Paloma Wool, looks are worn more like clues than declarations. And with Imano behind the lens, those clues become part of something deeper—something personal, unstable, and beautifully unresolved.</p>


PALOMA WOOL SS25: FRAGMENTS OF A FICTIONAL MEMORY


<h2 class="wp-block-heading">This year, Lexus didn’t come to Milan to talk about torque or top speed. It came to talk about energy—the kind you don’t always see, but definitely feel.</h2>



<p>At Salone del Mobile 2025, the brand parked its usual identity at the door and stepped into something softer, stranger, and a little more intuitive. The centerpiece was A–Un, an immersive installation created by Japanese studios SIX and STUDEO. Think: a massive butterfly made of bamboo strings that moves in sync with your heartbeat. It doesn’t look like a car, but somehow it makes you think about what driving could feel like if the car actually cared how your day went.</p>



<p>There’s something bold about a mobility brand that doesn’t show a single car. No dashboards, no prototypes, no hype reel. Just breath, texture, and silence. Lexus seems to be betting that the future of movement isn’t about going faster—but about being understood.</p>



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<p>Elsewhere in the space, the vibe continues. Three new works—part of the Discover Together collection—offer more gentle provocations. In Earthspective, Tokyo-based Bascule invites you to see the planet not from your window, but from far above. In Our Energy Nexus, students from Northeastern University ask what happens when small, everyday gestures—breathing cleaner, walking more—are collected into something greater. And in Discover Your Butterfly, we’re reminded that minor shifts can change everything.</p>



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<p>None of it screams for attention. There are no QR codes. No hashtags. No calls to action. Lexus isn’t trying to sell you something. It’s inviting you to stay in the moment for a bit longer than usual—and maybe rethink how motion actually feels.</p>



<p>In an industry obsessed with speed, scale, and spectacle, this kind of restraint feels radical. Lexus doesn’t offer answers. But it leaves space for better questions.</p>


LEXUS AT MILANO DESIGN WEEK 2025: A LANGUAGE BEYOND MOVEMENT


<h2 class="wp-block-heading">Saint Laurent’s Spring/Summer 2025 campaign does not unfold on a runway or through the lens of a camera—it arrives by brushstroke. Under the direction of Anthony Vaccarello, the French house turns to celebrated painter Francesco Clemente, inviting him to interpret the season’s collection not as fashion imagery, but as fine art.</h2>



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<p>The resulting portraits do more than depict clothes—they suggest personas. Zoë Kravitz, Isabella Ferrari, Penelope Ternes, and Ajus Samuel appear not as models, but as characters suspended in color, softness, and form. Clemente’s canvases bypass the need for definition; each subject is rendered with the intimacy of a memory and the composure of mythology.</p>



<p>This is not Saint Laurent referencing art—it is Saint Laurent becoming it. With a nod to the brand’s painterly lineage, from Yves Saint Laurent’s Van Gogh-inspired collection in 1988 to Vaccarello’s current cultural projects, the campaign bridges decades of creative instinct. Clemente’s work continues that dialogue, echoing the house’s mid-’80s boldness while softening it with his own visual vocabulary.</p>



<p>On canvas, brocade jackets, lace blouses, and razor-sharp tailoring shift into new dimensions. These are not looks captured in motion, but garments distilled into essence. They carry sensuality without spectacle, structure without rigidity—clothing as aura.</p>



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<p>The campaign functions as both a meditation and a mirror, capturing a moment in which Saint Laurent doesn’t just dress a woman but studies her. Through Clemente’s touch, the SS25 collection becomes something quieter, more reflective. A wardrobe rendered not for the archive, but for the imagination.</p>



<p>In a time where fashion imagery often leans toward immediacy and overload, this collaboration slows everything down. And in doing so, it leaves something behind—images that don’t just sell clothes, but suggest how it feels to inhabit them.</p>



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SAINT LAURENT SUMMER 2025: CLOTHES AS PORTRAIT, MEMORY AS FORM


<h2 class="wp-block-heading"><strong>Sometimes it feels like we’re all magnets—attracting chaos, pulling at meaning, pushing away what doesn’t fit. It’s a constant dance to feel in control, to map some kind of direction. Creativity? It’s the opposite. It’s the storm that tears up your careful plans, flips the table, and leaves you staring at something raw and unignorable. In this beautiful mess, our paths cross with Joe Boyd, a mixed media artist whose work is just as untethered and transformative as the process behind it. His creations feel like they’ve been pulled from a dream, warped and stretched into something new, yet hauntingly familiar. Call it serendipity, call it the law of attraction—whatever it was, it sparked something undeniable.</strong></h2>



<h2 class="wp-block-heading"><strong>Joe’s creative process is chaos with intention, a dance between spontaneity and precision that thrives on the unpredictable. He turns overlooked objects into narratives that demand your attention. “It’s about seeing the potential in the everyday objects we often overlook as being ordinary or banal and transforming them into something unique,” Joe reflects. His medium, scanography, feels like a perfect metaphor for his ethos—it’s experimental, raw, and unrestricted, mirroring the way he approaches both his art and his life. Each piece seems to carry the residue of its journey, a fingerprint of the moment it was created.</strong></h2>



<h2 class="wp-block-heading"><strong>Our worlds collide in this exclusive collaboration, where thoughts become words, objects transform into shapes, and ideas manifest as images. The result is four extraordinary pieces that capture the essence of this shared journey—Joe’s interpretation of our inner selves, brought to life for the first time. “An artwork has two lives: one with me and another out there in the world. Once I put it out, it’s not mine anymore,” Joe says. And maybe that’s the real confession: creativity isn’t about ownership. It’s about letting go.</strong></h2>



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<p><strong>To set the stage, could you introduce us to the universe you create through your art? What journey led you to discover and explore scanography as your unique medium within this realm?&nbsp;</strong></p>



<p>I’m a mixed media artist. I use unconventional equipment and processes such as scanners, microscopes and projectors, to recycle household items and other non- traditional materials into abstract pieces of art.</p>



<p>I discovered the photocopier when I was in school and used it to duplicate inspiration from library books. However, I realised one day when I accidentally moved a book across the glass, that you could distort and stretch materials. This began a journey of experimentation with manipulating images, typography and any object I could get my hands on.&nbsp;</p>



<p>I then found out I could achieve the same results at home with a scanner, and produce a digital file on my laptop that I could then edit further with software. It’s been an incredible tool of self-expression that’s enabled me to create a huge amount of art, without the need for any traditional equipment.&nbsp;</p>



<p><strong>Your scanography acts as your signature that turns mundane objects into profound narratives. What do you aim to convey, and what emotions do you hope to evoke in observers?&nbsp;</strong></p>



<p>It&#8217;s about seeing the potential in the everyday objects we often overlook as being ordinary or banal, and transforming them into something unique. I work this way to prove to myself that there is beauty everywhere, even in the places people consider ugly or boring.&nbsp;</p>



<p>My hope is that this feeling is transferred to the viewer, and they are encouraged to notice the world around them with a new perspective.&nbsp;</p>



<p><strong>Despite being a digital art form, your scanography is deeply intertwined with the physical world, co-creating with spontaneity. How does the unpredictability of physical materials influence your creative process? Does your artwork seek to disrupt conventional perceptions or to reshape them?&nbsp;</strong></p>



<p>I’m just true to the ideas that come. The way I work is very natural to me, even if it seems disruptive to others. The unpredictability of physical materials is a core aspect of my creative process. When I use found objects, there’s a spontaneity and a lack of control that I fully embrace. I never know exactly how the final piece will turn out, which keeps the process exciting and dynamic. This forces me to adapt and respond to the materials, leading to many unexpected discoveries. It&#8217;s a practice that mirrors life, teaching me to be comfortable with uncertainty and always open to new possibilities.&nbsp;</p>



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<p><strong>By challenging traditional norms, you position yourself as a rebel against the conceived and accustomed. As an artist, do you strive to alter the perception of reality, or do you invite others to see the world through your unique perspective?&nbsp;</strong></p>



<p>I make art for myself, not the audience. So during the creative process I’m never worrying about how the work will be perceived. My only goal each day is to find new and exciting ideas to explore. If I can do this, then the work is already a success for me.&nbsp;</p>



<p>An artwork really has two lives, one with me in my studio and another when it’s presented to the public. At this stage I let it go and however the audience reacts is fine with me.&nbsp;</p>



<p><strong>A confession about yourself.&nbsp;</strong></p>



<p>I spend a lot of time dreaming. When I’m at my studio, I’m usually lost in thought. All the inspiration we ever need can be found in the subconscious mind, so I’m always deep in there, searching for my next idea.</p>



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<p>You can visit <a href="https://thisisjoeboyd.com">https://thisisjoeboyd.com</a> to learn more about the artist and explore recent works.</p>


Beyond the Conceivable w/Joe Boyd


<p>The CHANEL Fall-Winter 2025 Ready-to-Wear collection takes center stage beneath the glass roof of the Grand Palais, where dreamlike illusions unfold in movement and proportion. Against a scenographic masterpiece by Willo Perron—black ribbons twisting between floor and air—the collection plays with perception, shifting scales of size and silhouette with effortless elegance.</p>



<p>At the heart of the collection, classic CHANEL codes—bows, pearls, tweed—are reinterpreted through exaggerated volumes and layered textures. Mini jackets meet floor-length trousers, oversized poplin shirts graze the ankles, and cape-like constructions morph into tailored forms. In a play of contrasts, jewel-buttoned tweed jackets stretch into long coat dresses, while diaphanous capes soften structured suits.</p>



<p>The bow, a defining House signature, appears everywhere: sculpted into openwork knits, draped over shoulders in ribbon motifs, or cascading down black down jackets and sweatpants. Accessories embrace this spirit of illusion—pearls transform into heels, cross-body bags mimic oversized jewelry, and maximalist rhinestones turn adornment into statement.</p>



<p>Layering adds another dimension, with trompe l’oeil effects blurring distinctions between garments. A micro-jacket in grenadine tweed reveals a flash of silk lining, while tailored trousers peek from beneath a buttoned wrap skirt. Sheer tulle overlays create shifting silhouettes—puffed sleeves floating over jackets, transparent capes extending the lines of a suit.</p>



<p>Delicacy finds its place in the softness of chiffon jeans, silk woven to resemble tweed, and ribbon-printed fabrics that drift like whispers in the wind. Organza parkas, black wool lace trench coats, and 3D petal plastrons evoke a poetic, fairy-tale sensibility, punctuated by sock-ankle boots and sculptural satin details.</p>



<p>Between illusion and mastery, the CHANEL FW25 collection captures the tension between structure and fluidity, past and present, tradition and reinvention. A vision of femininity in motion—impossible to define, yet instantly recognizable.</p>



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<p></p>


CHANEL FW25: A THEATRICAL EXPLORATION OF TIME, SCALE, AND ILLUSION


<h2 class="wp-block-heading"><strong>The shutter clicks, and the moment freezes—right when intimacy and revelation begin their dance. Through the lens, we glimpse Sam Penn capturing real moments, real stories, as if each shot were a page in a personal diary written for the world to read.</strong></h2>



<h2 class="wp-block-heading"><strong>Penn’s work pulls us into spaces of unfiltered connection, transforming the everyday into quiet, radical statements. “I usually have close relationships with my subjects. If someone is in my life, chances are I will photograph them.” he says, piecing together fragments of friendship, love, and change. Each photograph in&nbsp;<em>Bad Behaviour</em>&nbsp;stands strong on its own, yet together, they resonate louder as parts of his story—an open invitation to see life as it is and as it might be.</strong></h2>



<p><strong>DUYGU Let’s go back to the time you said photography is “it” for you. How did it all start? Could you tell us more about your creative practice?&nbsp;</strong></p>



<p><strong>SAM </strong>I started taking pictures on disposable cameras that my mom would buy for me when I was very young. My first photos were of my parents and my two younger sisters. My mom took a lot of photos of our family with her film camera and we had stacks of photo albums that I always loved to leaf through. My grandmother and my father’s mother, was the same way. She had an Olympus Stylus and would let me shoot a few frames whenever I asked.&nbsp;</p>



<p>My practice of taking photos continued on from there, and my subject matter, my friends and family, has remained constant. I shoot when I’m spending time with other people and I like to think of my practice as a social one. When it comes time to make a show or a zine, I do my selection from my archives.&nbsp;</p>



<p><strong>DUYGU Could you please tell us the story behind “Bad Behaviour”?&nbsp;</strong></p>



<p><strong>SAM</strong> The show is titled after Mary Gaitskill’s 1989 collection of short stories called “Bad Behaviour”. I read it this past year while I was going through some significant life changes. The stories about people living in the Lower East Side of New York, dealing with heartbreak and disappointment and trying to survive through it all reminded me of my own life.&nbsp;</p>



<p>In the collection, Gaitskill uses a device to reconstruct memory through flashes of connected imagery, and I found that I could use something similar to sequence my photos. The show depicts a reminiscence of the end of a relationship and the beginning of another, in the lifespan of nine photographs.&nbsp;</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-1024x576.jpg" alt="" class="wp-image-66816" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-1024x576.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-360x203.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-680x383.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-1536x864.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-2048x1152.jpg 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-16x9.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/SAM_PENN_WEB_LAYOUT_1-copy-2-1200x675.jpg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU What inspires you the most about New York?&nbsp;</strong></p>



<p><strong>SAM</strong> I moved to New York because of the city’s history. I loved the work of photographers like Nan Goldin, David Armstrong, and Peter Hujar and thought I could get a glimpse of what their lives were like if I came to the city myself. The friendships I’ve made here are the reason why I stayed.</p>



<p><strong>DUYGU How important is storytelling in your photography? How do you ensure your shots communicate a strong narrative?&nbsp;</strong></p>



<p><strong>SAM</strong> I like to think my photographs can stand on their own when they are shown separately, but with this collection of photos, they are stronger together in sequence. In the show and zine, I tried to establish a narrative based on the progression of the photographs.&nbsp;</p>



<p><strong>DUYGU The “Bad Behaviour” series; feels super “brutal”. What does the word “brutal mean to you?&nbsp;</strong></p>



<p><strong>SAM</strong> I would not categorize the series as brutal per se. I was going through a lot when I took most of the photos, and I think the range of my emotional states, wants, and needs, were all over the place&#8230; Though I’m happy that people feel however they want when engaging with my work.&nbsp;</p>



<p><strong>DUYGU How do you choose your subjects?&nbsp;</strong></p>



<p><strong>SAM</strong> I usually have close relationships with my subjects. If someone is in my life, chances are I will photograph them. I shoot some people more than others based on their willingness to participate in the work.&nbsp;</p>



<p><strong>DUYGU What is the feature that separates photography from other art forms?&nbsp;</strong></p>



<p><strong>SAM</strong> I like how taking photos of people requires social interaction. It seems like with other mediums, production tends to be more solitary.&nbsp;</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="683" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-1024x683.jpg" alt="" class="wp-image-66785" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-1024x683.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-360x240.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-680x453.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-1536x1024.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-2048x1365.jpg 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-16x11.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Sam-Penn-Max-2024-1-1200x800.jpg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU A confession about yourself?&nbsp;</strong></p>



<p><strong>SAM</strong> No.</p>



<p><strong>DUYGU Any advice for creatives?&nbsp;</strong></p>



<p><strong>SAM</strong> Figure out the art you like and the art you don’t like, and try and have an understanding of why you like them or not. Be wary of other people’s advice&#8230;You have to figure out what works best for you!&nbsp;</p>



<p></p>


Define intimacy. w/ Sam Penn

Through your own voice w/ Lamia Al Otaishan Aydın


<h2 class="wp-block-heading"><strong>Does being in-between always mean fitting in? Or is it a way of forming reality through conceptual ways? Either way, the fact remains the same—reality is nothing but a misconception.&nbsp;</strong></h2>



<h2 class="wp-block-heading"><strong>The mundane has a lot of stories to tell, if you know where to search for it. When you stick your fingers through the cracks of reality, you’ll find yourself in the playground of Alessandro Malossi. Images are often quiet, but here they speak louder than words. Each piece is a deliberate provocation, crafted to make the familiar feel unnervingly strange. He is a provoker, in his unique ways “By altering reality, I can evoke new perspectives and challenge preconceived notions.” Think you’ve got it figured out? Come take a closer look then.</strong></h2>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1204" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-1024x1204.jpeg" alt="" class="wp-image-66704" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-1024x1204.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-360x423.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-680x799.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-1307x1536.jpeg 1307w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-1742x2048.jpeg 1742w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-16x19.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_3153-1-1200x1411.jpeg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU</strong> <strong>Let’s start from the beginning. How did you start?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> I’ve been fortunate enough to always have a clear sense of what I wanted to do with my life. From a young age, I was drawn to creative expression. I remember filling the walls of my house with drawings—much to my mother’s frustration at the time. Eventually, she also recognized that art was my true calling. Since then, my parents have been incredibly supportive, encouraging my passion and making sure I had the resources to pursue my studies. Their unwavering belief in my vision allowed me to fully dedicate myself to my artistic journey.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>What urges you to create?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> It’s the one thing that gives me a profound sense of safety and purpose. I often describe it as my life’s mission, something that gives me direction. There’s a deep-seated urge to create within me, it’s an integral part of who I am. Without it, I would feel lost, as if I wouldn’t know how to navigate the world.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>How would you describe your art to someone who has never seen it?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> I would say my art exists at the intersection of irony, discomfort, and impact. It challenges the viewer, sometimes unsettling them in a way that prompts reflection. There’s a strong undercurrent of humor and wit layered within themes that disrupt the norm, creating a visual experience that stays with you long after you’ve seen it.&nbsp;</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-1024x576.png" alt="" class="wp-image-66711" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-1024x576.png 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-360x203.png 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-680x383.png 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-1536x864.png 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-2048x1152.png 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-16x9.png 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/based_Alessandro_web_LAYOUT-1200x675.png 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU</strong> <strong>Do you use art as escapism or as a way of reflecting who you are?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> I think it’s an equal balance of both. On one hand, art allows me to step into a different reality, to disconnect from the pressures of daily life and immerse myself in a world of my own creation. In the other, it&#8217;s a reflection of my inner self, a way to express who I am, my experiences, and how I percieve the world. It’s a delicate dance between escaping and revealing.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>Could you share some insights into your creative process?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> It’s quite fluid, often influenced by the world around me and my own instincts. Sometimes, I draw inspiration from everyday life, transforming mundane experiences into something more profound. At other times, I delve into universal themes that everyone can relate to, aiming to resonate on a broader level. Then, there are moments when my ideas seem to emerge spontaneously, without any specific trigger, as though they were already there, waiting to be realized.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>Do you have any advice for creatives?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> My biggest piece of advice is to embrace vulnerability and take risks. Don’t shy away from exposing yourself and your ideas, even if it feels uncomfortable. Focus on creating things that speak to you personally, rather than worrying about pleasing others. Art should be an authentic expression of your vision, not a bid for approval. Experiment with different approaches, and don’t be afraid to fail along the way—it’s all part of the process.&nbsp;</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1365" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3-1024x1365.jpeg" alt="" class="wp-image-66722" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3-1024x1365.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3-360x480.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3-680x907.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3-16x21.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8471-3.jpeg 1101w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU</strong> <strong>What do you think originality means in terms of art? How do you stay true to yourself in your work in this world of constant exposure?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> Originality is complex. For me, it comes from the consistency of one’s vision and voice. I focus on creating a distinctive aesthetic through recurring themes and subjects, both conceptually and visually. Even in a world flooded with content, I stay true to myself by revisiting ideas and motifs that resonate deeply with me. In a way, consistency becomes its own form of originality, reflecting the unique perspective through which I view the world.</p>



<p><strong>DUYGU</strong> <strong>The relationship between social media and your work: is it the best way to spread it?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> In today’s digital age, social media is undeniably one of the most effective platforms for sharing and spreading art. It offers unparalleled access to a global audience and provides immediate feedback and engagement. Though it has its limitations, I believe it&#8217;s an indispensable tool for any contemporary artist.</p>



<p><strong>DUYGU</strong> <strong>What role does abstraction play in your art, and how does it serve as a medium for exploring deeper truths?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> In my case, I wouldn’t necessarily call it abstraction, but rather a form of surrealism. I enjoy taking familiar objects and completely transforming them, stripping them of their conventional meanings and imbuing them with new significance. This process allows me to explore deeper truths and question the way we interpret the world around us. By altering reality, I can evoke new perspectives and challenge preconceived notions.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>How does your artistic process mirror the complexities of modern life? Is there a specific narrative you aim to convey through your work?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> A recurring theme in my work is a focus on contemporary issues. I aim to engage with topics that are relevant and reflective of the world we live in, but always through my own perspective. My art doesn’t just mirror modern life—it critiques and reinterprets it, pushing viewers to question the status quo and consider alternative viewpoints.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1288" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-1024x1288.jpeg" alt="" class="wp-image-66708" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-1024x1288.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-360x453.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-680x856.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-1221x1536.jpeg 1221w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-1628x2048.jpeg 1628w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-16x20.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-1200x1510.jpeg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/Opera_senza_titolo-1-1-scaled.jpeg 2035w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU</strong> <strong>Given that your methods are far from traditional, in what ways do you think your cultural background influences your artistic vision and the themes you explore?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> I believe that meaningful art requires a strong foundation in culture and history. While my work isn’t overtly tied to any specific cultural tradition, my understanding of the world, along with my awareness of past and present events, shapes the way I approach my art. My background gives me a framework to push boundaries and explore themes that resonate not just with me, but with society at large. In this sense, social media becomes a venue for dialogue—almost like an open exhibition space.</p>



<p><strong>DUYGU</strong> <strong>What can you say about the importance of viewer interaction with your art? Can you discuss the role personal interpretation plays in the meaning of your work?</strong></p>



<p><strong>ALESSANDRO</strong> I place a great deal of importance on viewer interaction. I intentionally leave a lot of room for personal interpretation, often giving my pieces generic titles to avoid imposing a fixed narrative. This allows the viewer to engage with the artwork on their own terms, bringing their unique experiences and perspectives into the dialogue. In this way, the meaning of my work is always evolving, shaped by the ongoing interaction between the art and its audience.</p>



<p><strong>DUYGU</strong> <strong>How do you envision the future of your artistic practice? Are there new themes or mediums you are excited to explore?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> I’m currently exploring art direction more extensively, which feels like a natural progression for me. I think it’s time for my art to take a leap beyond the digital sphere and evolve into something that encompasses a broader range of mediums and experiences. The possibilities ahead are endless, and I’m genuinely excited to see where this journey will take me.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1262" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-1024x1262.jpeg" alt="" class="wp-image-66709" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-1024x1262.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-360x444.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-680x838.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-1247x1536.jpeg 1247w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-16x20.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1-1200x1479.jpeg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/IMG_8510-1.jpeg 1284w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>DUYGU</strong> <strong>Do you care about people’s opinions on you?&nbsp;</strong></p>



<p><strong>ALESSANDRO</strong> To a certain extent, yes. While I don’t let others’ opinions dictate my creative choices, I do believe in maintaining a dialogue with your audience. That said, I prioritize staying true to myself and my vision, even if that means not always meeting others’ expectations.</p>



<p><strong>DUYGU</strong> <strong>One thing you can’t live without.</strong></p>



<p><strong>ALESSANDRO</strong> Definitely my iPad and good music. They’re essential tools for my creative process and help me stay focused and inspired while I work.&nbsp;</p>



<p><strong>DUYGU</strong> <strong>A confession about yourself?</strong></p>



<p><strong>ALESSANDRO</strong> I suffer from anxiety at levels that feel almost cosmic in scale. It’s something I’ve learned to manage, but it’s always there in the background.&nbsp;&nbsp;</p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>“In a way, consistency becomes its own form of originality, reflecting the unique&nbsp;perspective through which I view the world.&#8221;</p>
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<p></p>


reality is nothing but a misconception w/Alessandro Malossi


<h2 class="wp-block-heading">Istanbul is a city that never stops its rhythm and dissolves chaos and order in the same pot. To exist here means to open a space for yourself, to be able to be included in its flow without getting caught in its waves. For some, it is the unpredictability of its streets, for others the stories behind its walls, and for others the state of being alone even in a crowd. Being creative means assimilating the lawless energy of this city and creating its own language.<br>Recording Istanbul records the names that understand this language, find their own rhythm and feed on the infinite possibilities offered by Istanbul.<br>Finding yourself in this city means accepting to get lost a little bit. They recorded, we listen.</h2>



<p><strong>Sometimes an ex-lover, others an endless journey&#8230; Ali Can Ayyıldız carves out his own path amid the chaos of Istanbul, never hesitating to share the inspiration he draws from the city back with it. He narrates his life not based on how others might react, but on what makes him feel good: “It’s not exactly easy, but when you can manage to act this way, you naturally become a one-of-a-kind character.” His relationship with Istanbul is woven with kites, marbles, friends, and losses. Sounds familiar?</strong></p>



<p><strong>Recording Istanbul_______ this time Ali Can sits in front of us. We delve into the unique mark he’s left on the city’s chaos, the original energy he’s infused into its spirit, and the creativity-filled stories he’s brought to life. Stories born from familiar voices, yet never heard before.</strong></p>



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<p><strong>Take us into your world! What are the core values that make you who you are?</strong></p>



<p>Original, innovative, and emotional. Not only in my work but in every aspect of my life, I always try to create and try new things. I’ve never tied my purpose of survival to financial reasons — instead, I’ve always moved forward with innovative projects.</p>



<p>In the brands I’ve created or in the close relationships I’ve built, my emotional side can show up at a very high level. Maybe that’s why I push myself to be original — it has to be something completely new for me to actually love it.</p>



<p><strong>What does “being unique” mean to Ali Can?</strong></p>



<p>Acting not based on how others would react, but based on how I would feel good about myself. It’s not the easiest way to live, but when you manage to do that, you naturally become a one-of-a-kind character.</p>



<p><strong>How would you describe your relationship with Istanbul?</strong></p>



<p>I have a very long-term relationship with Istanbul. I’ve experienced its most ‘ghetto’ sides, I’ve flown kites, played marbles in the streets. I’ve made countless friends and lost many too. I’ve worked in so many places, opened venues, closed them. I’ve been deeply nourished by this city. That’s why it’s impossible for me to say anything bad about Istanbul. It’s actually like an ex I can never forget — you only realize you can’t live without it once you’re apart.</p>



<p><strong>What makes a place stand out from others for you?</strong></p>



<p>The crowd.</p>



<p><strong>A confession about creativity.</strong></p>



<p>I used to get really jealous of truly creative, great work. There were so many times I was mad at myself thinking ‘why didn’t I do this?’ As I’ve gotten older, I’ve calmed down a bit — now I can appreciate and move on with my life.</p>



<p><strong>What would be the soundtrack of your life right now?</strong></p>



<p>Radiohead &#8211; No Surprises</p>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>“<em>It’s actually like an ex I could never forget — you only realize you can’t live without it once you’re apart.”</em></p>



<p>-Ali Can Ayyıldız</p>
</blockquote>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Based Istanbul 𝗖𝗢𝗡𝗙𝗘𝗦𝗦𝗜𝗢𝗡𝗦 Issue⁠Recording Istanbul ━━━━━━  Ali Can Ayyıldız" width="500" height="281" src="https://www.youtube.com/embed/AGZhnUvs20U?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
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<p class="has-text-align-right"><span style="text-align: right;"><span class="font-snell">In conversation with </span></span>Ali Can Ayyıldız</p>



<p class="has-text-align-right"><span style="text-align: right;"><span class="font-snell">Editor ın Chief </span></span><span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi</span></p>



<p class="has-text-align-right"><em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"><em><em><span class="font-snell">Art Direction by</span></em></em></em> Yağız Yeşilkaya</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Videography by</span></em></em></em> Umutcan Öncü, Melike Duman</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Edited by</span></em></em></em> Melike Duman</p>



<p class="has-text-align-right"><em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"><em><em><span class="font-snell">Fashiıon Editors </span></em></em></em>Birce Naz Köş, Murat Şentürk</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Interview by</span></em></em></em> Tunga Yankı Tan</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Hair  Team</span></em></em></em>  Enes Sakızcı, Yiğithan<strong><em> </em></strong>Yılmaz</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Make Up by</span></em></em></em> Melisa Deniz Aslanboğa</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Make up Assistant</span></em></em></em> Zeynep<strong><em> </em></strong>Naz Akoğlan</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">FashionAssistantants</span></em></em> </em>Melek Kaya, Zeynep Naz Gümrükçü</p>


Recording Istanbul_______ Ali Can Ayyıldız


<h2 class="wp-block-heading">What does a handbag do when no one carries it? How does it see the world? When it slips from a woman’s hand, gets abandoned in a corner, passed from lover to lover—does it carry the weight of those memories? Or are all these stories a purely human illusion? Joanna Hogg builds the 29th chapter of Miu Miu Women’s Tales around these very questions, turning a handbag into more than just an object: a silent witness to time itself. This time, the protagonist is a white <em>Miu Miu Wander.</em></h2>



<p>In Hogg’s lens, the bag becomes an eye observing the world in silence. We first meet Wander resting alone on a rock in the vast landscapes of Maremma, Italy. This is where its story begins—in stillness. From there, the film rewinds through the bag’s life: its immaculate birth in the Miu Miu factory, its transformation in the hands of different owners, from the opulence of grand Italian villas to the shadows of urban peripheries. With every new touch, every new hand, the bag absorbs another story; the bag evolves—from a status symbol to a relic of heartbreak, from a witness to love to a symbol of being lost.<br></p>



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<p>In Hogg’s cinema, an object is never just an object. Her films uncover the spirit of things, the memories soaked into them, and the complex bond between people and their possessions. Just as <em>The Souvenir</em> explored the collapse of a relationship through the silence of interiors, <em>Autobiografia di una borsetta</em> reads the surface of a bag like a diary—etched with love, loss, and transformation. The bag is not an accessory; it is a carrier of time itself.</p>



<p>Since 2011, Miu Miu Women’s Tales has invited female directors to explore femininity through their own vision. Each season, a new short film, signed by a woman, becomes part of this ever-growing conversation. As Miuccia Prada puts it, “a conversation with women about women.” From Ava DuVernay and Miranda July to Chloë Sevigny and Agnès Varda, the series has evolved beyond fashion film clichés to become a space for examining power, vulnerability, desire, and self-discovery.</p>



<p>With <em>Autobiografia di una borsetta</em>, Hogg rewrites the usual narrative structure. The central character is not human but an object. People are reduced to supporting roles—just hands passing the bag along, blurred faces in the background. The bag is the one carrying the story. And this story is not only the journey of an object but a metaphor for the fragility, desire, alienation, and fleeting nature of women’s lives.</p>



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<p>To enhance this radical shift in perspective, Hogg chose to shoot the film entirely with four iPhone 16s. This choice allows the camera to remain physically close to the bag, capturing the world from its point of view. Sometimes, we see through the eyes of an insect, sometimes as if we are the wind brushing against it. Ultra-wide lenses emphasize the bag’s position in time and space. In Hogg’s visual language, realism and magical realism merge, transforming what could have been a simple fashion film into a cinematic memory archive.</p>



<p><em>Autobiografia di una borsetta</em> is not just the story of a handbag, but a portrait of contemporary Italy. The widening gap between social classes, the fragility hidden beneath glamour, the fleeting triumph of being a desirable object, followed by the inevitable fall into neglect—Wander bears silent witness to all of it. Once a symbol of status, the bag gradually loses both its value and the dreams it once carried.</p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1365" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1024x1365.jpg" alt="" class="wp-image-66650" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1024x1365.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-360x480.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-680x907.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1152x1536.jpg 1152w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1536x2048.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-16x21.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1200x1600.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



<p>This is why Hogg’s film is not a traditional fashion film. It is social history seen through the eyes of an object—a poetic meditation on how objects absorb our desires, fears, and humanity itself.</p>



<p><em>Autobiografia di una borsetta</em> is the fruit of creative freedom. Seeing the world through a handbag’s eyes, connecting memory and materiality, linking personal and collective history—this is where the creative legacy of Miu Miu Women’s Tales meets Joanna Hogg’s cinematic language.</p>



<p><br>Miu Miu Women’s Tales has always chased what makes fashion more than clothing: the courage of women to tell their own stories in their own voices. Joanna Hogg’s <em>Autobiografia di una borsetta</em> reminds us—sometimes a bag is not just a bag. Sometimes, it’s a diary quietly remembering who we are.</p>



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<p></p>


Autobiografia di una borsetta: A Bag’s Tale by Joanna Hogg for Miu Miu


<h2 class="wp-block-heading">Prada shows always hold a special place in the fashion calendar. Surprises, references, twists… This season was no different. Miuccia Prada and Raf Simons revisited the concept of femininity for Fall/Winter 2025. Instead of breaking the familiar molds or replacing them with new ones, they shifted those molds—creating gaps in between. And those gaps were just as important as the clothes themselves.</h2>



<p>Classic codes of femininity—bows, dresses, jewels—appeared on the runway. But none of them carried their usual meaning. Fur coats, wrapped in plastic, were they being protected or stripped of their value? Skirts with paper-bag waists, were they embracing the body or avoiding it? A tiny bow sitting on the shoulder of a knit, was it about innocence or irony?</p>



<p>What Prada does is never just designing clothes; it builds ideas through garments. Once again, the archive met the present to refresh that conversation. Traces of Fall/Winter 2009 appeared on the runway, but the “strong woman” narrative of 2009 evolved into today’s questions: How has the relationship between femininity and simplicity changed? When luxury is so accessible, what does true elegance even mean?</p>



<p>The setting at Fondazione Prada’s Deposito supported these ideas too. Metal scaffolding and Catherine Martin’s patterned carpets placed rawness and luxury side by side. This physical framework made the collection’s message even clearer: Femininity is no longer a polished whole. It’s layered, contradictory, fragmented—and all the more real because of it.</p>



<p>And yes, Prada continues to celebrate imperfection. Visible seams, intentional wrinkles, and purposeful gaps… In Prada’s world, imperfection is never a flaw, but part of the design itself. This season, that attitude stood front and center: Not wanting to be perfect is the ultimate freedom.</p>



<p>Prada Fall/Winter 2025 doesn’t glorify femininity or reject it. It simply asks: What could it be? And Prada’s only answer, as always: Femininity never fits into one form. It’s in every piece, every detail, every contradiction.</p>



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PRADA FW25: The Raw Form of Femininity


<h2 class="wp-block-heading">Gucci’s Fall/Winter 2025 collection introduced a blend of cinematic grandeur and contemporary design, set against a backdrop of mirrored interlocking Gs on the floor and ceiling. The runway setting evoked a high-tech reimagining of a vintage perfume bottle, reinforcing the collection’s mix of mod aesthetics and modern styling.<br></h2>



<p>Fur and lace played a significant role in the season’s looks, reflecting broader industry trends. A-line mini dresses with a Twiggy influence were paired with silk scarves draped over baseball caps, while the brand’s signature horse-bit motif was reworked into a drop-chain necktie. Pastel patent leather skirt suits adopted a boxier silhouette, and glittery 1980s logo catsuits were styled alongside updated shaggy Jackie bags.</p>



<p>This collection marks the first since Sabato De Sarno’s departure, with Gucci’s in-house design team taking charge. While De Sarno often explored &#8220;his and hers&#8221; pairings across men’s and women’s collections, this season expanded on that idea with a fully co-ed lineup. Menswear elements—particularly structured outerwear and striped duffles—stood out, layered over well-tailored monotone suits.</p>



<p>The brand has also relied on its internal team during past transitions. Following Alessandro Michele’s departure in 2022, Gucci presented four seasons of collections before appointing De Sarno. Similar design choices appear between FW23 and this latest collection, with bold pops of orange, green, and blue contrasting muted suits and formalwear. Sheer, sequined, and lace low-rise midi skirts paired with long-sleeve sweaters also carried over as a statement look.</p>



<p>With no creative director currently confirmed, the future direction of Gucci remains a topic of speculation. As the brand responds to changing consumer preferences and market shifts, this collection offers a glimpse into its evolving aesthetic and strategy.</p>



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<p></p>


Gucci Fall/Winter 2025 : Redefining 70’s Flair


<h2 class="wp-block-heading">Istanbul is a city that never stops its rhythm and dissolves chaos and order in the same pot. To exist here means to open a space for yourself, to be able to be included in its flow without getting caught in its waves. For some, it is the unpredictability of its streets, for others the stories behind its walls, and for others the state of being alone even in a crowd. Being creative means assimilating the lawless energy of this city and creating its own language.<br>Recording Istanbul records the names that understand this language, find their own rhythm and feed on the infinite possibilities offered by Istanbul.<br>Finding yourself in this city means accepting to get lost a little bit. They recorded, we listen.</h2>



<p><strong>Istanbul draws its breath from its creators, and Bengi Apak is one of its loudest voices. Her world is a reality unafraid to unfold, free from plastic facades and contrived mysteries. In her realm, clarity triumphs over chaos, and culture rises above fleeting trends. Bengi approaches creativity with a firm stance: “I’m not interested in extremes. For me, it’s crucial that everything I write and create is light and understandable.” She doesn’t linger in the tension of scaling the wall built by her doubts; instead, she turns her back to it, basking in its shadow. Let life throw as many bricks as it wants—Bengi’s palace of thought remains unshaken.</strong></p>



<p><strong>Recording Istanbul___ is making another recording. This time we are turning our lens towards Bengi Apak&#8217;s Istanbul; towards a universe where clarity steers creativity, challenges turn into confidence and self-awareness is the biggest source of inspiration. We’re not sure if the path leads to anywhere, but we are definitely on our way.</strong></p>



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<p><strong>Take us to your world! What are the core values that make you who you are?</strong></p>



<p>Now! My world is a very straightforward place. I&#8217;ve always avoided plastic, forced mystery. I have nothing to do with extremes. It is very important for me that everything I create is understandable and light. I am traditional in terms of basic value judgements. I believe in family upbringing, I find love optional and respect essential.</p>



<p><br><strong>What does it mean for Bengi to be ‘unique’?</strong></p>



<p>I am a self-sacrificing person. When necessary, I can stretch and mould myself by looking out for the people I care about. As I grew up, I started to do this for myself as well. I no longer make what goes on in my mind a cause of anxiety. What makes me unique is that I made peace with my mental palace, took it seriously and finally utilised it freely.</p>



<p><br><strong>How does being in the digital world affect you creatively, do you care what people think?</strong></p>



<p><br>My mobile phone is always on. I care too much about people&#8217;s thoughts. Each of us has become eager for a certain amount of interaction at the last point of the digital world. Our catalyst has always been to be liked and the digital world has made it very accessible and easy. Being open to comments used to be a horrible thing for me, but at this point I don&#8217;t make a big deal out of it. I take the positive and the negative in the same range and don&#8217;t get too caught up in it.</p>



<p><strong>What did your work make you discover about yourself?</strong></p>



<p><br>If I hadn&#8217;t started this job, I wouldn&#8217;t have found anything I wrote at home sufficient, and I would have ended up not being able to create anything for the sake of creating the perfect, and not being able to exist because of myself. Half consciously, half by fate, I embarked on such a dynamic path. I realised myself despite myself. I am grateful to every detail of my path.</p>



<p><br><strong>A confession about creativity.</strong></p>



<p>It&#8217;s not as magical as it&#8217;s portrayed.</p>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>&#8220;Style has no meaning without a story. Style is actually an expression of you and your experiences. A style that is not shaped by your own story is just an image.&#8221;</p>



<p><br>-Bengi Apak</p>
</blockquote>



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<iframe loading="lazy" title="Based Istanbul 𝗖𝗢𝗡𝗙𝗘𝗦𝗦𝗜𝗢𝗡𝗦 Issue⁠Recording Istanbul ━━━━━━  Bengi Apak" width="500" height="281" src="https://www.youtube.com/embed/01OXEMCP53Q?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
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<p class="has-text-align-right"><span style="text-align: right;"><span class="font-snell">In conversation with </span></span>Sude Belkıs</p>



<p class="has-text-align-right"><span style="text-align: right;"><span class="font-snell">Editor ın Chief </span></span><span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Duygu Bengi</span></p>



<p class="has-text-align-right"><em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"><em><em><span class="font-snell">Art Direction by</span></em></em></em> Yağız Yeşilkaya</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Videography by</span></em></em></em> Umutcan Öncü, Melike Duman</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Edited by</span></em></em></em> Melike Duman</p>



<p class="has-text-align-right"><em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"><em><em><span class="font-snell">Fashiıon Editors </span></em></em></em>Birce Naz Köş, Murat Şentürk</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Interview by</span></em></em></em> Tunga Yankı Tan</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Hair  Team</span></em></em></em>  Enes Sakızcı, Yiğithan<strong><em> </em></strong>Yılmaz</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Make Up by</span></em></em></em> Melisa Deniz Aslanboğa</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">Make up Assistant</span></em></em></em> Zeynep<strong><em> </em></strong>Naz Akoğlan</p>



<p class="has-text-align-right"><em><em><em><span class="font-snell">FashionAssistantants</span></em></em> </em>Melek Kaya, Zeynep Naz Gümrükçü</p>


Recording Istanbul_______ Bengi Apak


<h2 class="wp-block-heading">There’s something haunting about the way youth slips away before we even realize it’s gone. It lingers in fragments—blurry photographs, a half-smoked cigarette, the golden glow of a summer that no longer exists outside of memory. Sophia Cutino knows this well. Her work is a restless pursuit of preservation, an attempt to hold on to what refuses to sit still. At 23, she releases&nbsp;<em>Diaries of a Wet Bird</em>, a collection of images that capture the fleeting nature of adolescence, the beauty and decay entangled in its fabric.</h2>



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<p>Sophia Cutino is obsessed with time. Not in a philosophical way, but in the way a collector hoards postcards from places they’ll never return to. As a kid, she stuffed pictures into scrapbooks, pressed receipts between book pages, and filled jars with rocks and shells—little talismans of moments she feared would slip through her fingers. That fear morphed into an obsession with film photography in her teenage years. And now, at 23, she releases&nbsp;<em>Diaries of a Wet Bird</em>—part fever dream, part love letter to a youth that’s already dissolving beneath her feet.</p>



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<p>The book is an excavation of Cutino’s coming-of-age, a flickering reel of images pulled from her time in Southern California and New York. The structure is fluid, cyclical—a breath in, a breath out. The book opens with poetry and black-and-white film stills before bleeding into color, only to slip back into the fog of obscurity. Cutino stitches together fragments of existence: blurry summers, skin on asphalt, cigarette smudges, a body floating in the afternoon light. But there’s rot, too—roadkill, shrines on the side of the road, discarded relics of something once alive. The beauty of it all is that nothing stays beautiful for long.</p>



<p>Cutino doesn’t just capture youth—she dissects it. She worships and destroys it in the same breath. Her fascination with impermanence is deeply tied to her view on photography itself, a philosophy she carved out after devouring Susan Sontag’s&nbsp;<em>On Photography</em>. A photograph is a soft murder, and Cutino took that to heart. Photography is like taxidermy to her. It holds something still, but it also takes something away. You can never really get it back.</p>



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<p>Her visual language is steeped in contradictions—devotion and defiance, beauty and decay, nostalgia and nihilism. Catholic iconography seeps into her work—crucifixes, candlelit shrines, white doves in mid-flight. The religious weight isn’t lost on her. She often reflects on faith and how people crave conviction. Maybe photography is her way of searching for meaning in the randomness. The book’s title echoes that sentiment. Pulled from an old Jackie Vernon joke—A wet bird never flies at night—it teeters on the edge of profundity, but ultimately means nothing. And maybe that’s the point.</p>



<p>There’s a delicious irony in mourning youth while still living it, and Cutino is self-aware enough to know it. She has been romanticizing her adolescence since before she was in it. The book is her way of making peace with the fact that nothing stays. Of learning how to love the moment before it’s gone. Of holding it still, just for a little while longer.</p>



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