MOB Journal — Editorial

Wings above her will by Léa Bon

Para llegar al nirvana, debe uno conseguir el conocimiento de sí mismo; y el conocimiento de sí mismo es hijo de las buenas obras.

"La voz del silencio, BLAVASTKY"

The painting arrives first, like a memory before the memory. A woman with copper curls leans against a pale column, her gaze carrying the particular weight of someone who has already decided something. Léa Bon opens *Wings Above Her Will* with this image as both prologue and provocation, borrowing the language of classical portraiture to ask what it means to know oneself before the world names you. The blue behind her is not sky so much as permission.

What follows is a study in contrast that refuses the easy resolution of opposition. Model Judeline moves through stone archways and shadowed sidewalks wearing the architectural garments of Zhanna Ona and Cassum Studios, her long dark hair pulled back or left to fall like ink dissolving in water. The white printed skirts carry black lines that suggest geological strata, pressure rendered visible, time made wearable. Against the rough-hewn walls of what feels like a medieval quarter, the clothes do not perform history so much as absorb it, the body within them quietly sovereign.

H.P. Blavatsky wrote that self-knowledge is the child of good works, and this editorial trusts that equation without illustrating it literally. Bon's compositions allow silence to do structural work, each frame breathed rather than constructed, the model's stillness never passive but always chosen. There is a spiritual economy at work here, an understanding that true arrival requires the shedding of noise before the acquisition of anything else. *Wings Above Her Will* does not offer transcendence as spectacle. It offers it as a posture, a direction of the gaze, a quality of attention held long enough to become knowledge.

A conversation with Léa Bon :

1) What significant experiences or events in your life have influenced and shaped your artistic vision?

From the moment I was born, I felt that my body did not belong to a single gender. I was born with feminine features, curves, ambiguity, masculine traits, creative autism, and a severe allergy that caused what is known as Butterfly Syndrome. Everything I touched seemed capable of hurting me. People often could not identify me as either male or female. This experience, much like Tilda Swinton’s character in Orlando, shaped my ethereal perception of the world. I came to see the fusion of masculine and feminine energies as the foundation of a complete being—one that does not need to search for a missing half, but rather channel celestial knowledge into the world, helping others evolve, believe in themselves, and understand that every spirit carries a personal mission. We are all androgynous by nature; we all contain both estrogen and testosterone. From this understanding emerged my passion for fashion—not merely as aesthetics, but as a reason for being. Fashion became a way of politicizing everyday life through what I wear, how I pose, and how I observe the world, from its deepest shadows to its brightest light.

2) Collaboration often sparks new creativity. Could you share an example of a collaboration that led to an unexpected and exciting artistic achievement?

Collaborating with institutions such as ISEC, Fotodesign, and other fashion and advertising schools around the world has allowed me to leave a legacy through generations of students who expanded and evolved my vision. I have had the privilege of inspiring minds that today contribute to shaping contemporary visual language. At the same time, teaching challenged me to constantly question my own perspectives and creative processes. Through these exchanges, I believe I have helped bring more light into the world while encouraging people to question established norms. Becoming both the heir to a visual voice and a mentor to others strengthened my ability to curate imagery, concepts, and visual narratives with greater depth and authority.

3) Tell us about a specific project that challenged your creative limits. How did you approach it, and what did you learn from the experience?

For four years, I worked on a book dedicated to headpieces and ornamental headdresses. Through this project, I learned that beauty and aesthetics do not truly evolve; rather, they become blurred by misinformation. Today, social media often manipulates more than it informs. Elegance has become a luxury rather than a cultural aspiration. People are increasingly concerned with belonging rather than expressing themselves through their bodies and appearance. Historically, headdresses symbolized the beautification or protection of the mind from the outside. Today, wearing one is often perceived as eccentric or even ridiculous. To me, this reflects a decline in inner knowledge and individual expression in favor of social conformity. It is unfortunate that comfort frequently replaces effort, making the pursuit of visual utopias and ambitious creative goals seem questionable in contemporary society.

4) In the constantly evolving world of art, what do you believe distinguishes your work and makes it unique or innovative?

What distinguishes my work is the tension between the anxiety produced by contemporary misinformation and the search for an ethereal essence within imagery. I seek to captivate audiences through epic visual narratives that encourage reflection and active engagement. As Joan Fontcuberta suggests in his theories on post-photography, if an image lacks thought, it becomes just another image among millions. In my own photographic practice, knowledge becomes the true creative act—a moment of synchronicity between consciousness and spirit. My images aim to elevate ways of seeing and being, encouraging the evolution of thought and perception.

5) Looking back on your journey, do you have any specific goals or milestones you hope to achieve in your artistic career over the coming years?

One of my goals is to exhibit my fine art works at the Embassy of Argentina in Spain, bringing my artistic vision into an institutional and international cultural context. I also aspire to become part of The Art Design Project Gallery in Miami, a gallery that represents significant contemporary artists and whose curatorial vision strongly resonates with my own practice. In addition, I hope to continue publishing in editorial platforms around the world, including Germany, the United States, Italy, Argentina, and Spain, expanding the global reach of my work and artistic discourse. Seeing my work featured in Vogue Italia at the age of seventeen was a defining milestone in my career. Looking ahead, I aim to further establish my international presence while continuing to create images that challenge conventions, inspire reflection, and contribute to the evolution of contemporary visual culture.

Photographer  Léa BonIGFBWEB

Assistant  _mambo_sun_IG

Showroom  Marc Juan ComunicaciónIG

Assistant  lari7a__IG

Brand  zhannaonaIG

Model  JudelineIG

Brand  cassumstudiosIG