• total look Tanja Vidic and
    Abbe Mandegar Collaboration

    shoes Jimmy Choo

    King, an Interview With Winona Oak

    Written by Natalia Muntean by Zohra Vanlerberghe

    Winona Oak’s journey is touched by alchemy. The 30-year-old artist has taken grief, loss, self-doubt, and the pain of her childhood and transformed them into music. Through some kind of alchemy, she has turned her darkest moments into something luminous - songs that resonate with raw emotion and unflinching honesty. “Maybe water,” she says when I ask which one of the four elements would describe her career. “Because I feel like it’s just like the waves. It’s been such a journey: big waves, all the different styles I’ve been exploring. My career has been a lot like waves, too. Up and down, up and down. It’s like life itself. It takes time to grow, to find your path, and to be true to yourself.”

    From the Island of the Sun to the world
    Winona’s story begins on Sollerön, a small island in the Nordic forests of Sweden known as the “Island of the Sun.” Growing up surrounded by forests, animals, and the echoes of her grandmother’s unfulfilled dreams, Winona found solace in the simplicity of rural life. “Being around animals was my safe space,” she recalls. “We had five horses, lots of dogs, and even a rescued crow that would sit on my shoulder. I didn’t have to think about how I looked or what anyone thought of me. The horse would love me either way, even if I looked like a troll.”

    Her grandmother, a gifted singer who performed in the Swedish Royal Opera, became a source of inspiration. “She had this big personality, this joy for life,” Winona says. “She encouraged me to sing, to write, to dream.” From the age of five, Winona was crafting songs, mostly about animals, and finding her voice in the stillness of the countryside. By nine, she was playing the violin and piano. “It was a wonderful childhood,” she reflects. “It taught me to appreciate the quiet moments, to find beauty in the small things.”

    But Winona’s dreams stretched far beyond the island. After moving to Stockholm to pursue her passion for music, she took a leap of faith in 2017, attending Neon Gold Records’ writing retreat in the Nicaraguan jungle. It was there she connected with Australian electronic maestro What So Not, co-writing his next two singles, Better and Stuck In Orbit. By 2018, she stepped into the spotlight as both the writer and featured artist on his single Beautiful. That same year, her career reached a pivotal moment when she co-wrote and featured on The Chainsmokers’ hit single Hope. The track became a global success, catapulting her into the spotlight and introducing her voice to millions. “It was surreal,” she recalls. “I went from being a relatively unknown artist to performing in front of massive crowds almost overnight. But it also taught me that success isn’t linear - it’s a journey with ups and downs, and you have to keep growing.”

    Music as a lifeline
    In 2022, Winona experienced the most profound loss - the death of her mother. It was a loss that shattered her world and reshaped her as both a person and an artist. “She was my person, my best friend, my source of love and guidance,” she says, her voice softening. “I always turned to her for reassurance. Losing her felt like losing a part of myself. There’s me before, and then there’s this different version after.”

    Writing about her loss became a way to process the pain. “Music saved me in ways I didn’t know it could. It became the only thing I truly wanted to do. I wrote With or Without You after she passed away, and when I performed it live, people who had lost loved ones came up to me,” she says. “They related to it so deeply. It felt like we were sharing the pain. That’s the beauty of music - it connects us.”

    The experience transformed her perspective on life and art. “It made me realise how fragile everything is,” she says. “You can lose your world in a second, but it also made me braver. I take more risks now because I only have this one life. I'm less focused on rules and more willing to be vulnerable. The worst has already happened, and grief forces you to evolve.”

    The many faces of an artist
    Winona Oak. Oaks. Johanna. They are all her, yet each serves a different purpose. Winona’s artistry is constantly evolving. While her work as Winona Oak is introspective and intimate, her new project, Oaks, explores the world of dance music, it’s her new electronic alter ego. “It’s a way to take all the pain and dilute it, like putting milk in coffee,” she explains. “You can cry, but you also want to dance.”

    This duality reflects her own complexity. “Winona is fragile, introspective,” she says. “Oaks is darker, more avant-garde. It’s like this club version of me.” For Winona, the separation is essential. “I didn’t want to confuse people or mess with the music algorithms,” she says with a laugh. “But really, it’s about giving myself the freedom to explore both sides of who I am.”

    I’m never satisfied,” she admits. “I always want to develop myself, and my sound, and try new things, new genres, and mix things. I never feel like it’s enough. I’m always on to the next thing.”

    Winona’s relationship with her fans is deeply meaningful to her, and she often receives messages from people who connect with her music on a profound level. “I’ve had people tell me my music saved their life,” she says. “That’s overwhelming, but it’s also beautiful. It’s why I do this - to make people feel seen. When I perform live and someone knows the lyrics, when they sing along, that’s when I know I’ve touched someone.”

    “I write to survive. If I didn’t do it, I’d go insane.”

    Her latest EP, Salt, was released in February, and with it, Winona Oak is stepping into a new chapter - one defined by growth, resilience, and a deeper understanding of herself. “This album is a culmination of everything I’ve been through,” she says. “It’s heavy, it’s raw, but it’s also empowering. I hope it helps people feel less alone.”

    Through her lyrics, she transforms pain into power, offering a lifeline to those who find solace in her words. “I write to survive,” she says. “If I didn’t do it, I’d go insane.” Winona’s approach to writing music is deeply personal and collaborative. She often spends time talking with producers and songwriters before diving into a session, creating a space for emotional honesty and connection. “It’s like therapy sessions. A lot of the people I write with are close friends, or they become close friends. Writing music is one of the most intimate things you can share with someone. Music takes you to places you can’t get elsewhere. It’s like your souls are intertwined, and you have to travel there together,” she says.

    I Broke Me First is one of Winona Oak’s most personal and empowering tracks. Written with a mix of vulnerability and defiance, the song explores the idea of reclaiming power after heartbreak. “It’s about saying, ‘Oh, you think you can hurt me? I’ve already hurt myself worse,’” she explains. “I’ve been through so much, breaking myself down to the point where no one else can hurt me as badly. It’s about taking control of that experience.” The track’s raw honesty and bittersweet energy resonate deeply with listeners, offering a cathartic release for anyone who has ever felt broken. “You can cry, but you also want to dance,” she says, reflecting on the song’s emotional duality.

    Looking ahead, Winona is focused on balance - between her music and her mental health, between her introspective ballads and her dance-floor anthems. “I want to do more live shows, release more music, and keep growing,” she says. “But I also want to take care of myself. I’m learning to set boundaries, to say no, to prioritize what I need.”

    For Winona, the future is about embracing the unpredictable. “I used to always be ten steps ahead, but now I’m trying to live in the moment,” she reflects. “I’m not as fragile anymore. I’ve been through hard stuff, and I know I can handle whatever comes next.” With her Oaks project on the horizon and a newfound sense of bravery, Winona Oak is ready to take on the world. One song at a time.

    Music is my big love,” she says. “It’s what I live for.”

    dress Abbe Mandegar
    bra Stylist’s Own
    necklace Fredrik Nielsen
    earring and necklaces Pearl Octopuss.y
    suit and shoes Hugo RED
    underwear Stylist's Own
    earrings and ring All Blues
    accessories Abbe Mandegar

    art rugs Petrus Bergstrand Nordenskiöld
    hat Piers Atkinson
    dress Abbe Mandegar
    and Tanja Vidic Collaboration
    shoes Jimmy Choo
    ring All Blues

    art rugs Petrus Bergstrand Nordenskiöld
    blazer Pearl Octopuss.y
    pants and boots Abbe Mandegar
    and Tanja Vidic Collaboration

    jewellery All Blues and Pearl Octopuss.y
    top and skirt Sofie Demitz-Helin
    stockings Stylist's Own
    jewellery All Blues

    art rug Petrus Bergstrand Nordenskiöld
    top and skirt Sofie Demitz-Helin
    stockings Stylist's Own
    jewellery All Blues

    art rug Petrus Bergstrand Nordenskiöld
    hat Piers Atkinson
    dress Abbe Mandegar and
    Tanja Vidic Collaboration

    hat Piers Atkinson
    shoes Jimmy Choo
    jewellery All Blues

    text Natalia Muntean
    photography Sandra Myhrberg
    fashion Louise Dyhrfort
    hair and makeup Sanna Riley
    nails Cecilia Lund / Nailce
  • image courtesy of KÔYÉ

    Woven Stories: An Interview with KÔYÉ

    Written by Sandra Myhrberg by Zohra Vanlerberghe

    KÔYÉ is more than a fashion label. It’s a story woven through textiles, heritage, and emotion. Shaped by a Parisian childhood, a multicultural background, and a passion for meaningful design, its founder brings together timeless elegance and bold global influences. From the tactile memories of childhood fabrics to encounters across the world, she creates pieces that carry stories, confidence, and sustainability at their core. In this interview, she shares the inspirations, philosophies, and personal moments that define her creative journey.

    Sandra Myhrberg: How would you describe your childhood growing up in Paris? Do you think it influenced your career path? Did you always know from a young age that you wanted to become a fashion designer?
    Alicia Issaka: I grew up in a lively and multicultural Parisian neighborhood, surrounded by strong, elegant women,my mother, especially, was a huge influence. She used to take me to fabric stores, letting me touch the silks, the lace, the kinds of cotton. I didn’t know then that I would become a designer, but I knew how clothes could make someone feel powerful and beautiful. That early emotional connection to fabric definitely shaped everything I do today.

    SM: How did your upbringing in Paris and your multicultural background shape your creative vision and the designs you create for KÔYÉ?
    AI: Paris gave me a deep respect for timeless style, for cuts that flatter without shouting. But my multicultural background taught me to embrace contrasts,colors, textures, stories. At KÔYÉ, you’ll see that blend: silhouettes with classic elegance, combined with bold prints, unexpected details, and textiles that reflect stories from around the world. It’s this balance between heritage and modernity that defines our creative DNA.

    SM: You describe KÔYÉ as more than just a brand,it's a story told through textiles. Can you share the moment you knew you wanted to create this kind of fashion experience?
    AI: It happened during a trip to Ephèse in Turkey. I came across a woman wearing a traditional outfit made from the softest handwoven fabric. She told me the story behind how her mother had gifted it to her when she got married. That conversation stayed with me. I realized I didn’t want to design just for aesthetics, I wanted to create pieces that hold emotion, memories, and meaning. That’s how KÔYÉ was born.

    SM: You grew up in Paris but now live in Barcelona. What would you say is the biggest difference between fashion in Paris and fashion in Barcelona?
    AI: Parisian fashion is all about refinement and discretion. In Barcelona, there's a lighter, more relaxed energy in how people dress, it's confident but less rigid. Living between the two has helped me develop pieces that combine both: structured elegance with a sense of ease and sensuality.

    SM: Can you tell us about a specific experience or encounter during your travels that deeply influenced your design philosophy?
    AI:
    In Panama, I watched a group of women wearing vibrant fabrics with complete confidence. The prints were bold, the shapes were fluid, and there was something deeply unapologetic about it all. That trip reminded me that clothes should empower. That fashion isn’t just about looking good, it’s about owning your presence.

    SM: KÔYÉ blends Parisian elegance with sustainability, two concepts that can sometimes feel at odds. How do you strike a balance between the two?
    AI:
    For me, elegance is about intention, not excess. True luxury is a well-made piece you can wear for years, not just a season. We produce in small quantities, using high-quality, responsibly sourced fabrics. It's not always easy, but it’s essential. I’d rather create fewer pieces that matter than chase trends that disappear.

    SM: How do you choose your fabrics, and what role does sustainability play in that process?
    AI:
    The fabric is where everything begins. I touch it, test how it falls, how it moves. I source everything locally from Spain, working with suppliers who align with our values. We avoid synthetic blends as much as possible, favoring natural or low-impact textiles that age gracefully. Sustainability isn't a trend for us, it’s a design principle.

    SM: The Samarcande velvet dress and the Hérat top are stunning examples of duality in design. What’s the story behind these signature pieces?
    AI:
    Samarcande was the first dress I ever imagined, it’s our essence: elegant but powerful, structured yet fluid. The velvet gives it a rich, wintery presence, but the cut makes it surprisingly versatile. Hérat was designed with transformation in mind: a removable collar, jewel-like buttons… it’s a top you can wear to a meeting and still feel fabulous at dinner. Both are about adaptability, the wardrobe of a woman in motion.

    SM: La Muse pays tribute to women who inspire you. Can you tell us about a muse who had a profound impact on this collection?
    AI:
    One of my earliest muses is Audrey Hepburn, who worked in cinema and always dressed like a movie star. She taught me that elegance and ambition were not opposites. She would pair sharp tailoring with the softest fabrics, always in color. That mix of strength and softness, that’s what I tried to capture in La Muse.

    SM: If you could see KÔYÉ worn by any woman in the world, living or deceased, who would it be and why?
    AI:
    Honestly, Grace Kelly. She embodies everything KÔYÉ stands for: intelligence, strength, presence, and grace. She knows how to make fashion feel both meaningful and effortless. Seeing her in one of our pieces would be the ultimate affirmation of what we’re building.

    image courtesy of Jan Luego, Mei Larrosan and Eluska Leibar
    image courtesy of Slava Communication
    images courtesy of Slava Communication
    image courtesy of KÔYÉ
    images courtesy of Slava Communication
    images courtesy of Slava Communication
  • producer Anna Mikaela Ekstrand
    photography Milan Lazovski
    fashion Chardonnay Taylor
    makeup Kitty Quinn
    hair Yetunde Egunjobi
    stylist assistant Sal Sallie
    image courtesy of the artist

    Two New York Feminists Discuss Their Booth at Future Fair

    Written by Anna Mikaela Ekstrand by Zohra Vanlerberghe

    New Yorkers, whether they are born or bred, are a certain kind of breed. They know what they want and are not afraid to go get it. For those in the creative sphere, this means a work and life that is curated, full of collaboration, and where art often spills into personhood—Lesley Bodzy, is no exception, exceptionally chic (we love the photos that accompany this piece), she always looks impeccable and put together, with Jackie O as her ultimate inspiration. “What can I say, I love style,” she told me on the phone while we were discussing this Odalisque feature. Her sculptural work tackles themes of youth, beauty, time, and aging with deft, subtlety, and humor through material exploration, incorporating materials as diverse as latex, meat hooks, ribbons, acrylic paint pours, paper bags, bronze, glitter, and resin. It is daring to uncover societal pressures, fears, and hopes head-on and to dismantle what she calls the ‘artifice’—our second skin. Erica Criss, an artist and curator, has found her livelihood in supporting artists through her consultancy Criss Collaborations, and is showing Bodzy’s work during New York’s Art Week in May..

    Criss has curated more than thirty exhibitions, of which three were with Bodzy. Both are unapologetically feminist. I invited them to discuss their newest show that will be opening on May 7th at Future Fair.

    Lesley Bodzy: Someone asked me how I came up with curating my work on multiple levels, eye level, above-head, and on the floor. This is really something that curators have led me to do. Including you, Erica. I see the role of the curator as enhancing my work and bringing it to the public eye in ways I can not even imagine. I think you should tell Odalisque’s readers more about your curatorial vision for Future Fair and how you think about curating, because it is very interesting.

    Erica Criss: My vision for Future Fair is to continue the conversation that was started last year between you and Katie Commodore in Womanhood 102—titled like a university class. You have both been hard at work creating new pieces, and I’m excited to debut several of them at the fair. I love how your works speak to each other. When curating a show like this, or any show really, I am considering the space, the artworks, and the audience. I am always thinking about how I can activate the space, how the works play off of each other, and what is going to draw people in. It is kind of like thinking of the exhibition as an artwork itself. I paired you as artists who both explore vulnerabilities from a place of strength. You both approach your subject matter boldly and make interesting use of your materials. Commodore’s meticulous peyote stitching and your free ideation of latex and resin, in new ways, made for an interesting contrast. What I didn’t expect was Commodore’s work, which is overtly sexual, bringing more covert aspects out of your own. Can you speak about the overt and covert nature of your work and its material?  

    LB: My work is about aging and its effect on female beauty and sexuality. The latex works are wrinkled and deflating, yet still beautiful and compelling. As we age, women should still be considered attractive and desirable—that is, both the covert and the overt message. I think of myself as two-faced, my real self and my artifice, the latter are the more performative aspects of who I am. Women are encouraged more than men to develop their artifice, but men can hace very sophisticated ones too. How long have we worked together? And how many exhibitions of my work have you curated?

    EC: We were just talking about this the other day and couldn’t believe we’ve been working together for three years. Including Future Fair, I have curated three exhibitions with you. However, we have collaborated on over thirty exhibitions. So much goes into curating a show; it is not just about choosing the artworks. We work together on everything from digital marketing and installation logistics to graphic design.

    LB: Yes. You have supported so many artists. From your time at Manhattan Graphics Center as director of operations and chief curator, and at Kent State University, where you curated The Women’s Printmaking Invitational 2022 with over 100 artworks, and now your independent curatorial work. The world is always changing, as is the art world—what do you think artists need right now?

    EC: The art world is always changing, but what hasn’t changed is the artists’ need for support. I am also an artist and received an MFA from KSU. Having both experiences, as an artist and art administrator, I realized that the majority of artists do not think of their practice as a business. Traditionally, galleries handle all of the artist's “business needs” like online presence, artist statements, marketing, sales, and more. The competition for gallery representation (and opportunities in general) is so oversaturated that the artist now has to be their own business to compete. This is one of the main reasons I started Criss Collaborations—to offer individual artists all of the services a gallery would offer, plus more.

    LB: Why did you decide to curate another feminist show? We have spoken about feminism at length together, and I think readers need to hear your opinion. How do you define your own feminism?

    EC For myself, feminism is about recognizing women for their talents, uplifting the female voice, and redefining narratives to fit the female perspective. It is also about just being true to yourself. Last year, I showed you and Katie together for the first time in Womanhood 102. When I started that show, I felt a little scared at first because your work was so different visually. I wasn’t sure I’d be able to make the connections for the audience. But the more I spoke with both of you, the more I realized you were tackling the same overarching issues through different lenses. The show was so powerful, in both its installation and messaging, that I wanted to give more breath to it, and Future Fair is an amazing opportunity to continue the conversation. This is our second fair. Our first was the SPRING/BREAK Art Show, Naked Lunch, where you showed your golden paint pours. You worked on them while you were doing your MFA at the Art Institute of Chicago. When you started there, you were mostly painting—how did you get to where you are now? To the paint pours, bronze, balloons, and sculptural work? 

    LB: For Naked Lunch, we re-imagined Manet’s Dejeuner sur l’herbe, it was fun and cheeky—I enjoy working with you. On my shift to sculpture, I became interested in the plasticity of paint. I wanted to see if paint could become sculptural if taken off the support of the canvas. The works you showed were gold paint skins created by pouring paint onto plastic and then manipulating it into a sculpture.  That led to pouring paint onto latex to see what would result. These new works are more fixed, and they took on unusual shapes akin to sea slugs or biomorphic creatures that inhabit the abyss. 

    EC: Womanhood 102 is about rebelling against contradictory societal norms placed on women, this is encapsulated by a quote from Camille Rainville’s 2017 poem Be a Lady They Said: “You look so old. Look young. Look youthful. Look ageless. Don’t get old. Women don’t get old. Old is ugly. Men don’t like ugly.” I included this together with Jamaica Kincaid’s “Girl” from 1978 as supplemental reading for the show. That said, we are stronger together. Could you speak a little bit about mentorship and collaboration in your education and work? 

    LB: I learned the value of critique when I went back to school for my MFA. Since graduating from the Art Institute of Chicago in 2021, I have continued to seek critique from curators, gallerists, and fellow artists. For example, you have helped move my work along by critiquing it and offering ideas for display. In addition, I have had some great mentorship from Professor Giovanni Aloi, gallerists Yvonamor Palix, Michael David, and curators Anna Mkaela Ekstrand, Daniel Gadd,  Rose Nestler and Abbie Knight.

    EC: Right back at you.. My work has grown from our collaborations. You often say that you have experienced multiple waves of feminism. Are you a feminist, and can you speak more to what that has meant in your life and what it means today?

    LB: Well, yes, and I think it is uncommon today to be a woman who is not a feminist. There are so many professions open to women now compared to forty years ago. Women have the opportunity to self-realize. Maternity leave is a very important factor that has allowed women to have a family and also to have a career. Previously, women had to choose between them or face a much harder road to succeed at both. When I work, I am mostly engrossed with the materials I am working with and the process of experimentation or manipulation. On the one hand, I keep on trying to move away from making work about the female experience and the artifice, but when I am in the studio creating a new series, I find that these themes always draw me back. There is so much to be said and felt, much that also speaks to the universal human experience.

    Don’t miss Lesley Bodzy’s work in the Criss Collaborations booth at Future Fair has its VIP opening on May 7th and is open to the public May 8-10, 2025, in Chelsea Industrial, 535 West 28th Street, New York. Follow @lbodzy for updates.

    Lesley Bodzy, Soft Embrace, 2022, acrylic, 45 x 26 x 20 inches
    image courtesy of Criss Collaborations
    Lesley Bodzy, Imminent absquatulation, 2025, latex, foam, acrylic pigments, 20 x 20 x 12 inches
    image courtesy of Criss Collaborations
    Katie Commodore, Kelly and Rodrigo, 2024, mixed media on digitally woven tapestry, 50 x 55 inches
    image courtesy of Criss Collaborations
    Erica Criss in her exhibition Womanhood 102 at Space 776 Gallery featuring Lesley Bodzy and Katie Commodore 
    image courtesy of Criss Collaborations
    Lesley Bodzy, Halcyon vertigo, 2024, latex, resin, acrylic pigments, 48 x 27 x 3 inches 
    image courtesy of Criss Collaborations
    Lesley Bodzy, Indelible sagacity, 2025, latex, resin, acrylic pigments, 35 x 35 x 16 inches 
    image courtesy of Criss Collaborations
    producer Anna Mikaela Ekstrand
    photography Milan Lazovski
    fashion Chardonnay Taylor
    makeup Kitty Quinn
    hair Yetunde Egunjobi
    stylist assistant Sal Sallie
    image courtesy of Criss Collaborations

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