EDGELINE PERFORMATIVE PARTY
Photo: Shayan Rahmati
EDGELINE celebrated its inaugural issue once again during this Fashion Week with a night that felt exactly like what we always aimed to create: a space where fashion, art, and music converge. Surrounded by our community, collaborators, friends, and fellow creatives, we celebrated not only another season but the growing world that continues to take shape around EDGELINE.Through encounters, performances, and shared moments, the evening became a reflection of the values that define the magazine; curiosity, individuality, and collective expression.
Among the artists of the night, we received Yosra Mojtahedi with an ephemeral art installation, and experienced live performances by Aurola Győrfy and Marie Polo, to the sound of experimental harpist Elisa Balsamo, as well as DJ sets by Jean-Louis and Alexi Shell.
Born in Tehran, Yosra Mojtahedi combines drawing, sculpture, and visual and sound installations. Having been born in a country where the body and its representation are bound to restrictions, the artist has counterdeveloped a sensual and sensory language at times, bordering on the erotic. Drawing on ritualistic and shamanic images, Yosra crafts hybrid environments where organic, mineral, and plant forms come to life in a single breath. Her installations, which she calls “fountain-bodies” or “human-machines”, explore the place of the body, specifically the female body, within the social and cultural structures surrounding it. In her view and in her work, the boundaries between human and non-human, technology and spirituality, and science and the occult, dissolve.
Aurola Győrfy is a performer and visual artist examining the shifting space between body art, participatory strategies, and documentarism. Győrfy sees the body as both a medium and a site of negotiation, an unstable surface inscribed by cultural, technological, and political matters, its identity in process rather than fixed. Central to their work is the mobilization of radical intimacy in public contexts through participatory actions, social media questionnaires, and digitally mediated encounters.
For the EDGELINE community, they performed Sweatshop, a satyre ritual that reworks Yves Klein’s 1960 Anthropometries to expose the labour hidden inside its making. In Klein’s original performance, nude female models pressed their bodies into blue paint at his direction, leaving imprints he presented as evidence of pure, liberated matter. This performance argues that what the prints actually recorded was a body used, its trace preserved while its will was erased.
The work draws a direct line between two kinds of disappearance. In painting, a gesture can be lifted from the body that made it and still be read as authentic. In manufacturing, the same thing happens to the worker, whose hand and rhythm are absorbed into the finished object and then forgotten. By placing these two histories side by side, the performance suggests that both the art market and the fashion industry rely on a similar act of erasure: they keep the trace of labour while discarding the labourer, turning both radical gesture and physical work into objects of value once the body behind them has been made invisible.
Elisa Balsamo and Marie Polo performed together for the first time, having met hours before their act. Elisa is a young artist becoming a professional in classical and contemporary harp. She gradually realizes her art through improvisation with the electric harp and the prepared harp, consisting of changing the sound of the instrument with various objects and accessories. From her improvisations, Elisa diverts the dreamy aspect of her instrument by transforming it into a cathartic tool through the development of sound atmospheres.
Marie Polo, performer, dancer and multidisciplinary artist navigating the intersection of art, fashion, music and movement, danced ethereally to the already dreamy composition played by Elisa. Blending raw physicality with a sharp visual language, Marie’s practice moves between performance, film and cross-disciplinary collaborations, creating work that is visceral, fluid and unapologetically boundaryless.
For the occasion, Marie performed in a wedding dress from Tonya Fay’s latest collection, a piece born from a collaboration with 20 different artists. The top of the dress features a corset tattooed by 4evertatoo. A hairstylist collaborated on the completion of the dress, with a faux hair crinoline. In motion, Marie's dance gave the dress, and the story stitched into it, an added layer of expression.
Alexi Shell is a Paris-based artist, DJ and producer crafting immersive worlds through experimental pop, ambient textures and club-influenced electronics. Blending ethereal vocals, aquatic soundscapes and euphoric pulses, her music unfolds as both an emotional and transformative experience.
Drawing inspiration from the dreamlike atmospheres of Enya, the futuristic emotionality of Danny L Harle and the theatrical mysticism of Mylène Farmer, Alexi creates a universe that is intimate, cinematic and deeply performative. Her work explores mythology, marine creatures and fantasy-inspired narratives to reflect on identity, marginality and queer experiences.
The event was co-produced alongside Rojin, whose work within the Parisian fashion scene spans production, design, and creative strategy, collaborating with names such as Jenna Marvin, ZGeneration, 19m, and Judassime
Words: Marina Teubal