GO LEFT

Camper, known for their experimental footwear forms, have now unveiled their FW26 Right Left collection, offering two new styles of heels with unique silhouettes that elevate everyday wear. Two artists who appreciate experimentation are Swedish electropop auteur Namasenda and NYC-based multidisciplinary painter and artist Jeanie Yoo, both being notable in their fields for their unique perspectives.  

Exploring a sense of vulnerability and femininity through abstract shapes and figures, Jeanie Yoo initially used oil pants, eventually incorporating silk and dye to enhance her process. This led to her creating more sculptural and wearable pieces, allowing her work to be seen in a different light. This year, Yoo debuted her first solo exhibition, Hang to Dry, a collection of near-transparent paintings that distort in the light.

Namasenda, who first gained recognition for fan-favourite track Donuts, blends euro inspired electronic production with pitched-up vocals, establishing herself as an electronic pop maven. Having worked with a plethora of artists including A.G. Cook, Hannah Diamond, Oklou and Mowalola, she eventually signed to Swedish label YEAR001 in 2023. Through them, she found the home to release her recent debut album Limbo, which saw her signature experimental sound touch on more personal ground. 

To celebrate the launch of Right Left, we had these two artists come take the new styles out for a spin on a typical day out, speaking with us about their artistic process. 

How do they feel?  

Namasenda: They’re very comfortable - I feel like I could wear them a whole day and night, no problem.     

Jeanie: Sexy and comfy. 

Do you prefer the boot or the shoe? 

N: I think I prefer the boot! I love the silhouette of the heel on both shoes though. 

J: Heeled boots are my fall go-to, especially on casting days. They give me a fierce stomp. 

What do you usually wear in the studio? 

N: I always wear the same furry slippers - I'm convinced they help me write. 

J: The optimal studio outfit: shorts under a pair of men’s jeans (crotch room for maximum movement), a tank top, and hoodie. I have a pair of Birkenstock sandals I change into once I arrive. It gets pretty hot in the daytime, so I need the option to just wear boxers and a tank. 

What does your typical routine look like? How many hours a day do you spend here? 

N: I usually wake up at a time that lets me have at least (!!) 3 hours of alone time in the morning. I need to drink my coffee and do some crosswords in peace and then I can start my day. Either I go to the studio or it's meetings. 

J: My day job doesn’t allow a typical routine. My time at the studio varies from 20 minutes to 9 hours. It’s either a quick in and out between errands and gigs or I’m locked in for the whole day.

How do the clothes you wear affect the way you make work? 

N: For me, style is such a big part of my life and it 100% affects my mood whether I feel confident or not wearing something. 

J: Tight and restrictive clothing really impairs my motivation in the studio. I need to be able to move things around, make big structures, climb ladders, drill stuff. I’m kind of lazy about the handy stuff so if my clothes inconvenience me in the slightest, I will just procrastinate. 

How would you describe your day-to-day style? 

N: You’re either getting sweats or full glam. I don’t do in between. 

J: I'm the youngest of three. I found my style growing up by digging into the closets of my older brothers, my parents, and my grandmother to play dress up. Hand-me-downs naturally evolved into a love of vintage fashion, and ill-fitting clothes just became my comfortable silhouette. My day-to-day style definitely reflects this. I love a comfortable outfit with little eccentric accents that I have emotional attachments to (a ring my mom gave me, a leather bracelet my friend made, a funky scarf from an old neighbour's yard sale). 

Namasenda, how has performing Limbo live been since its release? 

N: It’s been amazing seeing people interact with the album and the new music. I love playing live and meeting my fans.

What role does styling play into your artistry, particularly on stage? 

N: It plays a huge role; it really helps me step into being Namasenda the artist. 

Collaboration is an integral part of your process. What was it like working with your collaborators on Limbo? 

N: It was amazing. This is the first time I’ve worked with an almost exclusively Swedish team, and although there are so many great producers and songwriters out in the world, there is something really special about being able to speak your native language while working. It feels so pure and effortless. 

Your album only recently came out, but you've said that you're already working on the next thing, right? 

N: Yes, I am a very impatient person. I need to keep moving otherwise depression gets a hold of me. 

Jeanie, your work expanded from being solely paintings into including pieces with wearability. How did you find yourself exploring that? 

J: I’m an oil painter by trade but I started developing my silk painting technique in 2024. I only really started to think about them as wearables when needing some easy publicity upcoming my show in May 2026. As a model I was attending fashion week shows and parties and gallery openings and wanted a way to promote my work, so I tied a small self-portrait painting to a purse. It brought a lot of intrigue and questions about my “silk scarf” and it became a sly way for me to bridge my fashion and art careers. 

How do you think the work being seen on a garment changes the painting for the viewer? 

J: Natural sheer silk on a body is romantic and sexy, breathable and soft- It's the same fabric often used for bridal veils. When I think about how I want the painting presented on a garment I have to think about balancing this feeling through silhouette, colour or imagery. The approach is different to my silk paintings because the relationship is to skin and body parts rather than the room it’s installed in and specified lighting conditions. 

Your work seems quite solitary; do you like that way? 

J: I find my practice has become more social as it has been a collaborative effort to get my bigger projects to fruition. The most recent instance of this was for my upcoming piece in a group show in Manhattan this October, as I'm hanging a big silk piece from a beautiful, shaved tree branch that furniture designer Kira Wilson sourced and prepared for me. Designer Fiona Frohnapfel, my studio mate, also advised me through sewing larger silk layers together. 

Since graduation I’ve found more reason than ever to lean on my multidisciplinary friends and peers. I love it this way. It is a very special bond and privilege to be able to work with the people you love and admire. 

Your exhibition Hang to Dry was displayed earlier this year. What was it like presenting a solo show for the first time? 

J: It was so exciting. My first solo show with Nana Cheun at Nuun gallery was an amazing adventure. I was 2 years out of art school and only really exhibited my oil paintings before so the challenge of making a whole body of work of just my silk paintings got me pumped. It was also my busiest time yet modelling wise, so the weeks coming up to the show I was really sleep deprived, stressed out and my head was spinning– but I think it was the most joyous I’ve ever been in my studio. 

The making of your work involves a lot of experimentation. How do you stop yourself from getting too carried away in the process? 

N: I don’t think I stop myself, and I don’t think you can get too carried away as an artist either. Experimenting and having fun while making things is the whole point. Things need to be more weird in general anyway. 

J: I think the transition to silk painting allowed me to be more decisive and instinctual. At that point I had become sort of neurotic about oil painting, and I liked that in silk painting you can't really beat down on the surface over and over. I place my pigment and it settles and you will always see it no matter how much I layer. 

How do you know when something's done? 

N: It’s simple. You just do! It’s a very specific feeling in my body for me. 

J: I know I'm done when there’s just physically nothing I want to do anymore. Sometimes it feels like I’m always searching for something that isn’t ever truly found (just almost found) or the piece just isn’t hitting the mark exactly where I want it (but it’s close) but at one point I just realize there’s nothing more to do, so I just work on the next one.