In a move that blurs the lines between performance art and celebrity publicity, Bianca Censori, the Melbourne-born architect and wife of rapper Kanye West, has conducted a highly unusual interview without uttering a single word.
A Silent Star and Her Speaking Double
The interview, conducted by Taylore Scarabelli for Interview magazine, featured Censori seated silently next to another woman wearing a detailed latex mask of Censori's own face. This masked stand-in proceeded to answer all questions posed by the journalist on Censori's behalf.
The bizarre setup is an extension of Censori's recent BIO POP art performance in Seoul, South Korea, on December 11, where she used similar latex-clad doppelgangers as part of her show. According to the clone in the interview, these figures are "not copies" of Censori, but rather "spillages."
"They're what happens when a public image detaches from the person who animates it," the stand-in explained. "This is not a confession of feeling trapped. This is an act of repossession. She is reclaiming the unauthorised clones. She's not trapped in her image. She's multiplying it until the original becomes myth."
Addressing the Provocative Fashion and Public Reaction
Censori has become globally known for her extremely revealing, near-naked public outfits. Through her proxy, she addressed the constant scrutiny and controversy her fashion choices generate. The clone stated that Censori's "end goal is self-expression" and not deliberately courting attention for pushing the boundaries of nudity.
Directly confronting the topic of public backlash, the stand-in offered a calculated perspective: "Backlash isn't a goal, but it is revealing, it shows where cultural sensitivities sit and what people are unable or unwilling to name directly."
The clone further elaborated that Censori "doesn't seek praise or backlash, but she pays attention to how both form and circulate...they're two sides of the same perceptual mechanism, and the contrast between them is useful."
The Art Behind the Latex and 'Domesticity'
The interview also served to explain the conceptual underpinnings of her recent BIO POP show in Seoul. The clone described the performance as a commentary on domesticity, with the doppelgangers used as furniture in the act.
Addressing the inevitable association of the skin-tight latex outfits with fetish culture, the stand-in shifted the interpretation to the audience: "The body suit is the closest thing to skin. It removes individuality and turns the body into a surface. What people read into that fetish, control, power, belongs to them."
This orchestrated and strange interaction, published on December 18, 2025, reinforces Censori's commitment to controlling her narrative through avant-garde, and often perplexing, artistic statements, ensuring her public image remains a topic of intense discussion far beyond the traditional fashion pages.
