THE ART OF EXPRESSIONC R E A T I V I T Y I N I T S M A N Y F O R M S
SO JUNG JUNBrunch Magazine Exclusive InterviewSojung Jun’s I Do Nine Tailed FoxProgram for the world premiere of Sojung Jun’sI Do Nine Tailed Foxat Asia Society,part of Performa 2025
Sojung Jun’s I Do Nine Tailed FoxAnoperaofmyth,migrationandmemoryatAsiaSocietyNewYorkCo produced by Performa and Asia Society incollaboration with Mudam Luxembourg, I DoNine Tailed Fox is described as a nine partoperatic performance that weaves pansori,experimental instrumentation and moving imagewith the enduring legacy ofthe Koryo Theater,the historic Korean language theater oftheSoviet Korean diaspora. Set in the year 2075, thework imagines history not as a closed chapter,but as a living frequency that can be tuned,layered and replayed.On a cold Sunday evening inNovember, the auditorium at AsiaSociety on Park Avenue filled slowlywith the blue rustle of programs andthe low hum of expectation. On thecover, a single line of text announcedthe world premiere of Seoul basedartist Sojung Jun’s new work, I DoNine Tailed Fox, presented as part ofthe Performa 2025 Biennial. Insidethe theater, nine musicians took theirplaces in front of an enormousscreen, while a “soundarchaeologist” prepared to lead theaudience into a speculative future.
H I S T O R I C A L T A L E S O F T H E B E S T S T O R I E SANARTISTWHOBENDSTIMEPrice: $1.99A theater of sound andshadowA theater of sound andshadowBorn in Busan in 1982 and based inSeoul, Sojung Jun studied sculpture atSeoul National University and media artat Yonsei University. Her practicemoves fluidly across video, sound,sculpture, performance and books,always returning to one centralquestion: how can art rearrange ourexperience of time.Critics have noted that she oftengravitates toward figures pushed to themargins of modern history — migrantworkers, adoptees, refugees, thevisually impaired — and lets them travelacross centuries and geographies inher works. Rather than treating them assubjects of documentation, she invitesthem to participate in what she hascalled an “augmented documentary,”where reality and speculativeimagination share the same stage.In this sense, I Do Nine Tailed Fox is a naturalextension of her earlier investigations intonon linear time and sound. It is also one ofher most ambitious performance basedprojects to date, bringing together institutionsin New York, Luxembourg and Seoul, andcontinuing a trajectory that has alreadyincluded solo exhibitions at Leeum Museumof Art, Atelier Hermès and BarakatContemporary, as well as presentations atthe Gwangju Biennale, the National Museumof Modern and Contemporary Art and TateModern.At the heart of the work lies an unexpectedconstellation of references: the eco feministpoetry and archeological writing of Heo Sukyung, the history of the Koryo saramcommunity and the East Asian fox spiritknown as gumiho, reimagined for a futureaudience. The Koryo saram are ethnicKoreans who were forcibly deported by Stalinfrom the Soviet Far East to Central Asia in1937. Despite this violent displacement, theircultural life persisted, crystallizing in theKoryo Theater, founded in Vladivostok in1932 and later relocated to Almaty,Kazakhstan. In Jun’s account, the theaterbecomes a living archive of survival andtransformation, a place where language,movement and song protected a fragilesense of belonging. Jun parallels this historywith the figure of the nine tailed fox. Oftendepicted in folklore as a seducer or a threat,the fox in I Do Nine Tailed Fox is recast as abeing of empathy and adaptability, a creaturethat survives by changing shape whilesomehow keeping its essence intact. In herown words, the fox becomes a metaphor for“countless beings that have passed throughmany times, languages and histories withoutbeing trapped in a single identity,” a figurethat negotiates continually with the worldrather than accepting any fixed definition. Bybringing together Koryo Theater and the fox,Jun suggests that history itself is never fullypast. Like the fox, it can return in unexpectedforms, insisting on being heard again.Structurally, the performance unfolds as ninenon linear chapters guided by the soundarchaeologist, an onstage figure who“excavates and reassembles lost voices andtimes.”The role echoes Jun’s own workingmethod. She has described the soundarchaeologist as a kind of artist double, lessinterested in visible ruins than in the invisiblefrequencies that linger in a landscape, alanguage or a body. The ensemble thatsurrounds this figure is unusually rich. Apansori singer, soprano, saenghwang, NorthKorean gayageum, theremin, cello,percussion, dombra and conductor share thestage, their instruments forming a map thatstretches from the Korean peninsula toCentral Asia and beyond. In the interview withBrunch Magazine, Jun elaborates on thesymbolism of this instrumentation. Pansori,with its breath driven vocal line andpercussive frame, evokes Korea’s oraltradition and the embodied memory carriedby women’s voices. The saenghwang, with itscluster of pipes that sound simultaneously,becomes a sonic image of plurality andlayered harmony. The North Koreangayageum connects to a pre division memoryof the peninsula and to the sensibility of theKoryo saram diaspora. The theremin, playedwithout direct touch, introduces an electronicvibration that hints at vanished voices andfuture mutations, while the dombra brings inthe pulse of the Kazakh steppe and theitinerant identity of Central Asian music.Across the evening, these sounds interweavewith field recordings, cinematic fragments andthe cadence of the narrator’s voice. At timesthe music swells into something close to anoratorio; at others it thins to a single linetracing the border between lament andlullaby.From Koryo Theater to thenine tailed foxFrom Koryo Theater to thenine tailed fox
Behind the musicians, Jun’s filmic componentunfolds as a series of scenes that circle around theKoryo Theater and the lives of its womenperformers: Kim Rimma, Pen Ekaterina and YugayAngelina. Their images, drawn from archival materialand re staged footage, stand for a matrilinealtradition that has sustained Koryo saramcommunities across generations.Rather than using conventional edits, Jun allowsevery scene transition to be mediated by artificialintelligence. The film operates as a “no cut” work inwhich AI generated images slide betweendocumentary and fantasy, activating the latentpossibilities of the archive and opening a speculativedialogue between past and present.The result is not a smooth flow but a series of subtledisruptions: landscapes blur, bodies morph, andtextures of early cinema bleed into the crispresolution of contemporary digital video.In a time when algorithmic images increasinglydominate visual culture, Jun treats AI neither as agimmick nor as a neutral tool. It is at oncecollaborator and intruder, an unruly presence thatexposes questions of data politics and imageownership while also hinting at stories not yet told.Across several images, the ensemble appearssilhouetted against shifting projections: a table in amodest interior, a soldier from an old film still, amagnified botanical form that could be eithermicroscopic or cosmic. In the final moments, theconductor gathers the musicians for a dense, pulsingclimax, while the fox image on screen seems todissolve into pure color.Equally striking are the photographs of the audience.The theater is full, and the faces range widely in age,background and temperament. In one frame, a youngattendee speaks into a microphone from the middlerows, gesturing animatedly as he formulates aquestion. In another, Asia Society’s curatorial andprogramming team stand with Jun and hercollaborators on stage, framed by the institution’ssignature magenta screen. The atmosphere is formaland celebratory, but also notably intimate: this is nota distant spectacle, but a conversation between artistand public.The photographs from the evening tell their ownstory. In one, the title of the work glows on theprogram sheet, resting in the hands of audiencemembers who have filled nearly every seat in AsiaSociety’s wood paneled theater. Another captures aperformer seated at the gayageum, illuminated onlyby the light of the projected words “I Do Nine TailedFox,” the instrument’s strings catching an almostphosphorescent sheenFILM, ARCHIVE AND THE PRESENCE OFARTIFICIAL INTELLIGENCEInside the Asia Societyauditorium
AMyth for a future generationFor younger audiences who may know the fox spirit mainly through popular dramas and animation, Jun’swork offers a very different encounter with Korean folklore. Rather than emphasizing seduction or danger, IDo Nine Tailed Fox invites viewers to consider the fox as an ethical figure: a being that survives by listening,adapting and returning.The project also extends the reach of Korean contemporary art into new institutional constellations. Bypartnering Performa’s experimental performance platform with Asia Society’s long standing engagement withAsian and Asian American culture, and Mudam Luxembourg’s European perspective, the work becomes anode in a larger network of cultural diplomacy and artistic exchange.In the end, I Do Nine Tailed Fox is less an answer than a question. How do we carry stories of displacementwithout freezing them as tragedy. How can sound, image and myth help us imagine futures where the past isnot erased but transformed. And what might it mean to inhabit, like the fox, a life lived in the charged space inbetween.I DO NINETAILED FOX
TalkIntroductionIn a world where myth, memory, and technology converge, Seoul based artist Sojung Jun creates spaces thatbreathe between the real and the imagined. Her latest work, I Do Nine Tailed Fox (co produced by Performa andAsia Society New York) transforms ancient Korean folklore into a contemporary opera of sound, movement, andcinematic transformation. Drawing inspiration from the writings of eco feminist poet Heo Su kyung and thediasporic history of the Koryo saram, Jun reframes stories of exile and transformation through a mythic lens. Inher hands, the legendary nine tailed fox becomes a symbol not of fear, but of empathy, adaptability, andsurvival, a spirit that continuously changes form to endure.Through her exploration of pansori rhythms, experimental instrumentation, and AI driven imagery, Jun expandsthe boundaries of Korean contemporary art while opening a dialogue between the ancestral and the futuristic.Her work is both an act of remembrance and reinvention, a living archive of sound, spirit, and transformation. Inthis conversation with Brunch Magazine, Sojung Jun reflects on the emotional currents behind I Do Nine TailedFox, its myths, migrations, and musical dimensions, and shares how storytelling can become a bridge betweenart, identity, and the collective memory of a people.I. Artistic Vision & ConceptQ. Your project “I Do Nine-Tailed Fox” bridges mythology, migration, and memory. How did this concept firsttake shape in your mind?A. Over the past several years, I have spent considerable time tracing the lands that lie between Asia andEurope, following the layered strata of time embedded within them. As I observed the traces left by merchants,archaeologists, scientists and religious practitioners who traveled the Eurasian Silk Road over many centuries,the vast continent began to appear to me like a kind of temporal folding—almost like chukjibeop or a wormhole—where overlapping time allows for a kind of travel across eras.Along this journey, I encountered the history of the Koryo saram diaspora and, in particular, the artistic practicesof the women within that community. Their stories offered a powerful lens through which to imagine newtemporalities.Q. The gumiho is often seen as a symbol of transformation and survival. Within the multicultural contexts inwhich you work, what kind of personal resonance does this myth hold for you?A. This work can be understood as an exploration of materials and beings that vibrate in the spaces betweenboundaries—an inquiry into transformation, metamorphosis and return. It evokes, for me, the moment whenyoung trees eventually reappear in a forest reduced to ashes, or the repeated rhythms of K POP echoingthrough scenes of protest.Moments in which things believed to have vanished return in wholly unexpected ways mirror the gumiho, afigure that comes back again and again, each time having altered its form.
Q. What led you to reinterpret the history of the Koryo saram through the form of a future opera?A. The history of the Koryo saram has long been treated as something sealed in the past, yet I felt that theirexperiences offer crucial sensory and political resources for imagining the future. The processes of forceddisplacement and repeated resettlement reveal, with striking clarity, the question of how one survives in an eraof rapid global transformation.Rather than confining this history to a closed archive, I wanted to let it move again to animate it within a timethat has not yet arrived.By situating the work in the imagined year 2075, I envisioned the experiences of the Koryo saram not asmemories that simply recur, but as phenomena that can be heard, seen and reconfigured anew within adifferent temporal horizon. Like the transformations of the nine tailed fox, history is not a fixed form but a beingthat continually mutates. The operatic form—particularly one grounded in sonic heritage—offered an openstructure through which this shifting history could unfold.Q. At the center of the work is the Koryo Theater. How do you understand the theater as an “archive ofmigration and endurance”?A. The work centers on the history of the Koryo saram, who were forcibly relocated from Korea to Central Asiaduring the Stalinist era, and on the Koryo Theater, in which their history and cultural practices were condensed.The theater functions both as an expansive archive and as a form of refugia where different cultures andlanguages coexist.I wanted to explore how such a place intersects with the concept of Koreanness, and how, further, itcomplicates and enriches our broader understanding of Asianness today. Koreanness, of course, is not a fixedidentity but a continually reconfigured sensibility shaped by movement across and beyond the Koreanpeninsula, by shifting languages and by the flows of cultural memory.I. Historical & Narrative DimensionsQ. What drew your attention to the women artists of the Koryo Theater?A. The gestures, voices, training methods and transmission practices of the women artists of the Koryo Theaterformed a remarkably resilient language that has been carried across generations. I was deeply drawn to thepersistence, flexibility and ever evolving attitude through which they continually transformed themselves.The gumiho can be understood as a being that relatesto the world through transformation—an embodimentof empathy, adaptability and accumulated wisdom.Because the gumiho changes its form without losing itsessence, it becomes a metaphor for countless beingswho have survived by moving through multiple times,languages and histories rather than remaining confinedto a single identity. For the gumiho, identity is not afixed substance but a continual process of negotiationwith the world—one that reorganizes itself andreinvents its own possibilities.
III. Sound, Form, and ExperimentationQ. This project draws significant inspiration from the late poet and archaeologist Heo Sookyung. How does herwriting resonate within the structure of your work?A. This project was deeply informed by the poetry of Heo Sookyung, who worked both as a poet and anarchaeologist.In her poem “Station of the Ice Age,” the Ice Age is both a climate of the past and a climate of the future, whilethe station marks a point within the trajectory of civilization. The warm handshake exchanged at this stationsuggests a natural conception of time in which past, present and future coexist. It raises the question ofwhether multiple futures might be imagined outside a linear sense of time.In the performance, I sought to translate this simultaneity into a sonic form, articulating the gumiho’s capacityfor transformation through a polyphonic, ever shifting body of sound. Languages that cross borders,instruments that carry cultural memory, the winds of Eurasia and the frictions of trains all intersect andintertwine.Pansori invokes Korea’s oral tradition and feminine breath, revealing layers of embodied memory; the sopranoexpands the moments of the gumiho’s transformation through mythic and transcendent ranges. Thesaenghwang conveys plurality and layered harmonies, while the North Korean gayageum connects pre divisionmemories with the sensibilities of the Koryo saram diaspora. The theremin summons the resonance of vanishedvoices and hints at future metamorphoses, while the cello forms the emotional foundation of the Eurasiannarrative. Percussion articulates the pulse of time and the energy of change, and the dombra evokes therhythms of the Central Asian steppe and the itinerant identities shaped through migration.Together, these timbres create a multilayered body through which voices from different times, geographies andcultures resonate.In this sense, engaging with the gumiho is not simply to describe it, but to enact it—through bodies, voices andthe performative space.Q. The “sound archaeologist” is a fascinating figure. What role does this character play in connecting pastvoices to the future?A. Unlike an archaeologist who studies geological strata, the sound archaeologist—who detects frequenciesrather than soil—may be another way of describing the figure of the artist I had in mind. I often feel that myartistic approach resembles that of an archaeologist: excavating stories from the past, reexamining the presentand, through this, anticipating what the future might hold. In some ways, this borders on science fiction orspeculative fable.Listening, in particular, is a crucial methodology and practice in my work. I listen to landscapes, to people and totime itself, and I pay close attention to how I am altered through these processes.
IV. Technology, Archive & ImageQ. Artificial intelligence intervenes in every scene transition. Do you view AI as a collaborator, a disruptor, orperhaps both?A. There are many of the gumiho’s tricks embedded in this work. The film presented within the performance canbe considered a no-cut film; every transition between scenes occurs not through editing, but through theintervention of AI-generated imagery. This collaborator—and disruptor—activates the latent possibilities of thearchive and enables a dialogue between the past and the present. Of course, these transitions are generatedthrough references to the history of cinema, and they inevitably raise numerous questions regarding dataimperialism.Q. Your work often blurs the boundary between documentary and fiction. How do you navigate authenticity inan age of algorithmic images?A. Authenticity, to me, is not a fixed property of an image but something closer to a relation—or a vibration—that emerges between different voices, bodies and temporalities. In an era when algorithms produce images,the image is no longer evidence; it has become an agent that learns, imagines and, at times, generates its ownerrors. Yet this merely reveals what has long been true. All images have always been constructed, selected andarticulated from particular positions.The experiences I work with persist in fragments, inflections, gestures and memories passed down by others.These layered realities surface through multiple voices, accumulated time and overlapping sensory registers.Authenticity, then, arises less from “fidelity to the real” than from an attitude that respects the conditions underwhich a story continues and is transmitted. Fiction, in this sense, becomes another form through which truthcan be felt.V. Emotion, Audience & MeaningQ. What emotional response do you hope audiences will experience through “I Do Nine-Tailed Fox”?A. This project weaves together archaeological time and futuristic imagination, engaging with histories ofmigration, oral memory and the sensibility of return, while also treating the seed as a symbol of survival. Just asthe gumiho vibrates between tradition and modernity, the human and the nonhuman, technology, gender andmyth, I hope the work allows audiences to sense this nomadic identity of transformation and movement—whatmight be called a “being in between.”Q. This project was realized in collaboration with Performa, Asia Society, and Mudam Luxembourg. What doesthis global dialogue mean to you as a Seoul-based artist?A. Having spent most of my life in Seoul—learning, growing and working—the speed of the city has alwaysbeen both dizzying and generative for me. It made me curious about the landscapes and voices that slipthrough its cracks, and it led me to consider how that velocity might be aesthetically transformed, particularly inrelation to the conditions of contemporary technological media.Koreanness, of course, is a continually reconfigured sensibility shaped by movement across and beyond theKorean peninsula, by shifting languages and by the flows of cultural memory. In this sense, it was especiallymeaningful for the project to resonate within an international collaboration. Moving between Seoul and CentralAsia, and working with Performa, Asia Society and Mudam Luxembourg, placed the project within a field ofgeopolitical and cultural vibration. At the points where the strata of different cities and nations met, thenarratives of individuals, histories and traces of diaspora emerged in even more complex and layered ways.
KIM JI HEEBeyond the Brushstrokes: The Artistic Universe of Jihee KimBrunch Magazine Exclusive Interviewphotography by Ji Hye Baek
When Jihee Kim (b.1984) unveiled her Sealed Smile series in 2008, she didn’t simply introduce anew body of work she opened a dialogue between concealment and revelation, fragility andbrightness. What first looks glamorous or even whimsical reveals, on closer reading, a lattice oftension: joy and loneliness; brilliant jewels and fragile, finite creatures; a desire that glimmersbeyond itself and returns as a question of meaning. For Kim, every polarity implies its counterpart“ends meet,” as she puts it and only in that double awareness does life begin to shine.
FROM SEOUL TO THE WORLD STAGESYMBOLS OF CONCEALMENT ANDREVELATIONAcross more than four hundred exhibitionsspanning Seoul, New York, Los Angeles,Washington, Miami, London, Cologne, Jakarta,Tokyo, Osaka, Beijing, Shanghai, Hong Kong,Taipei, Singapore, and Dubai, Kim has carriedthis vocabulary into diverse contexts museums,galleries, large-scale installations, andcross‑disciplinary collaborations. Highlightsinclude blockbuster solo exhibitions at K11Museum in China and major presentationsthroughout Greater China and East Asia; shehas become a widely collected artist, withworks held by notable global collectorsincluding Sabrina Ho and Sheikh Saud binSultan Al Qasimi.Big, glossy sunglasses and gleaming braces recuracross her portraits, not as fashion accents but asnarrative devices. They conceal as much as theyreveal, staging the subtle choreography betweenthe self we guard and the self we show. And theyleave space for the viewer’s own interpretationwhat remains unspoken is as important as what’sin plain sight.
BKIM JI HEE R A N D Artist Kim ji hee has also been an early and articulate champion of expanding the artist’s stage beyond traditional white‑cube contexts. Early in her career when collaboration with brands was still viewed cautiously in parts of the Korean art world she embraced innovative partnerships as another medium for storytelling. For her, the grammar of art is not stagnant water; it is flowing water. To claim agency in that current sometimes requires resistance, but it also opens doors to new audiences and new possibilities.“Seen at the Hamptons Fair in partnershipwith J2Brand, Jihee Kim offered a vividglimpse of an artist expanding her stage farbeyond the white cube”
Her sculptural Trunk Series transforms the romance of travel into an object‑poem: wall‑hung formsinspired by nineteenth‑century European trunks artworks that glimmer with desire, play with the aestheticsof luxury, and ask how memory moves through bodies and things. Painting begins in memory; theinvention of a new pictorial language becomes movement; and with time, movement ripens into longing.The series mirrors the spirit of a world quickened by railways, when distant horizons beckoned and everydeparture implied an unknown arrival. It also mirrors Kim’s own way of approaching work with curiosity,discipline, and an appetite for risk.Most recently, Kim has turned her eye toward expanded landscapes in her Fantasy Horizon works,extending her vocabulary into a more panoramic register without abandoning her central questions. Thethrough line is a double principle she makes explicit: memento mori and carpe diem. To remember death isto seize the present. The finitude of life is not a negation but a lens that sharpens the value of eachmoment and even our relentless desire becomes, in that light, something to be understood tenderly ratherthan judged.“Art is my way of translating fleeting existence into a language that lasts. I want to keep my curiosity intact,keep refining my language, and work toward being an artist remembered even a hundred years after I’mgone.”
MINI BIOName: Jihee Kim (김지희, 金智姬)Born: 1984Education: BFA in Korean Painting (minor in Art History), EwhaWomans University (2007); MFA in Oriental Painting, EwhaWomans University Graduate School (2009)Residency: Jangheung Gana Atelier Resident Artist (2020–2022)Notable: Sealed Smile featured on the cover of a 2022 Koreanhigh school art textbook; Member, World Economic ForumGlobal Shapers Community (2012–2017)Artist’s Philosophy (Essentials)On first encounters: What looks bright at first holds a quiettension between language concealed and language implied,between the ecstasy and loneliness of living. Each end needsits counterpart to truly shine.On symbols: Sunglasses and braces function as devices thathide and disclose portals for self‑presentation andself‑protection leaving the inner life of figures to the viewer’sinterpretation.On desire and limits: Life shines when it is not dominated by asingle premise. Kim probes the boundary between desire andhope, reading the meaning of death in a positive key so thatthe value of the present can blaze more clearly.On medium and movement (Trunk Series): From memory toinvention to longing; from painting into object the work inhabitsthe threshold between image and thing, between privateimagination and public symbol.On vocation: To keep curiosity alive, keep evolving a livinglanguage, and work with the horizon of a century in mind.
Critical Excerpts“In art history, iconology reads the relation between symbolic content and itsformal expression to understand a work in full. Through her icons, Kimreveals the universal desires of contemporary society.”— Kim Yoo‑Jin, Curator, National Museum of Modern and ContemporaryArt (Korea)“A world of women coded to excess symbols of abundance that amuse yetunsettle. Her figure seems to ask whether she sustains this world orbecomes its victim; it is, in itself, a soft and moving confession. I believe theemotions are mixed.”— Prof. Eric Maier, University of Paris‑Cergy“The oversized black sunglasses and braces expose the collective desiresdemanded by modern society and stand as emblems for the loss of modernsubjectivity. Though the canvases brim with fancy, pop‑art elements, theyultimately gather the binaries of capitalist violence and political everyday lifeinto a single plane.”— Kim Joo‑Won, Head of Curatorial, Daejeon Museum of ArtAbout the Artist in Public CultureBeyond the gallery, Kim’s work has entered public imagination throughlarge‑scale events and educational contexts a live drawing performance forSeoul My Soul in Dubai with over 4,000 audience participants a collaborationwith SK Telecom and a feature on the cover of a 2022 high‑school arttextbook in Korea. These projects underscore the permeability of her practiceart that can travel, collaborate, and still return to the intimate dialoguebetween image and viewer.
Shifting the LensA W O R L D O F W A R M T H
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Media,Visibility, and AlgorithmWhy Emily Became a Media Object
EMILY IN PARISFASHIONBREAKDOWNFrom Chicago toParis to Rome— Style asIdentity
Retro ChicVibesCiao,bella!AtopaVespawithnewbeauMarcello,EmilypairsageometricDianevonFurstenbergjumpsuitwithalaser-cutTod'stotebagandsilverplatformheelsfromSergioRossi(outofframe).Whileherexactjumpsuitprintissoldout, it'sstillavailableinafewdifferentpatternsinthesamesilhouette.Ciao,bella!AtopaVespawithnewbeauMarcello,EmilypairsageometricDianevonFurstenbergjumpsuitwithalaser-cutTod'stotebagandsilverplatformheelsfromSergioRossi(outofframe).Whileherexactjumpsuitprintissoldout, it'sstillavailableinafewdifferentpatternsinthesamesilhouette.EmilylayersaSeblineCordEmbroideredStripedCottonJacket(soldout)overaruffledblouseEmilylayersaSeblineCordEmbroideredStripedCottonJacket(soldout)overaruffledblouseAnodtoLaVieenRose?EmilyrocksaDolce&Gabannatwo-pieceset,andcompletesherlookwithasleekpairofcat-eyesunglasses.AnodtoLaVieenRose?EmilyrocksaDolce&Gabannatwo-pieceset,andcompletesherlookwithasleekpairofcat-eyesunglasses.DOLCE & GABBANALSOUEWE CAT-EYE NGLASSESFRANCESCO RUSSOLEATHER FLAT PUMPS
An easy way to make a statement,Emily loves a co-ord and is definitelycaombibginfaesn of polka dots. SheMoschino sthe two with thiset (yes, another iconicItalian brand), comprising a chicshiwrthiatendatnrdousers in a strikingblue colourway.An easy way to make a statement,Emily loves a co-ord and is definitelycaombibginfaesn of polka dots. SheMoschino sthe two with thiset (yes, another iconicItalian brand), comprising a chicshiwrthiatendatnrdousers in a strikingblue colourway.MOSCHINOPOLKA DOTSHIRT&TROUSERSMOSCHINOPOLKA DOTSHIRT&TROUSERS
The fifth season of Emily in Paris returns to Netflix in December2025, and it appears as though star Lily Collins is ready to bringthe drama. On Friday, December 12, the actress posed in Venice,Italy, for the hit TV show's season 5 photocall, opting for aluxurious Schiaparelli Haute Couture dress for the occasion.Emily in Paris's titular character is known for her distinctivestyle, but Collins brought her own vibe to the launch event. TheWindfall actress opted for a pearl gray bustier dress fromSchiaparelli's Haute Couture Spring/Summer 2025 collection, designedby Daniel Roseberry. Constructed from duchess satin ribbons, coveredin fabric petals and feathers, and featuring an asymmetric hem,Collins's outfit was simply jaw-dropping.She accessorized the strapless dress with Cartier D'amour StudEarrings, a rhinestone and pink pearl choker necklace, and a pair ofSchiaparelli pointed-toe satin mules.
Emily in Paris appears to be a story about Paris.In reality, it is a story about visibility. Emily does not so muchmove to Paris as she enters a system of perception. This is a world where the way something appears mattersmore than what it contains, where history is secondary to framing,and where experience exists only once it has been seen, Paris, here, is no longer a place.It is an image.When Visibility Becomes ExistenceIn the age of Instagram, existence is no longer proven. It is displayed. Emily does not attempt to understand thecity. She frames it. Angles, colors, outfits, backdrops—none are chosen for immersion,but for recall. Life no longer unfolds. It is edited.Why the Outsider Is Always Bright Emily is perpetually foreign, yet never uncertain. She replaces the anxiety ofbeing an outsider with a practiced brightness. This is not personality. It is strategy.Discomfort is difficult to share. Pleasure travels easily. The outsider no longer seeks understanding,only acceptance.Fashion as Signal, Not Language Emily’s fashion is not Parisian.That is precisely the point.These clothes do not communicate cultural depth.They produce instant recognition.A signal that says:this moment is worth remembering. Fashion, today, is no longer worn philosophy.It is a mechanism to stop the scroll.Brands No Longer Speak. They Appear. In Emily in Paris, brands are never explained.They arrive,they linger,they become atmosphere.This is contemporary branding. Meaning is not asserted. Itdissolves into context. In a world where persuasion has lost power, presence is enough.The brand becomes scenery.When Work Becomes Lifestyle, and Lifestyle Becomes Content Emily’s labor is frictionless.Meetings are aesthetic.Effort is invisible.Outcomes are immediate. This is not fantasy. It is media logic.Process is removed.Only results remain.Life becomes a highlight reel.The City as Backdrop This Paris contains no silence, no boredom, no weight of time. The city exists to beconsumed,not inhabited. People become content. Places become stages. We no longer live in cities.We use them.E M I L Y IN P ARI S , O R THEART O F BE IN G S E EN
Wh y We Ke ep Wa t c h i n gE m il y in Pa ri s i s not profound.Tha t i s why it s u c c e eds .It r e fl e c t s a world we a lr e ady r e cogni z e :a de s ir e to be s e en r a the r than unde r s tood,to be li k ed r a the r than qu e s tioned,to choos e s ens a tion ov e r m e aning .Thi s i s not e s c api s m .It i s r e cognition.2 0 2 5 ~E M I L Y I N P A R I S , N E T F L I XWh a t E m il y Ac t u a ll y L e a r n sE m il y doe s not m a s t e r Pa ri s .She doe s not absorb it s c u lt u r e .She l e a rns one thing :How to be v i s ibl e .And v i s ibilit y i s now a s u r v i v a l s k ill.Th e Q u e s tion Th a t Re m a i n sWe no long e r a s k ,“How shou ld one li v e ? ”We a s k so m e thing e l s e :“I s thi s m o m ent sha r e abl e ? ”E m il y in Pa ri s off e r s no j udg m ent.O nl y r e fl e c tion.And in tha t s il enc e ,we s e e ou r s e l v e s .
SEASON 3 · VALENTINO“COLOR BECOMES IDENTITY.”PINK AS EMOTION.PINK AS MEMORY.BRAND ROLE:EMOTION OVER PRODUCT.Season 1 · CHANEL“Wearing Paris, incorrectly.”Classic tweed.Styled too loud.Too much on purpose.Brand role:Visibility over belonging.SEASON 4 · SCHIAPARELLI“COUTURE MADE FOR SCREENSHOTS.”GOLD DETAILS.SURREAL SYMBOLS.NO REALISM REQUIRED.BRAND ROLE:IMAGE DOMINATION.SEASON 2 · MUGLER“POWER IS A SILHOUETTE.”SHARP SHOULDERS.CUT OUTS.CONTROLLED CONFIDENCE.BRAND ROLE:FASHION AS AUTHORITY.
BRUNCH SPORTS
FOOTBALLWhere the WorldCupAlreadyBeganRed Bull Arena · NYCFC · New York Red BullsThe most accurate way to understand Americansoccer ahead of the 2026 World Cupis not to begin by examining a national team roster or a tactical board.More revealing clues are found instead inside a stadium in Harrison New Jerseythe venue long known as Red Bull Arena now operating under the name Sports Illustrated Stadium.There, soccer does not exist as an event that is yet to arrivebut as an environment that is already in effect.Red Bull is no longer an energy drink company.Nor is it merely a sports sponsor.What Red Bull has built over the past two decades is not a team or a league but anoperating language.Across football, Formula One, youth academies, and content platforms a single question runsthrough every domain.How can a system remain intact even when players change and results fluctuate? On the eveof the 2026 World Cup, this question is no longer theoretical.Red Bull is already executing its answer repeatedly, on the ground.
INSIDEA PLAYER IS NOTTHE POINTTHESYSTEMA Red bull FC captain
THESTADIUMASAMACHINEREDBULLARENAASAPROTOTYPEPLAYERSETSNEWSCORINGMILESTONETwoClubs,OnePhilosophyRedBullSoccerBeyondPlayersRed Bull Arena in Harrison New Jersey is closer to aprototype than a stadium.In this space, soccer is notconsumed as an event. It operates as an environment.Thedistance between seating and pitch the canopy structurecovering the entire bowl architectural design that trapssound the concentrated placement of the supporterssection. None of these elements exist to create atmosphereas decoration. They are structures designed to regulaterhythm. From the press level, something appears before thegoals.The moment pressure begins the instant the linemoves as one the point at which crowd noise acceleratesthe pace of playWithin this structure, players are notinterchangeable assetsbut elements that develop inside the system. This is why RedBull football always appears fast yet is, in essence, highlyconservative. It does not gamble. Itrepeats.Thiscapacityfor repetitionaligns precisely with the format of the 2026 WorldCup.To understand the New York RedBulls,one must not begin by looking at the players.Within thisclub, what matters most is always structure beforepersonnel. High intensity pressing Rapid transitionsClear separation of roles Low dependence on individualstars. This approach is notlimited to New York.Salzburg Leipzig and other RedBull affiliated clubsall operate within the same grammar.RedBullArena already embodies in daily operationthe language the World Cup demandssound, density, sightlines, and movement
FROMTHEPITCHTOTHEPADDOCKIn Formula One,Red Bull is not the team that builds thefastest car. It is the team that adaptsmost quickly to environmental change.When regulations change when circuitschange when tire conditions shift theteam’s operating language remainsintact. Drivers may change. However,the engineering philosophy the methodof data interpretation and the decisionmaking structure remain.THIS IS NOT ABOUT SPEED. IT’S ABOUT SYSTEMS/BEFORE TACTICS, THERE IS STRUCTUREWHY FORMULA ONE COMPLETES THE PICTURERED BULL’S TRUEIDENTITYIS NOT REVEALEDTHROUGH FOOTBALLALONE.The 2026 World Cupis not a tournament of stars. In a tournamentfeaturing forty eight nations, what determinesoutcomes is not a single tactical moment butthe durability of systems. Travel distance,recovery time roster depth, capacity for datautilization speed of environmental adaptationThat is why Red Bull does not merely “sponsor” the WorldCup. It already operates the future the tournament willdemand. The football seen at Red Bull Arena in New Jerseythe strategic choices repeated in the Formula One paddockthe movement of players through youth academies. All ofthisresembles a single extended rehearsal for the 2026 WorldCup. The World Cup is staged in the name of nations butwhat will decide outcomes within it is not nationality but thecompleteness of systems.RED BULL AND THE WORLD CUPWHY 2026 IS A SYSTEM TOURNAMENTSYSTEM SHIFTPressing triggers in footballand strategic choices in Formula Onemay appear to speak differentlanguages yet rest upon the samegrammar Reading the environmentreducing risk and producing repeatabledecisions.This is how Red Bull binds twodisciplines into a single system.And among the names that haveprepared such systemsfor the longest and withthe greatest persistence is Red Bull.Team Principal
WheretheWorldCupAlreadyBeganThe most accurate way to understand American soccer ahead of the 2026 World Cup is not by starting with anational team roster or a tactical board. The more revealing evidence lies elsewhere, inside a stadium in Harrison,New Jersey known for years as Red Bull Arena, now operating as Sports Illustrated Stadium. Here, soccer doesnot exist as an approaching event. It already functions as an applied environment.This venue represents one of the rare examples in the United States of a fully soccer specific stadium design.With a capacity of just over twenty thousand, it may not appear imposing by numerical standards. Yet the densityit generates produces an experience of an entirely different order. Seating is pulled tightly toward the pitch, whilea canopy structure above prevents sound from escaping. Noise does not disperse. It lingers. Waves of supportcirculate within the stadium, directly influencing the rhythm of play.The supporters section known as South Ward functions as a rhythm mechanism rather than a decorative feature.Separated from traditional American family oriented spectator culture, it operates as a sustained pressure system.The rail safe standing design does not unleash noise randomly. Instead, it regulates tempo and cadence, creating aconsistent pulse that feeds back into the match itself. This is not merely supporter culture. It is architectureactively shaping match tempo.From the press level, this structure becomes even clearer. While broadcast cameras chase the goalmouth, the liveenvironment reveals something earlier. The moment pressure begins. The instant the defensive line steps forward inunison. The brief hesitation forced upon an opponent as passing options collapse. These moments are not intuitivereactions. They are the result of repetition, training, and environmental design working together.This stadium already performs the environmental language demanded by the World Cup. Sound. Density.Movement patterns. Sightlines. All of these elements are not activated for special occasions. They operate here ona weekly basis. As a result, the World Cup feels less like a future arrival and more like a present operational reality.Within this setting, the matchup between New York Red Bulls and NYCFC becomes especially instructive. Itssignificance lies not in rivalry, but in philosophy. These two clubs represent two distinct paths available toAmerican soccer.For the New York Red Bulls, the underlying system has long been unmistakable. High intensity pressing, rapidtransitions, and a structure built on the assumption of player rotation rather than individual permanence. Withinthis framework, players are not the center of the plan. They are the executors of it. The most telling moments arenot goals, but the activation of pressing triggers. When the ball moves wide, the line advances together, and anopponent hesitates just long enough for the system to assert control. This is not instinct. It is trained behavior.