Luciano: I think it’s a feeling. When you do like a couple of singles and you see you have a fan base. I can play big club shows, big concerts, big festivals, and the fans are asking for it. Then, you need an album

Central Cee: Feeling and timing as well. I’ve done my two mixtapes now, so I’ve got to move on. I think that’s what everybody does. You become an artist to make an album, really. You just got to get to the point where people care enough for you to make an album, because some people don’t have enough fans who even care. They just want to hear singles, but you want to get to a point where you can drop a whole album and people are tapping in.

L: Yeah, I think so. It’s really different. Because I think with a mixtape, you just put songs together in one package and put it out. But with an album, you put more emotion and thought into it, you know? Because you want to be successful, and you want to say something.

CC Yeah, that’s what I think it’s supposed to be and that’s what I’ve always thought. When I did my first mixtape, Wild West, I was always thinking that when it gets to album time, I’m going to take it all the way, so much more serious and whatever. Luckily, I’m still kind of in a position where the fans are not bored of me yet. But now that it’s album time, I just ended up repeating the same process. I haven’t actually done anything too different to how I made Wild West. Obviously, the main difference is the fact that I’ve got different stories to tell now. But other than that, I kind of repeated the same process, which kind of makes me confident because
that’s what people liked originally, but it also makes me a bit nervous because I wonder if I should have done things a little bit differently. But, we’ll see.

L: Bro, please don’t forget Drill, because you came from there. And also a song for the ladies. The ladies’ thing, maybe you can do it a little bit differently. Maybe a Central Cee Reggaeton song. You know, when the song comes in the club and all the ladies shake their hips! The Caribbeans, Columbians, Ecuadorians, you know? Because your flow would be so clean on this Caribbean shit, bro. It’d be nice.

CC: You’re right. I got a few like that still. I got the Drill, I got something not really Reggaeton, but it’s some sort of mad thing like that. I got a few things. I got something for the ladies as well.

CC: I think no matter what you do, even if your second, third, fourth
album is better, people are always going to revert back to your first album. They’re always going to say the first album is the best one. Ed Sheeran told me that one time. And it’s just been stuck in my head since. And it’s true – I see everyone always just talking about people’s first album and never anything else, really.

L: Only a couple of little things, because I think Cench is a big artist.
But I can tell him: Accept the pressure, accept the overthinking, and be yourself. And don’t forget that you made music for fun in the beginning, you know? When you go to the studio for the first time and you have this new, fresh feeling, you want to say everything, you want to prove yourself. It’s important that you don’t forget this.

CC: People from the UK definitely have worked with European artists
before me, but I think I just put a bit more love into it. I put in a bit more passion. It’s not just a feature. I really went to these countries, and touched soil, met the rappers, and got an understanding of the culture, wherever it is, whether it’s Italy, Germany, or France. I think that’s the difference.

CC: Yeah, I try to be. The goals never change, though, it’s just the
reach that does. Now, I have an opportunity to do more in America, so it’s not new goals that I’m setting, it’s just more people I need to target, essentially. But, at the same time, I’m ready to be content with whatever it is. I’ll never beat myself up because a new song isn’t a hit or something plateaus because, if anything, I’ve already achieved my goal – all I wanted to do is buy one house. I’ve bought more, so I’m fine. I can easily just relax now and accept what comes. Like they say: Prepare for the worst, but expect the best. That’s how I live still. But it’s a fine balance between being content and not wanting to settle for less. Sometimes, you need to be ambitious, but I don’t know, sometimes, you have to know when to just quit. People say never quit, but I think maybe sometimes you have to quit, you know?

L: I think my happiness is music. When I’m in the studio and I make
a nice hit, then I’m happy. When I go out, release the hit, and see all the love from the fans and all these comments and all this nice stuff – because I still read comments – this is happiness, for me. And also when I see my daddy is proud, my mama’s proud, because all they want to know is that their son is successful.

CC: I think happiness is simple, bro. Family and health, innit? Like, life can be really simple. It should be really simple. Obviously, the way we grew up is hard, but if you’ve got enough money to just live and be stable, it’s all right, man. That’s all that really matters, the small things. The things that money can’t buy are the things that really matter, but obviously, sometimes when you’re busy chasing money, you can’t even appreciate the small things.

L: Success is not luck, it’s hard work. For me, luck is different
things. You can be lucky in love, or you can be lucky like in the lottery. But when it comes to music, if you’re lucky, you might be a one hit wonder. To be a good artist, you need to be a hustler and be disciplined. Success is more about discipline and talent, not luck or coincidence.

CC: I don’t really like the idea of luck. It’s hard work. There’s no such
thing as luck. I like this quote: “Luck is when preparation meets opportunity.” It’s being prepared for when a door does open or opportunity does arise. Because there are opportunities for everyone, but not everybody’s ready for it. There might be opportunity right in front of somebody’s face, but they’re scrolling on TikTok so they don’t even see it. I saw it. But that doesn’t mean I’m lucky. It just means I was prepared.

CC: It feels great. Before me, there was a Skepta who opened the doors for me to be able to do what I’m doing. That’s what I’m doing now – opening doors for somebody else to come after me and do something even greater. It can’t stop with me, you know what I’m saying? I can’t just be the biggest and then that’s it.

Maurice-C. Braatz: I’ve been officially on board for almost two years now, but I was already part of the 2022 edition. Back then, I stepped in last minute. When everything went well, we decided to make it more permanent, and since April of last year, I’ve been managing the project full-time.

Really close. From an organizational perspective, the art fair provides the framework for Fashion Positions. We were guided by the idea that fashion should be collected like art. The core statement is “Collect Fashion, Wear Art.” Our aim is to offer fashion designers a platform that recognizes and appreciates their artistic signature. This year, the boundary between the Positions Berlin Art Fair and Fashion Positions has become almost invisible. Most people didn’t even realize when they crossed that supposed line. 

It all starts with the format. Most designers aren’t used to working within these “booths” – as much as I try to avoid that word. But when we saw designers incorporating the presentation walls creatively into their concepts during the application process, that was already a strong selling point. This kind of presentation is unusual in the fashion world.

There’s a key moment I remember fondly. A visitor was standing in front of one of the installations and asked, “What does this even have to do with fashion anymore?”

That’s exactly how we felt. Especially when the concept worked so well that a designer’s installation carried over to the commercial shop. Mira von der Osten from Cruba, Co-Initiator of Fashions Positions, executed this perfectly. She translated her one-of-a-kind dress, which Donata Wenders wore at the last Oscars, into a collection of T-shirts. That transition worked seamlessly. In other cases, our experience with art curation really helped. Designers are used to showing as much of their craft and collection as possible, but sometimes, especially in these booths, less is more. This became very clear with the label Nadine Aurin. She developed a technique to create a leather alternative from red wine. We assisted her in curating her installation, collaboratively refining and focusing her ideas. In the end, a wine distillery even approached her for a collaboration. There are definite advantages to curating fashion like art.

A prime example is Esther Perbandt, a designer we collaborate with closely. She often says she couldn’t work as artistically in any other city. She’s realized that she’s outgrown traditional fashion week presentations because her audience views her creations as art and is willing to invest in them as such. Esther sees herself more as an artist than a fashion designer, and I think that mindset applies to a lot of designers here in Berlin, especially in our program. Another key figure who curated part of the programm together with Esther is Fiona Bennett. She’s been running her label successfully for years, positioning herself as an artist who turns headwear into art objects. Both designers take full advantage of the creative freedom Berlin offers, expressing themselves artistically through innovative materials and techniques.

Honestly, we take it pretty cool. We work closely with Fashion Council Germany, so we’re aware of the challenges the Berlin Fashion Week has faced. For us, it doesn’t pose a big issue because we’re not reliant on Fashion Week. Fashion Positions happens during Berlin Art Week and is more tied to the art world. This allows us to focus more on the artistic side of fashion rather than getting caught up in the commercial race that defines traditional fashion weeks.

Our main focus is the trade show format and presenting the designs as art installations. While modeling does play a role, it’s not about the runway show in the traditional sense. The collaboration with high-profile figures like Lady Gaga or Peaches definitely draws attention, but the real focus is on the craftsmanship and the artistic message behind the collections. It’s about how the pieces are showcased as art rather than just wearable fashion.

 For 2024, we’re really spotlighting the use of innovative textiles and materials. We’re seeing more and more designers who don’t just view their pieces as garments but as art that challenges traditional notions of fashion. Sustainability is another big trend, as is the blending of art and fashion. But it wasn’t something we set as a specific thematic focus from the start.

In a way, yes. Maybe it’s also due to a generational shift — sustainability and the responsible use of resources and materials are just intrinsic to their way of thinking. For most of our designers, it’s not a question of whether to engage with it, but rather how to naturally integrate sustainability into their fashion work. One of the best examples from this year is the label Impari, which uses 100% recycled PET fabrics and integrates eco-friendly practices. Recently, they were awarded the Social Economy Berlin Prize in the category of Transformation.

This is something that really sets us apart from the big fashion fairs in Milan, London, or Paris. At Fashion Positions, 100% of the sales from the shop go directly to the designers. Last year, we generated around 15,000 euros in sales, which is a significant amount for the designers. This year, we were able to almost triple it. Unlike at the big fairs, where designers often have to pay high fees for stands and give a percentage of their earnings, we ensure that the designers keep everything they make thanks to the funding from the Berlin Senate Department for Economics, Energy and Public Enterprises, which has been providing significant support for our project. Our goal is to provide them with a platform where they can showcase their work while also being financially supported. This direct connection to their audience, along with retaining full profits, is vital to us and hopefully distinguishes us from the more commercial and competitive side of the fashion industry.

Susan Szatmáry: I always wanted to be an artist when I was little but was struggling to find my way. So I tried out different things, like painting and scenography. I spent a lot of time in my mother’s studio, who was a potter. This is where I started to experiment working with leather. I was buying vintage jackets to remake them into handbags. People started noticing and showed interest. There was one shop that asked me if I sold these bags and offered me a commission. I felt like this world was really calling me.

Yes, I mean, I was still a teenager, so I just experimented with cutting leather jackets, using belts as a handle, etc. Actually, the whole collection is now in a museum in Sweden as part of an exhibition. At some point I went to Italy and decided to learn more about “Made in Italy”, on how to sketch, how to design, and how to work on leather. I found a school in Rome that focused on accessory design, so I started a course. I learned so much there and finished the course with the best grade of the class, so the headmaster introduced me to a Gaetano who worked for Balmain and McQueen. I called him and arranged an interview, so about six months later he asked me to come to London. This is how I got my first job working at Alexander McQueen as a bag and shoe designer. That was in 2005, when Lee was still alive.

It was amazing; we worked at the same studio, so there was Lee and Kate Moos coming in frequently. I also loved working for Paco Rabanne. He was definitely one of my idols; he always loved to do things by hand. As you might know, he started as a supplier, working for a lot of different houses in Paris, designing clothes, until he had found his own design.

Actually, I met my husband, who wanted to leave Paris, so I started to reflect on my next steps. I did a collaboration with &Other Stories, a commercial collection that was not super luxurious, but I really wanted to stay in the “Made in Italy” world. In 2018, I then launched my own brand. The following year I was named “Accessories Designer of the Year” by ELLE Sweden and won “Guldknappen Accessoar” (Gold Button Accessory) with Damernas Värld. Our amazing ambassadors, such as the Crown Princess of Sweden, helped us a lot too. We had magazines such as Vogue writing about us, and since then we were growing quite organically, having retailers and doing special projects.

I think we found our niche, offering quality as an affordable luxury with great technique and functionality with the right amount of minimalism, such as less logo and branding. Our production is in Italy; all is handmade, and we work with the best leathers sourced in Italy as well.

For me, a bag needs to talk to you; you really should have a feeling of wanting to hug it, to wear it every day. This is also why our clients always come with bags; they find the perfect bag for day and evening; they are practical and sophisticated and have lots of style. I was myself looking for the ruby bag. That was the first style that we designed at Palais Royal. I wanted a beautiful bag that can fit a small water bottle, some books – a functional travel companion. And I love transformable bags.

We work with the suppliers that have stock service leather. It means if we want to do one bag, we will buy only one leather. It is more sustainable; we don’t have a lot of waste.  In the beginning, we couldn’t afford it, but now it has actually become our signature. We work with three leathers, three qualities, and for this reason, we don’t have a big deadstock.

We want to always make sure that our leathers are of high quality and long lasting; this is why we work for now with conventional leather. For me, the sustainability approach lies in using leather that has already been produced. Also, a very innovative sustainability-supporting service we offer is that we rent out our bags from the boutiques for a small fee, 10 percent from the sales price. We have a shop in a hotel in Stockholm in which we offer this renting service to guests very successfully.

Yes, I see them as very engineered. Designing a good bag is like designing a house. You need a really well-thought-through conceptual idea and the best construction.

Yes. That’s another category that we will open for sure – another dream. The shoe production is just more challenging; this is why we started with bags. But I can design shoes with my eye closed, and I love shoes. It would be another product that fits into a world that does not focus on trends so much but rather on style.

We like to work with the long-term partners, with people who understand our universe and adopt it into their own. And this should be a global, universal language: We sell a lot of bags in Japan but also in America. I think if you see women wearing our bags all over the world, that means we did something right. And I believe it also goes back to all the different countries and cultures that inspire my work – the French, Italian, Scandinavian, Metropolitan – it all fuses in my work.

Overwhelming and magical. It felt like the most meaningful thing I have ever done in my career, as if I connected with something inside myself that goes beyond the physical world—a sense of purpose? I can’t wait to keep translating my art through different media.

It wasn’t intentional at all. I was actually a bit cautious because I didn’t want it to be seen as a costume party or overly dark. But if you look at the deeper meaning of Halloween and, for example, El Día de los Muertos—which is also on the 31st—then it’s a beautiful coincidence. The exhibition explores grief, so the timing feels unexpectedly fitting.

No, I started with fashion school. I thought I wanted to become a designer, but during my studies, I realized I was more interested in the visual language of fashion, especially moving visual language. That’s how my journey to becoming a filmmaker began. I bought a camera and just started experimenting.

The idea of connecting different media excites me.

My work reflects who I am. My art helps me understand how I perceive myself and the world around me. I explore and process my deep thoughts and emotions through my work. I lost my little brother five years ago, and that changed me profoundly. After that, I fully embraced being an artist, as if I had no choice but to express myself. My loss and grief became a catalyst for a powerful love and drive to create and explore existential themes, because I found those are the only things that really matter when the world feels like it’s standing still.

I have therapy, haha! Besides that, my work is also therapeutic for me. Being able to explore my feelings and visualize them gives a positive spin to my overwhelming inner world. It helps me find beauty in darkness.

The speed of life. I tend to put a lot of pressure on myself to keep producing, out of fear of becoming irrelevant. Modern life moves incredibly fast, largely due to social media and the digital world. The way we perceive visuals has changed so much, and I see this a lot in the film industry. Social media has become the main outlet for work, where creations can disappear after a single view. As a multidisciplinary artist, I aim to make people feel something in real life—a tactile experience that bridges the digital and offline worlds. Both are part of life today, and I try to play with that dynamic.

As I mentioned before, I tend to pressure myself with the idea that I need to keep producing to stay relevant, which sometimes disrupts my artistic flow. I struggle with imposter syndrome and often feel my work is never good enough. By analyzing these thought patterns (which are mostly in my own head) through my work, I try to transform this pain into power. Disconnecting and spending time in nature helps me reconnect with my true self and detach from societal pressures.

Mariona was recommended by Candela Capitán during my pre-production in Barcelona. We met, and I immediately knew her vibrant and pure energy was a perfect fit for what I wanted to create. She’s both the protagonist of the film (where it all began) and the live performance. I’m so thankful she’s been with me throughout the process; she’s an incredibly talented dancer with a “can-do” mentality, which has been a joy to work with. When we made the film two years ago, I felt compelled to extend the experience. I decided to recreate a scene from the film as a live performance, where Mariona dances a duet with a drone that symbolizes her inner demon, BEELZEBUB. We created static 3D holograms that surround Mariona, symbolizing the outside world, static and distant. Through this project, I met one of my now closest friends, Maria Gysi, the CGI artist who created the 3D worlds and holograms with me. We bonded over our shared love for drones and a mutual understanding of grief. It was through Maria and another friend that I met Nastya Vogan, whose sound hypnotized me instantly. It felt right to ask Nastya to mesmerize the audience with her live sound performance during BEELZEBUB.

The reactions were overwhelming. I feel humbled and thankful for everyone who came out and for the positive feedback our team received. I was quite focused on directing the different layers of the show and managing the drone performances, but I heard from others that people felt

One person came to me after the show and told me that they had felt safe and understood for the first time with an art performance. It was the biggest compliment I could have received.

The biggest insight for me has been realizing that the process of creating and developing is what brings me the most happiness—even more than the final performance. Although, seeing that final performance moved me beyond words. I wish I could go back and stand there again, watching Mariona in that milky water, perfectly in sync with the drone, hypnotized by the sound that filled the space. Pure magic. The synergy with the team fills me with joy, and BEELZEBUB truly came to life because of that incredible collaboration. Every inspiring meeting, every new idea, brought me closer to knowing this is what I’ll do until the day I die. To close, I just want to give a massive shout-out to my team. Love you guys!

Well, that’s the daily struggle all the time. We have to continuously practice things and look at things with the glass half-full mentality, rather than looking at the negative consistently. And I was really happy to be so vulnerable on this show to explain how I practice that struggle on a daily basis. And practicing high-vibrational actions really puts things in perspective.

Yeah, well, that’s a piece called six feet beneath the ground, and I ran for 35 minutes on a tarp that I drew a basketball court on, so I think practicing repetitive motions in that way and not just praying but creating real, real moments where, for example, that piece of suicide is, I mean, that piece six feet beneath the ground is dedicated to friends who I’ve lost to suicide, and as an honor to them, I ran suicides on a piece of tarp where I’m thinking about them, praying with them, keeping them close to my heart, and paying respects to them while also doing heavy tasks to feel as connected as I can to them, you know, and to give respect to them as much as possible.

Well, I believe that structure is the yin to dreams. When someone has big dreams, sometimes they forget to structure those dreams and set realistic goals. It’s important to figure out how to delegate tasks to others, manage finances, and save money. The art itself is just as important as the ability to sustain it over a long period of time—the impact and longevity that your art has. So, for me, finding the balance between those two is very important, I believe.

I would consider myself a hoarder. My studio is full of different materials, tools, synthesizers, and various other things. I just collect a lot of stuff. For me, it’s always about having something for my family and my kids and being able to use all kinds of elements in my art while staying consistently engaged with different materials. I love mixing media. I really love mixing media.

I never use TikTok, but I do catch myself scrolling on Instagram. I also see both the positive and negative effects of TikTok, as well as the potential to use it for good. However, it’s clear how it can also have harmful effects and manipulate our society and people. That’s what the whole show is about, like the horseshoe theory—the yin and yang of everyday life.

Honestly, probably, subconsciously, my whole life, those are probably my three greatest passions. I think I’ve always been very athletic, and now being able to use my athleticism and my God-given abilities within my painting, because I do believe sports is art as well; it’s all poetry in motion, you know, so I’m definitely inspired, just as I’m inspired by people like Alan Iverson and Kobe Bryant. I’m also inspired by people like Rebecca Hawn and Pope Al. So, yeah, to me, it’s all one rhythm, you know, same as I’m inspired by Jimi Hendrix and Lil Wayne. Those are all people that I have great respect for, so to me, it’s like people that are strong-minded, people that are strong-willed, people that see the beauty in the world, and that’s what I kind of wanted to show with this, that it’s like I take it on my shoulders, and I take it very seriously, and I take the impact I want to leave behind and the storytelling that I want to, the stories that I want to tell from the perspective that I have.

I truly believe that every day is a new opportunity for growth, so I can’t really pinpoint any specific moment because I approach each day as a fresh start and consistently practice letting go of all sorts of patterns. While I also believe that art can serve as a form of therapy, since I am also in therapy, it’s also about having empathy and considering others.

I often think of these things as a contrast between ego and eco, always striving to see each day as a new beginning.

I think everyone has trauma related to various societal systems, and people tend to have stronger opinions about certain issues than others. I truly believe that people should have the chance to be heard and to speak on matters, rather than being publicly shamed or blamed without a real solution in mind. I truly think what we are missing most in this moment is genuine dialogue, not through cellular devices. We face a lot of pressure from the rising costs in this consumeristic, capitalistic world. We really need to pay attention to detail and train like warriors, like athletes—be multifaceted and not lean too heavily in one direction. It’s important to do your own research and form your own conclusions.

Yeah, to be honest, that was a first for me as well, and I feel like it’s always a challenge to stay authentic in front of the camera while also losing yourself in the work. Thankfully, my cousin filmed the whole thing. He was wearing a mask because he was playing the role of the Internet, and the Internet has no face. I told him to put pressure on me and to get in the way of what I was trying to accomplish physically. We also held up cameras, and I really love making films. Like you said, being so vulnerable and in front of the camera helped me connect with myself on a deeper level. I stayed as present as possible and didn’t alter any piece of artwork or artifact that was created during that time. I stayed true to the moment.

It was really about trying something new and processing these thoughts that I had no way to fully let go of before. I’ve been working on this idea for almost two years. I love wordplay, movement, sound, and paying attention to what’s happening around me.

Absolutely, that’s quite close! My music is about capturing energy and groove—my goal is to infuse my personality into the sound, to bring people something they can feel. There’s a lot of joy and vibrancy there, but also depth and soul, blending all these influences to create a feeling that’s fresh, uplifting, and always danceable.

“Talamel” is definitely personal, I was really digging in Indian music back in the days. But most tracks on the EP are snapshots of different moments in my life. I’m often inspired by travel, a fun night with friends, or even a new song I’ve stumbled upon that sparks an idea.

It really depends on each song, but I like to listen to a lot of music first. Maybe I will find a sample, a groove or something else. I will use it , loop it, add drums, create a bassline and use all my gear, I’m more and more into old school gear, like Minimoog, Juno 106 DX 100 … When I’m done, and depending on what I’m creating, I put it on a playlist that fits the vibe and energy. It helps me at the end to reflect on what I’ve done during the month.

I’m heavily influenced by artists like Zapp & Roger, Anderson Paak, Pharrell, Dr. Dre, Illa J, Daft Punk and of course, more modern acts like  Kaytranada, Dabeull, Darius, Kartell from my label. From G-funk to soul to hip-hop, they’ve all impacted my sound with their grooves and rhythmic precision. I admire how they all bring a distinct energy and character to their music the way they make everything unique.

The two sections represent two sides of the same feeling: one is more upbeat and club-oriented, bringing that high energy, and the other is more introspective and mellow. It’s like one side captures the energy of a night out, while the other captures that same feeling in a more intimate, laid-back setting.

This EP is a new era because I’ve gone deeper into my sound, really refining what I want to communicate. I’m more comfortable with my producing skills so it’s easier for me. There’s a maturity in this project, and I think the structure and themes are more cohesive than in my past work. Also I’ve changed my production habit, from 1 or 2 music sessions a week, to now working everyday on music, I feel the difference in my ambition, motivation and inspiration. My focus is going towards music mostly right now.

I think each track reflects a moment in my life, a stage of growth.

I’m also evolving, my goals changed because I shifted my focus in a new way. Change of environment is a big factor for me, changing neighbourhoods, changing flats, finding new friends, having a new routine of work. All that reunited have an impact on what I produce.

I want to keep exploring, mixing genres and pushing the groove in new ways. I really listen to all types of music, House, Funk, RNB, Soul, but also more club oriented stuff, like UKG, baile funk, ghettotech.. I want to explore and mix everything together to create my own way.

For the moment i’m working on my next EP + a Club project which is going to be released soon.