Real and intimate

Where can love be found? Where did it go? I’m on display, I’m looking for you.

Look at me.

Through your eyes, I find myself.

Do you love me, or is it just my body?

How do we understand who we are?

Through the people around us.

You need to experiment. You need experience. And when you travel through people, even if it’s just for an afternoon, you learn about yourself through them. Sure, changing identities and trying out new lovers is emotionally risky. You might end up feeling used and drained. But ultimately, if you’re strong enough, you gain a deeper understanding of who you are and what it is you really want.

We could spend the afternoon together, or we could make it forever?

Rebecca Voight

h: Could you share the inspiration behind your personal project, part of which was featured in the SS25 hube edition? It delves into themes of love, identity, and self-perception – how do these ideas come to life in your creative process?

EM: This project stems from a deeply personal obsession and a profound transformation in my life over the past year. I’ve always been in long-term relationships, reassured by the idea of a stable partnership. But recently, I went through a difficult and surreal breakup. For the first time in my life, I found myself single. My obsession with relationships evolved drastically as I began experimenting with very different kinds of connections – with very different kinds of men.

This reflection led me to the idea of embodying different characters in each relationship, floating from one to another so quickly. The project explores how I perceived myself through the gaze of the men I was with and the many personalities I discovered through them. In every relationship, I became a different character – an external manifestation of what was happening inside me. Through all these different versions of Elena that I uncovered, I feel like I’m getting closer to the final Elena – if such a thing even exists.

There’s a quote I love from Barthes: “À chaque instant de la rencontre, je découvre dans l’autre, un autre moi-même”. (At every moment of a new encounter, I discover in the other, another version of myself.)

h: How did the casting process go? What made you choose these individuals?

EM: Because I wanted to express something deeply personal and honest, casting was a huge challenge. The project is a mix of real and fictional relationships – I wanted to explore different fantasies and blur the lines between genuine emotions and staged moments. Of course, I won’t tell you which ones are real and which aren’t, because they all became part of the story and a reflection of a personal fantasy.

I also wanted to show the rapid transitions between relationships – sometimes happening within the same day. I wanted to capture all the stages: the excitement, the joy, the narcissism it provokes, the sadness, the search, the body we share – or don’t. Is it just a kiss? Or maybe not?

h: Why do you want to use yourself in your work now, rather than styling others?

EM: Because I want to express my obsessions, and I want to convey emotions more directly. I just feel like I’m the best person to express my own life experiences. And I wanted to interact with the characters myself. I need my work to be physical, to use my body as an expression, so I found my own way.

h: How did the interactions with the men go?

EM: The most striking thing for me was the smell. I remember all the scents. Pierre had a familiar smell – like a freshly ironed shirt. Ariel smelled of cigarettes and alcohol, like that first cold cigarette you smoke at 14 – disgusting, but sexy. Simon smelled clean, like soap – almost like a baby.

It was fascinating to experience these ’fake’ relationships physically. Some bodies felt completely at ease, others were more rigid. Interacting with all these men in just one week was so fun. Especially the kissing scene. I wanted to be very respectful. It was almost like a reversed Me Too situation – I wanted to make sure the men felt comfortable and fully aware of each scene.

h: Styling isn’t just about clothes – it’s about transformation. How do you use it to explore different identities, both for yourself and for the people you dress?

EM: I’ve always approached styling through characters and acting. I need to imagine a girl – who she is, what she’s thinking, what she’s doing. I need a story. I need emotions. If it’s just a nice look, I’m not moved by it. I approach my work more like a film character study, and then I add fashion. That’s what makes it so satisfying – because in styling, you can exaggerate everything. I can live out all my fantasies, whether through myself or through others.

That’s why I wanted to apply it to myself too – sometimes, I’m the only one who can truly express my most intimate, personal fantasies.

h: You once said that effortlessness in fashion is an illusion – but achieving that illusion requires precision. How do you create that perfect “effortless” balance in your work?

EM: Whether it’s effortless or completely exaggerated, the key is believing in the character you create – finding the right balance. If the character in my head is meant to be completely naked, then the best styling choice is no clothing at all. In that case, expression would come through glam, body language, or facial expressions. It all depends on the story you want to tell.

For this project, I needed a lot of skin, flesh, tongues. I wanted to feel the warmth of bodies touching. So naturally, there were very few clothes. Most of the time, I wanted to wear white – to create a sort of virginal image, which contrasted with the actions.

h: You often remove elements from a look rather than add more. How do you recognize the moment when an outfit reaches its peak expression – when minimalism is no longer emptiness but completion?

EM: It’s just personal intuition. You try, you adjust – you add or take away – and at a certain point, you just feel that it’s right. For me, it’s about sensing the right amount of desire and achieving a balanced composition.

h: How does your approach shift when working with artists versus editorial fashion? Where do you draw the line between an artist’s personal identity and the visual narrative you create for them?

EM: I think it’s almost the same – the only difference is that with an artist, it’s more intimate. It’s about the direction they want to take, what they want to express through their music or acting or writing, and together, we define a character. With editorial work, the reflection comes more from me, in collaboration with the photographers. But in the end, it’s quite similar – finding the right balance to create the right character.

h: If you could style anyone – past, present, historical, or even fictional – who would it be and why?

EM: All my male fantasies – and all the women I’m jealous of.

h: If you could give advice to your younger self at the start of your career, what would it be?

EM: And what would you want your future self to remember ten years from now? If you try to fit into a box and do what’s supposed to be right, you’re screwed. You have to trust yourself and just do. Try as much as possible. Create as much as possible. It’s the only way to find your own path. And you need to feel free in order to express something truthful, free, and honest. For me, I’m inspired by people who do whatever they truly want – who go all in.