Beyond Fashion. Beyond the Visible

Elīna Norden


An Interview with Berlin-based fashion artist Constantin Prozorov

Constantin Prozorov (1986) is a Berlin-based fashion artist, a down-to-earth and private man with a growing base of 201K Instagram followers and a thick portfolio full of exciting work experiences with widely recognised names in high-end fashion.

In 2013 Prozorov worked for celebrated Brazilian-French couturier Gustavo Lins before departing for Condé Nast’s Paris offices in 2014, where he supported the fashion editorial departments at various publications. He also worked as a personal design assistant to German designer Wolfgang Joop at his Berlin-based luxury label Wunderkind. In the spring of 2017, Prozorov established his own dedicated fashion social media agency for fashion brands and companies. In the years since he has made artistic visual campaigns for a number of notable luxury brands such as Moncler, Gucci, and Accor Hotels, as well as for publications that include Vogue, Elle, and Madame Figaro. He is undoubtedly at the forefront of fashion and style.

Constantin Prozorov's works are mainly done in the digital collage technique, and his approach to image creation demonstrates a new kind of visual thinking that is urgently needed for the Anthropocene era. Since the word 'collage' was introduced in 1912 to describe Cubist innovations, this relatively new art form with a style and content that reflects changes in society has dramatically changed its scope in the information age. From static two-dimensional digital collages to digitally animated collage loops, Prozorov's compositions contain a kaleidoscope of characters and motifs that often merge into the surreal while offering the possibility of rational interpretation: Renaissance art and high-end fashion, mythical creatures and robots, flora and fauna, world cities and urban worlds are often transported into an enigmatic environment. As an artist, designer, and fashion-world influencer, Constantin Prozorov offers an eye-catching and contemporary approach in his work that makes him instantly recognisable.

Prozorov contemplates the intersection of the art and fashion worlds in his latest giclée print edition, Beyond Fashion. In his own words, Prozorov describes Beyond Fashion (produced in collaboration with Stephanie Manasseh, founder of both the Accessible Art Fair and SM Art Advisory) so: ‘This work reflects my observations, feelings and thoughts over the last few years on environmental and attitudinal changes, and the role that fashion plays in them. Beyond Fashion is to be understood as an homage to the time in which we have been living for years but can only now see clearly.’ The artist's statement recalls some of the most prominent scenes of the cult movie The Matrix (1999), which in large part helped shape the Millennial generation. The plot of the movie actualises Plato's thesis of how insidious the things we see can be: while sedated, humans are being used as a continuous source of bioelectricity to keep computers running; they are effectively living in a dream world, or The Matrix, a virtual city where computer programs in black suits and sunshades lurk around, eliminating threats to the ruling artificial intelligence. Much like the main characters in the movie are confronted with crucial choices, every one of us today is encouraged to make socially responsible decisions now.

Even though we both live in the same city, and just 20 minutes away from each other by subway, Constantin Prozorov and I spoke via Zoom, each on our own side of the computer screen in a Berlin under lockdown – the metropolis of art and culture where on a daily basis so many creative ideas are born, live, and try to survive. 85 percent of the global population are city dwellers, people for whom seeing the world means primarily seeing the city while the Anthropocene landscape goes unnoticed. In Beyond Fashion, Prozorov contemplates the uncertainty of the future and how fashion, historically a tool with which to communicate how the world is constantly changing, directly correlates to that theme. The pandemic thus presents a fitting context for this artwork that questions things such as the rise and fall of metropolises, luxury’s understanding of the world, and the significance of centralisation.

Although Prozorov doesn't label his artistic practice as visual activism, he aspires to high-calibre names in the fashion industry who use their creative energy for noble purposes and address the emotional brain for creating change.

You were born in Kazakhstan. Is your family historically related to the Volga German colonies?

Yes, they are. At some point in the 19th century my German ancestors moved from Germany to Ukraine. During WWII the later generation was deported to Central Asia. I'm half German and half Russian. I grew up in Almaty, the former capital of Kazakhstan. In the late 90s my parents decided to repatriate to Germany. I was already eleven years old at the time, so I was not that little.

I still have vivid memories from my childhood in Kazakhstan. Perhaps the school system in the Baltic states was similar to ours in the 90s. Kids went to school in shifts – one year in the morning, the next year in the afternoon. We had before- and after-school activities, such as lessons in classical drawing or sculpture. We had long and structured days. We saw the teacher as the highest possible authority for us. When I arrived in Germany, my life was suddenly very different.

Could you elaborate how life became different?

When I lived in Kazakhstan as a young boy, I never felt judged by my ethnicity or religion. Kazakhstan is a multi-ethnic country. All children, whether Kazakh, Uzbek, Mongol, Russian, Jewish or German, we all grew up together; we all went to the same schools together. Perhaps the moment I realised that I was 'different' or that I have an ethnicity or nationality that distinguishes me from others was when I arrived in Europe. Children in school would draw conclusions: Oh, you're Russian because you have a Russian name – Constantin.

I have 'typical' German characteristics, like being always on time and working a lot. Probably the most distinctive Slavic trait of mine is melancholy. Reminiscing and the pleasure of bittersweet longing is something I find so beautiful.

How has having a multicultural upbringing and a migration background played a role in your works?

I have German and Russian roots, and a set of values which my parents passed on to me. My parents grew up in Soviet Kazakhstan. You can't ignore the fact that at some point you outgrow your background and form a different outlook on things. If you look at my works, I play with images which are mostly related to the western hemisphere because it's the world that I know the best. I cherish my background, but I see myself as a European and a citizen of the world. I speak multiple languages. In addition to my mother tongues of German and Russian, I also speak English, French and Italian.

I avoid using motifs that could offend someone or create unnecessary controversy. It becomes dangerous when someone does not have the knowledge of a certain culture or subject, and does art. That does more harm than good. I am also familiar with the Soviet era. I like to include motifs of Soviet modernism in my collages. By the way, the latest Balenciaga garments are a great example with which to trace Soviet-inspired motifs on the runway.

Gucci Neuschwanstein by CONSTANTIN Prozorov from Constantin Prozorov on Vimeo.

Your range of language skills is simply impressive!

I would say it has something to do with patience. When I was a kid, I couldn't understand why it was so incredibly difficult for me to learn a new language or understand grammar. At school the teachers thought that I was just lazy. My mother is a teacher, and she couldn't figure out why I was failing. But I wasn't lazy – I have dyslexia. That's why I struggled at school and I still struggle to this day. When I was in my mid-20s, I discovered that I can learn languages a lot easier by patiently watching movies in the original language and listening to people interacting, not by memorising grammar.

This part of me plays a very important role in my works. I am a storyteller. My mind is brimming with narratives. I communicate these through combinations of photographic images.

What at first glance appears to be an obstacle can also be seen as an advantage. Sometimes you just have to change your perspective.


I would like to write a book, but I can't because I don't have the talent. However, right now I'm working with an art historian and writer at Vogue Australia on my first surrealism-influenced coffee-table book.

That is the power of collaboration in art. Congratulations on another victory! 

Thank you! Hopefully it will be released in late 2021. I will let you know.

BEYOND FASHION - A Merger of Fashion and Art by Constantin Prozorov X SM Art Advisory (Brussels - New York)

Your latest art collaboration, Beyond Fashion, which you made with Stephanie Manasseh, the founder and director of the Accessible Art Fair, caught my attention on Instagram. The collaged cityscape in your work made me think about how social distancing, paradoxically, brought people closer together through solidarity, supportive gestures, and, no less importantly, their thoughts. We are all patiently sitting in the same boat, whether we find ourselves in Dubai or Berlin. I don’t want to glorify social media, however, it wasn't a lonely place in these times but rather a meeting place.

That's true. The matrix of social media connects like-minded people.

It’s not just a handful of people in high seats who now have the power of voice and visibility. Everybody who contributes something interesting can sit at a round table as well. It is phenomenal how many artists are emerging on social media, like myself. With a fateful ‘follow’, the respected eyes of the industry can see your work every day.

I met Stephanie Mannaseh at the beginning of the first lockdown last spring. So there were also good things happening in the lockdown. I knew her from the press and social media because of her role in the Accessible Art Fair. I never immediately agree on collaborations. I'm really overwhelmed and thankful for people's interest in my artistic practice, especially on social media. It takes several phone calls until I get a feeling of mutual understanding. I know I can rely on Stephanie, and we will keep working together also after Beyond Fashion.

BEYOND FASHION - A Merger of Fashion and Art (Fragment) © Constantin Prozorov

Beyond Fashion on the wall behind you – could you guide me through it?

Actually, this is the first time that my work has entered the physical space. It's a different feeling to show it on an actual wall – up to now the main presentation 'wall' was the size of a tablet or smartphone screen.

The images I create contain subtle criticism or irony, but for the most part they are open to free interpretation.

The utilisation of the triptych is an homage to Hieronymus Bosch, who also used this traditionally religious style to communicate his own contemporary storytelling approach of the world around him. My underlying intention was for the beholder to take away a feeling of hope.

BEYOND FASHION by Constantin Prozorov from Constantin Prozorov on Vimeo.

This work reflects my observations, feelings and thoughts over the last few years on environmental and attitudinal changes, and the role that fashion plays in them. Beyond Fashion is to be understood as an homage to the time in which we have been living for years but can only now see clearly.

Why are people drawn to the big cities? Because of the work opportunities and other privileges that they offer. As we witnessed last year, all it takes is one pandemic and all that becomes irrelevant; what was once a bustling metropolis became a sleepy town. Working remotely from home was mainly a choice of lifestyle, whereas in lockdown it became clear that it is even convenient for some enterprises. Teleworking is here to stay.

What happens when human activity declines? The flora and fauna gradually return, but it doesn't happen overnight. In the middle between these two worlds – the man-made and the natural – you see the statement board: We Still Have Hope. Climate Action Now. Human impact on the natural environment has reached unprecedented levels. In mathematical figures, climate change for most of us remains incomprehensible, but people who have been uprooted because of climate change exist all over the world. Humanity has a responsibility to create balance. We can only solve this problem as a cohesive society. And in the same way, we were asked to deal with the pandemic.

I believe that decentralisation is also one of the main topics of our time; the rise and fall of the metropolis. This scenario applies more to Europe and America and less to Asia. Asia is still in a different stage of development. Global cities like Shanghai are still expanding.

BEYOND FASHION - A Merger of Fashion and Art (Fragment) © Constantin Prozorov

Why the title Beyond Fashion?

Fashion is a meaningful form of communication.

Georgian-born fashion designer Demna Gvasalia is the current director of luxury fashion house Balenciaga, succeeding Alexander Wang. Gvasalia fled his homeland when he was twelve, during the country’s violent civil war, and went on to live in Düsseldorf. Not that long ago a lot of people were fleeing the Syrian civil war. When they arrived in Europe, their clothes were not in the best shape – they were worn out, even hanging by a thread. Although Balenciaga’s runway line consists of garments cut in luxury fabrics, the designer consciously included elements of wear, rips, and tears, thereby referring to one's journey of countless kilometres before reaching the final destination. It was a bold use of two opposing contexts – luxury and despair – to draw attention to forced migration.

Haute couture has evolved from pretty clothes into a powerful voice of our times. The designers want to convey a feeling through these little hints and raise questions in public. Even if these details that make clothing a fashion are not immediately decipherable, they remain with people unconsciously and are even educational in the long term. Later, when fast fashion brands adapt the trends from the runway to their new collections, the designers' message lives on. We have just learned how to notice these visual messages.

Dame Vivienne Westwood has never shied away from dealing out bold political statements. That's one of the freedoms of being a privately owned business – the ability to march to the beat of your own drum. She uses her voice to mobilise people around human rights, climate change, and animal welfare. Vivienne Westwood is really an amazing activist.

Valentino Castle by CONSTANTIN Prozorov from Constantin Prozorov on Vimeo.

Trends like a light wash and ripped fabric are fashionable for just a short time, and the fast fashion industry makes a good profit from the quick turnover. Are these seasonal trends really calling attention to sociopolitical issues? How can they solve any problems?

I understand what you mean. Firstly, we consumers must change fundamentally. The fast fashion industry needs to fundamentally change. I truly hope to see changes in the way we consume post-lockdown.

An activist approach in fashion design keeps issues in the headlines.

Fashion publications are increasingly taking a stance on political, sociological and environmental issues. In this respect, Vogue Italia has always been exemplary. The former Vogue Italia editor-in-chief, Franca Sozzani, transformed the magazine into one of the leading fashion publications in the world – it is by far one of the most creative international Vogues out there. Together with American photographer Steven Meisel, Sozzani created the most activist and in-your-face political statements in Vogue Italia. They went beyond what was expected. Sozzani was frequently on the edge of losing her position at Vogue because of her risky approach at the time. Magazines must take into account the nature of the clients. By clients I don't mean magazine subscribers or occasional buyers, but advertisers and brands. Over time, luxury brands like Gucci also began to make political statements.

Today, the new editorial team keeps Sozzani's legacy alive. The Italian issue is still one step ahead. I could say the same about Vogue Portugal

Sozzani's infamous Italian Vogue editorial 'Water & Oil', September 2010, photographed by Steven Meisel, is among her most controversial. Sozzani was making a political statement on the Deepwater Horizon oil spill that happened in the Gulf of Mexico that year. – Ed. note

Visual art is a universal form of communication.

The late Franca Sozzani once said – When I joined the magazine, Vogue was in Italian, but I wanted to speak to everyone, so I thought of creating images that were made to talk.

It is no coincidence that I pursued the collage technique. Imaging uses the language of photography to create something new, something that reality doesn't convey. The collage aesthetic recognizes multiplicity of form and content, duality, contradiction, juxtaposition, complexity, and expansion as the essential qualities of modern life and modern art.

Anyone can do it without technical skills in art; you just have to let go and be playful. I believe collage is the most creative, unlimiting and expressive art form.

How did you come up with the idea for Gucci's 2019 campaign? The image of a reimagined Da Vinci's Lady with an Ermine went viral at the time.

Da Vinci's Lady with an Ermine is an important masterpiece and important historical document. It’s one thing for the beholder to notice the artist’s mastery – it’s another to read the artwork. There are several interpretations of the ermine's significance. In its winter coat, the ermine was a traditional symbol of purity. Ermine was the status-quo fur for royalty, and the most sought-after, costly fur in official portraiture such as that of Louis XIV of France.

What would Da Vinci place in a model’s arms as a symbol for luxury and wealth if he would be living today? Perhaps the 2019 Gucci sneaker by Alessandro Michele, which was a ‘must-have’ at that time. Gucci's campaign gives anyone the chance, regardless of their knowledge of Renaissance paintings, to view a masterpiece and connect with the context.

'That beautiful moment in your life with your new Gucci’s' , 2019, Gucci by Alessandro Michele; 'Lady with an Ermine' by Leonardo DaVinci

Did you start with the analogue collage technique and then move on to digital?

No, I haven't worked in analogue techniques. I started making digital collages four years ago by creating digitally collaged social media content for fashion brands. I had the creative freedom to do what I wanted, but of course it was mostly about selling a product. My current works are less connected to the consumer.

I'm a perfectionist, you know – everything has to be done really, really well. Sometimes I am also a pain in the ass to the people I work with because everything has to be detailed and with minute precision. This is easier to achieve with digital software. For example, creating a collage can take anywhere from one to two weeks. I use between 30 and 40 pictures for one collage. In the end it may seem like photography, but it is made up of many separate elements. When you work analogue, you need to be more open to flukes and you must overlook glitches. When it is glued, it's done. Sometimes I create a composition and leave it for a week, then re-contextualize the entire composition if I see it’s necessary.

Gucci Berlin by CONSTANTIN Prozorov from Constantin Prozorov on Vimeo.

In the analogue collage technique, you can temporarily attach compositions to a board.

… but you can’t give a three-dimensional expression to it – from static two dimensions to digital 3D animation. Animation gives totally different storytelling possibilities to digital collage. For that I have teams of skilled professionals in Berlin and Hamburg. Cinema 4D is a 3D graphic software suite, whereas CGI programs are used for movies like Avatar to create really complicated special effects, characters and animations. You need to master these programs for at least ten years. First of all, I don't have the time to do it. Second of all, you need somebody who's really good at it. I also need people who are knowledgeable about sound design. As artists, you should be open to collaborating with different professionals. In coming together and sharing knowledge, creatives can come up with something incredible.

Have you ever exhibited your work in a gallery?

No, no yet. There was a plan for an exhibition in Shanghai before the Coronavirus surprised us all.

Do you know these 3D cut and folded paper pop-up greeting cards?

Yes. Opening these cards as a child was like a small miracle.

I'm thinking of bringing my digital collages to life in a similar way, on a large scale.

I can easily imagine your collaged ‘worlds’ as immersive installations.

Everything is possible with collage. I see no limits. Yes, it's a question of budget. For example, the triptych Beyond Fashion is a digital print and also a digitally animated work. Even if it's not obvious, this work consists of 400 separate images. For the animated version I constructed a situation behind every layer so that the camera can travel and zoom in, so to speak. This all could take place in a physical space as well.

Have you seen my animation for Moncler? We are now working on an Instagram filter for users to become a protagonist in my work.

Moncler Richard Quinn by Constantin Prozorov

… or in your world.

I'm an artist for people – not just for a few people but for all people.

Who has been the most influential person in your career or life, and how so?

It's not necessarily one person who helps you, because you go through life and you meet so many amazing people along the way.

First of all, my parents. To this day they have always supported me, even if they don't understand what I'm really doing. But they never questioned my choices.

While at design school, there were a handful of teachers who inspired me, who gave me guidance and opened doors for me into the haute couture world in Paris.

I was not a bad student but definitely strong-headed. That's typical for a person born in the Capricorn sign.

After working in Paris, I moved to Berlin and started working as a personal design assistant to fashion designer Wolfgang Joop. I learned so much from him. Wolfgang Joop taught me how to be an artist and not just a designer. He gave me the confidence to move up to the next level and devote myself entirely to art. At the time I was already 30 years old, and I felt something was missing.

Later, I met Massimiliano Monteverdi (Claudia Wunsch Communications) at an exhibition in Galerie König, Berlin. He was impressed that I was already fluent at speaking Italian just after a few months of training. Massimiliano gave me my first commercial push to work with great names in Italian fashion. My agent, Mondlane Hottas, or Monty (Schierke Artists), redirected my path as an artist.

Right now, it's Stephanie Mannaseh. She's an important figure in my life and career. There are also strangers that support you just by sharing a critique and believing in you.

The most important achievement is to believe in yourself because it won't help you if people offer you opportunities or advice and you don't accept it, or if you take it but don't really implement it because you're too scared to fail. I believe that life offers opportunities for growth and success for everyone. It also depends on what success means for you. Once you are recognised as an artist, the work schedule becomes even more intense.

You mentioned that Wolfgang Joop taught you how to be an artist and not just a designer. Spending time among professional designers, one quickly learns that equating art with design is a surefire way to stir the pot and hear bold statements such as ‘design is not art; design has to function.’

He has such amazing life experience. He taught me a lot, but most importantly, how to embrace the creative process. Every company wants to make money. The global fashion industry is worth billions and billions of dollars. In such an environment, he was forced to create fashion that was sellable, wearable, washable, and disposable. He is not driven by such aims; he would always say to us in his atelier – We are not here to make money, we are here to make art.

So many things in life could inspire him. He could find an old scarf in Morocco and get excited. He would put on paper his idea of a garment, without limiting it as being ‘sellable’. Yes, of course, when a buyer would come in, he would begin breaking it down to meet the needs of the market.

Even Wolfgang Joop, who has been in the business for so many years, sometimes struggled with self-doubt and reworked his ideas. That's being human; that's living life. Oftentimes I would stand next to him while he was sketching. Oh, what an amazing idea he is working on, I would think, and then right at that second – he would throw the sketch away. Praise wasn't important to him unless he himself was content about his creation. 

Have you met Karl Lagerfeld? I'm curious, what was he like?

Yes. I met him not as a designer but as a photographer. It's a different emploi. He was shooting a haute couture editorial for Vogue Germany in Paris. I looked up to him prior to the photo shoot.

When you meet people like Karl Lagerfeld or Wolfgang Joop, you better just stay in the background; listen to them and observe what they do. Each of them have different energies. Lagerfeld knew how to say the right thing at the right time. If you spent just an hour in a room with him, you would begin to better understand yourself and your place in the world.

Could you elaborate?

I mean, you should never compare yourself with the masters. Karl Lagerfeld grew up in a different time and under different conditions, and that shaped his character and work ethic. He was not born with a set of skills – he acquired them.

Watching Lagerfeld in action, photographing, you see a devoted worker bee. The fashion legend and demigod from documentaries takes human shape. In art, men especially tend to create this wunderkind, an eccentric public persona. Once you realise that, you stop putting unnecessary pressure on yourself. You drop your fears.

Everybody tries their best and sets new challenges for themselves in order to progress, even if you have already made your name in the fashion industry. If you try hard enough, it will result in something amazing. Many people are afraid of new endeavors because they're afraid of failure. One must remember that success and failing go hand in hand. We all have fears that are holding us back. Fear only exists in our minds. Fear isn't even something real, running around in the open air.

It may happen that you ask for an opportunity, but people shut the door in front of you. My father told me if people shut doors in front of you, then find a window to climb in through. There were many amazing people I met on my path who inspired me, but there was also a lot of rejection.

Marc Jacobs Diary by Constantin Prozorov

Lately I have been thinking about to what extent rejection helps to realise how strong, resourceful, and capable we really are when the chips are down. How do you deal with rejection in a professional context?

Rejection is a normal part of life.

There can be many reasons for being dismissed. Maybe people can't relate to certain aesthetics. Maybe because I'm dyslexic, as I mentioned, I can't express myself flawlessly through written words. I have to write a lot of emails on a daily basis. Perhaps some people assume that I'm dumb or whatever… Anyhow, the biggest failure is if you put stones on your way to success. You should not emotionally hold onto mistakes you've made, but instead learn, improve yourself, and continuously try your best. Don't think too much about what people think about you because you're never going to please everybody. I'm not saying that you have to be an asshole to others. I treat everybody the way I would like to to be treated – politely and respectfully. Also be kind to yourself. It’s so simple.

How do you deal with creative blocks?

I do have creative blocks like everyone else, but I don't let it take me over. When I have this low period, I don’t just sit and do nothing and then be sad because of it. Instead, I execute smaller things that are no less important. I'm always finding ways to be occupied. Being an artist isn't just to create, create and create. There are more positions that one holds in life. I know how to manage my time.

What's your responsibility as a visual artist and social media influencer?

I don't see myself as an influencer. Ok, technically I am an influencer, but I’m also a very private person. The word 'influencer' is simply overused these days, in my opinion. Perhaps I'm more like an ‘art-fluencer’, ‘emotion-fluencer’, or something else. I'm simply very grateful to have an audience.

In the early days of Instagram, if you had 1000 followers, you became an influencer. You could go to a hotel, introduce yourself as an influencer, and get something for free in order to promote it. Well, that’s not bad. However, that was never my case. The last time I was on vacation I was 16 years old and with my parents in Bulgaria on the Black Sea – basically 20 years ago. During my studies in Munich, I just couldn't afford a typical vacation. After graduation, I had the drive and energy to continue pursuing my personal goals. Anyhow, everything I do professionally brings me joy. Traveling to Paris and Milan is part of my work. I've been working 24/7 for many years. I have a responsibility to pay my team.

Having countless eyes looking at what you post online comes with a responsibility. It really doesn't matter if someone promotes garments or lifestyle tips unless it is done with integrity and purpose. People today have to learn how to consume images online.

There are a lot of conflicts and injustices in the world. The purpose of my Instagram account is not just to display my work but to talk about soft power and peaceful revolution, which takes place already within us. My goal was to create a space where people can escape the seriousness of life for a second. Even if my work has a starting point and contains a hidden message, for the most part it is open to free interpretation.

Vogue Portugal / April 2020

What is the most memorable fashion cover for you? For me it is the cover and editorial of the May 2013 issue of Vogue Ukraine, with Eugene Hutz, frontman of American gypsy-punk band Gogol Bordello, and Estonian model Kätlin Aas on the cover.

The cover of the April 2020 issue of Vogue Portugal featuring Bibiana Baltovicova and Adam Bardy kissing while wearing surgical masks, captured by Branislav Simoncik. When the pandemic broke out, many publications continued with their preplanned agenda. Only a few reacted immediately. That's my favourite magazine cover of 2020. Not just for fashion publications but in general.

Fashion is meaningful communication, not just a set of clothes we consume before its expiration date. Magazines such as Elle, Vogue and Harper's Bazaar have a certain influence, although it is shrinking due to internet media. Combining fashion design, photography, and a political message in a fashion spread in Vogue can be very educational.

Vogue Portugal Editor's letter from 31.03.2020: Freedom on hold (...) the whole Vogue team was far from imagining that the theme ‘Freedom’, chosen over six months ago for the April issue, would be crowned with the irony of a virus called Corona that would strip from us the liberty we took for granted every day, especially in the simpler and invisible gestures that only confinement has made us greatly acknowledge.- Ed. Note

Constantin Prozorov. Photo: Sarah Staiger