How would you describe your visual code?

1388. That’s it. If my style had a number, that’s the one. Why? No idea. It just feels right. Maybe it’s the symmetry, maybe it’s fate, or maybe I just got attached to my car plate. Honestly, it sounds cool, looks good, and somehow says everything and nothing at the same time. Like a secret code I don’t even fully understand, but I trust it. Intuition is my co-pilot.

What fashion eras or designers shape your aesthetic?

The 90s, I would say. That’s lovely and perfect for a basement. But I like to take those vibes and that spirit, and mix them into something new. Something with a fresh angle, still carrying the old, good aesthetic notes, but reworked in a way that feels current. I’m more into building something forward from that energy than just repeating it.

The new cut really changes your presence - it feels strong, direct, and very clear. What pushed you to do it, and how does it feel to see yourself this way now?

I felt like I needed to let go of something not even sure what exactly, just a feeling. I didn’t overthink it, I just did it. And when I saw myself after, it was like… oh, there you are. It feels cleaner. Lighter. Like I’m not trying to hide or soften anything. It’s just me, more exposed, but somehow more solid too.

How do you relate to the concept of fashion as art?

Well, that’s some kind of inner sanctum for me, in case I feel a total match and common vibes with the idea and conception. And I truly enjoy the moments when it’s not about money.

What magazines, books or other resources do you read for inspiration?

Talking about issues and publications that inspire me - Art Partner projects and Self Service magazine are at the top of my list. As for industry talents I admire and would love to collaborate with, the twin duo Tanya and Zhenya Posternak, Lana Petrusevich, Julia Lang, Charlotte Colette, Jane How, and Suzan Koller are just a few... and I could keep going!

If you could take part in a shoot with an iconic photographer, who would it be?

Alesdir McLean, I’d love to make it again and also I’d be thrilled to collaborate with Posternak sisters, Ezra Petronio, Tim Walker, Jurgen Teller, Terry Richardson, Mario Sorenti, Steven Meisel, Mario Testino, David Sims, Tofjan, and I can keep going this list.

You recently worked with Bally - how was that experience for you? What did you take away from being part of their world and aesthetic?

If I had to describe working with Bally, it felt like driving a vintage car that’s just had a fresh engine put in. You feel the heritage, but there’s this new spark.

I did two shows for them, and each one had that same feeling. Very precise, very considered, but with a modern edge. Then came the campaign with Alasdair McLellan, and honestly, he just sees people. You don’t have to perform for the camera. You just show up as yourself.

And with Simone Bellotti leading the direction, it all made sense. He has this ability to make everything feel grounded but current. The whole process felt smooth. Like everything had its place. Nothing loud, just quietly confident. That’s very Bally.

If you could choose another foundation that wasn't modeling, what would it be?

Psychology and scientific activity my particular area of expertise. Also, music is also an important part of my life. And I continue my investigation in world of sound production.

So… you’re making music now. When did that start sneaking into your life, and what does it give you that nothing else does?