Aweng Chuol Cannot Be Boxed In

November 22, 2024

Before she took her first breath, Aweng Chuol’s mother knew that her child would be a rebel. Even with all eyes on her, she has no desire to live through people’s perceptions of her; in fact, it might be physically impossible for her to care about outside judgement.

The first born of a dozen children, Chuol chose a path she felt the universe call her to. One day, while she worked a closing shift at her local McDonald’s, an incantation of all that could be possible played through her mind as a woman handed her a card. “You’re going to be a superstar,” the stranger said to her.

Growing up amidst a war-torn South Sudan, the model and growing multi-hyphenate still loved the place she called home. She still finds that sense of home within the sanctuary of her body, an ability that has allowed her to take massive leaps and risks. At 18 years old, she snuck away to Paris to walk her first runway for Vetements, after which she was signed to agencies in Milan, Paris, and New York. Her unforgettable look and enchanting walk were stamped in all the greatest minds in fashion. She was “it,” and there was no doubt in her mind about it. While this story may sound like a whirlwind fairytale — a refugee one day and a supermodel the next — Chuol’s story is much more complex than that.

Photography Asger Carlsen
Styling Jahulie Elizalde
Talent Aweng Chuol
Interview Kerane Marcellus
Hair Izumi Sato
Makeup Rose Grace
Creative Producer Liv Solomon
Photo Assistant James Lynch
Styling Assistant Rebeca Flores
Production Assistants Rea Brayshaw, Abby Dillingham, Enzo Holdt
Editor-in-Chief Simon Rasmussen
Assoc. Creative Director Mitchell Connell

AWENG wears FULL LOOK by MIISTA

When Chuol immigrated to Australia with her mother and eleven siblings, she reached a newfound consciousness, new obstacles to overcome, and a new life to get used to. Throughout her formative years, she had finally arrived at a point where she could call Sydney, Australia her home. Over time, she found comfort once again in her long legs, high cheekbones, deep skin, and full lips. Everything that led up to that moment had proved to be worth it.

Discovered while she was a student studying law, it was kismet for the powerhouse model to become a household name. “Aweng” is a sacred name, meaning “cow” in her native language, an animal that brings pride to its people. Chuol is bringing pride to all iterations of herself. From her many geographical journeys, to her internal journeys of navigating life, love, and constant change, Aweng Chuol is a woman who cannot be boxed in.

On an early Tuesday morning, right after her meditation session, we spoke about her manifestations, her tenacious spirit, and the oral history that keeps her connected to her culture.

Kerane - I appreciate how you’ve chosen your own narrative outside of what others have chosen for you. How do you stay authentic throughout your ever-growing career?

Aweng - I think it's just having the right source of energy around you. All my friends, my agents, and you know, I'm a first born, I'm a double Libra, so it's like being grounded. It's innate in me because of the way that I was raised and my personal experiences before fashion. I'm not the model that had magazines as a kid. I’m not the model that was watching all these amazing films of Hollywood and like, New York City. I'm from Australia, that's just so out there from where I'm from. So, thinking about the 18 years of life that I got to live before I got into entertainment, definitely helps a lot, to be honest.

How would you describe punk culture and how do you interpret it?

Avril Lavigne is the punk-est culture I know. And when P!NK first came out, she was the epitome of punk in my head.

I like the way you dress yourself, like your personal style is so cool. How does your personal style align with punk culture and your identity?

I think my personal style fluctuates. It has its ebbs and flows. I think it depends on the season that I'm in, like, right now, I’m the hot girl season. So, I’m wearing the Matte brand, I'm wearing Ottolinger, I'm layering, like, and then even my CFDA look, it was the Di Petsa and their whole thing is body, water waves, my stylist added jewelry stacked jewelry. Adding gold, mixing color, mixing jewelry, I think it's my essence. If I'm wearing a hairstyle that's up, and my hands are empty and my legs are bare, then. I like to then layer jewelry on my hands and my ears.

What are some of the most rebellious things you’ve felt you needed to do?

I think my entrance into fashion behind-the-scenes was very rebellious. When I got confirmed for the Vetements show, when I first got discovered, they flew me from Sydney, Australia, literally my hometown, into Paris, and I had told my family that I wanted to go to Paris, and I had a big option in Paris, and, you know, they didn't, they didn't believe that I'm going to Paris to walk one show. Me and my parents kind of got into it, and I just basically sneaked out of the country.

You didn’t put that in your essay for Elle!

No, [laughs]. I literally ended up in Paris. And I was like, “Yeah, I'm in Paris, Mom!” What can you do now across the world, you know? Now you just pray that I get home safely and all of that. When I got home, I think I was grounded for two weeks straight, but then I already had the energy and the touch of traveling. So I was like, “Okay, I'm gonna go again.” And this time, obviously, I told him when I was going back to London.

You were 18 at the time right?

I was at the time in Australia, and you think, oh, you're an adult at 18, but [you know] African cultures.

Right! I also come from an immigrant household. When I turned 18 I thought I could do all these things but my mom was not about it.

Yeah! My mom was not letting me go into Hollywood.

Didn’t your mom say to reach out to that lady who gave you the card?

She didn't think that it would actually bring anything. When you're young, between the age of 16 and 18, I think that's when people tried to scout me for things. So, she didn't 100% think anything was gonna happen but I had another option right before Vetements and it fell through, and then the Vetements option came through.

LEFT: AWENG wears GOWN by C-PLUS SERIES, SHOES by THOM SOLO, RIGHT: AWENG wears TOP and SHORTS by MACCAPANI, BOOTS by LARUICCI

Your coming out story was a huge moment that you shared with the world. How did you come to the decision to let the world in on your personal life?

I think for me, I just did it. I was always the rebellious kid. I was always the black sheep. I was always that kid. My mom knew from a very young age I was gonna test her, like 110%. I was born at 7am in the morning when she was going for her walk. She said, "This child is literally a menace.” So coming out wasn't really coming out. I just bought someone home. I said, “Hey, this is this. Any objections?” I’ve always been a diplomatic kind of person and a justice [oriented] kind of person. One thing I realized, too, is people will get comfortable if you decide whatever you decide on that day. That might be uncomfortable for a while, but they will have to just get comfortable. That's just it, if they're gonna stay in your life.

I related to the way that you wrote about feeling guilty for leaving your family. I’m also first-born from an immigrant household. Does that guilt still come up sometimes or has it subsided?

100% it does. I even had my therapy session yesterday morning. I have therapy every Monday at like 8am and my therapist, an amazing Black woman, by the way; she and I were speaking about the feeling of whether your siblings resent you for doing life in a way without them being fully involved. My siblings, they're all in Australia. Australia is not like Miami or Los Angeles or New York. It's 25 hours, and that's on a good day. I can't really get up and leave when I'm trying to build an empire or a career, or longevity in my career here. I have 11 younger siblings, so I watched a lot of them be born, and then now graduating. So the guilt never really goes away, but I've just learned that we're all individuals in this life, and we all have paths that we have to follow. It's obviously ultimate love and unconditional love.There'll be a point where I'll be able to go there, or they'll be able to come here and stay for a bit longer. I think it's growing pains, that's the thing about siblingship. There are a lot of growing pains that society doesn't really speak about.

Are you close with your mom as well?

My mom is 15 years my senior. So she and I grew up together. I watched my mom go through her 20s, and now I am going through my 20s, and she's in her 40s. I'm like, I get it. I kind of get why you were wilding out [laughs].

If there was any place you could go at the snap of a finger, where would it be?

I would go to South Sudan, because my grandma is there, and she is the sweetest woman ever. When I go back to Sudan, all she does is wake up and have coffee with ginger and then speak to me about her entire life and her mom's life. She just loves to tell stories. I'm more of a writer, so I don't really have much to say to her. So, that exchange is so intimate between her and I, and she's just my peace. She's literally just my peace, my dad's mother. Then another choice, selfishly speaking, Hawaii, I've never been, but I just think about being under coconuts. and Bretman Rock lives out there, and I feel like he lives such a peaceful life. I would love to just experience that first day, even with the chickens and everything. He's living his best life. That's my favorite manifester, right there. He's amazing.

I love the way that you talk about your grandmother. Passing down oral history is so important.

So important, because libraries get burned down. We know that now. They get removed by politics. So, oral knowledge is so important for the human experience, and culturally, we actually do more oral passing down with my native language. They haven’t started having books on it until recently.

Even those traditional types of things being passed down. I saw a dad practicing haka with his baby.

I think it's so spiritual. I saw the haka being done in the New Zealand Parliament. I went to law school, so I love politics. I can talk about politics all day, and I just I cried, because they ripped the paper and then to performed. And being able to be stopped—that's just so powerful. I hope it gets passed the way they wanted to pass it, to be honest.

Oh, wait, did you finish law school? Like you finished?

I didn't get to finish. I have one more year left, and I have two years to decide whether I go back or not. It's just my schedule. I have so much that I want to do in fashion and entertainment, period. It's one of those things. I will go back to school 100%, I want to get multiple degrees. I just want to learn. I think I'll go back, it’s never too late for that.

Definitely, never too late. I don't think it's ever too late to just start over. What type of law did you study?

I did International Relations, majoring in International Policies. So I wanted that to be my ultimate goal. I wanted to be part of the United Nations body for South Sudan. I was 17 when I decided that. I just started working extra hard, getting extra credits, getting in early, and then the universe was like, “You need to go into fashion.” I was like, “Okay, let's go!”

You don't really seem like a person that really cares to present themselves a certain way, I like that you're not really fearful of being perceived. Do you see yourself as a role model like the supermodels that came before you?

For my siblings, I've always been a role model, because I'm the eldest sibling, and I grew up with my mother. I think there were instances in our relationship where she saw me as a role model versus when I saw her as such. I see her as a role model because she's my mother, you know. I definitely do think I'm a role model. When I walk outside, kids, teenagers, people in the industry, or my peers come up to me and I'm like, “Thank you.” I know I'm being perceived. I am careful with some things, but in essence, I'm just a Aweng. and a Aweng is busy doing this, or Aweng just did this cover, or this campaign.There's perception there, but I think in being a role model, I just try to kind of make sure anyone that's watching me knows that the world's a mess but we're gonna be okay and to be kind.

AWENG wears DRESS by TAOTTAO, BOOTS By THOM SOLO

Going back to the Vetements runway, you said that you felt already at home in your essay for Elle. Are you at home in your body anywhere you go?

I think being a former refugee, you kind of have to find homes then and there. Wherever feels safe, where there's a roof over your head, that's home. I’m a girl growing up on an island in Australia, in a different society. My grandparents in my mom's home, my step dad's house — I was always moving. So, now that I have my own place and I make my own decisions, the adult autonomy has finally entered the chat. I think it's really in my body, and it's really in where my mind is at and what kind of morning I've had, is what I would say. There are some days where I am just moving for the plot. That's what I'm doing right now, and that's just it. I think it's important to give myself permission, some days, to not have an agenda of where home is right now. You know, sometimes you’re just here to have fun or here for vacation. I kind of detach a little bit, is what I would say, too. I'm always moving. I can't get attached to every hotel room, I can't get attached to every flight seat or airline seat or whatever. So I think it's really the body, I think the way I carry my body, the way I'm moving, the way I speak and the way I carry my tone, I think that's where home is.

Beautiful. So, when you moved to Australia, did you struggle with assimilation?

I think moving to Australia, literally, the moment the plane landed, I was like, “Oh, this is consciousness. I'm here, okay.” We landed in the middle of April. So it was basically summer in Australia. I went into autopilot. I'm learning the language, learning the culture. It was a culture shock and that was just two years of just mindlessness, trying to survive, a mode of fitting in, or getting settled. After that, it was okay. This is home now. It took me a while to call it home. It definitely took a few years to feel safe.

Who’s your favorite upcoming designer at the moment?

Grace Ling. I love her work. She's a sweet, sweet woman, very nice to me, very nice to everyone, and I like the way she moves. She just moves in such light. Like, girl, what's your secret?

Who are some of your favorite models right now?

Anok Yai, of course. Alex Consani, one of my good friends, Awar Odhiang, she's amazing, and she had such a great season. We love, love, love, love, love her.

What advice would you tell your younger self?

Slow down!!! That song by Billy Joel, “Vienna” — play that over and over and over and over and over again for 15 year olds. I was in a rush. And now I’m here and I'm like, “Okay, great! You figured it out, but what was the rush?

Let’s manifest. What does the future hold for you?

I think it holds a lot of peace. I'm trying to get into more philanthropy now. So, I’m working on that behind-the-scenes. Hopefully an acting debut is in the skyline, shortly. And to continue on slaying the girls, and the boys, and the gays.

I like the way that you're so knowledgeable about the fashion that goes on, yes, like within your industry, I feel like sometimes models are just models and they're not really into fashion. They're doing what pays the bills, but I enjoy how you know the names of designers, photographers, stylists.

I think it's important. I think it's important once you're out, you know, what did you get, besides the covers and the campaigns? Did you get the names of the stylists and photographers? Has anyone passed away during your career? Is anyone you wish you had met during your career? That’s important to think about.

What advice would you give to anybody who is interested in becoming a model in today's age?

Do your homework. Find your niche, study what you want to actually do when coming in. You're going to get a lot of “no’s”, but the world is not going to end on a “no.” I feel like a lot of aspiring models, or want-to-be models get really taken aback when they get their first or second or third “no,” and it discourages them. Entertainment is like any industry, you're going to get “no” from your bosses. You're gonna get “no” from your dream. It happens. So, if you really want to do it, you’re going to need to keep pushing to do the work, because there is work. Being a model is not easy. There is work! Oh, and get your passports, because you do need your passport. I promise you. And enjoy the ride. I think where I'm at right now in my career, I'm really enjoying the ride. I get to aspire for more.

LEFT: AWENG wears GOWN by C-PLUS SERIES, SHOES by THOM SOLO RIGHT: AWENG wears FULL LOOK by MIISTA,

Culture

Mowalola x Miss Sixty Launch with H. Lorenzo

I swing my legs over the ropes that guard the VIP entrance. Always over (I’m 5’10), never under. I’m late to the H. Lorenzo x Mowalola event, and the line is wrapped around the block. I don’t want to be an asshole, but I hate waiting in lines; it just ruins everything.

“Hey, my friend is DJing right now. My name should be down,” I say.

The youngish security guard looks me up and down. I have made an adventurous choice for this type of crowd. Neon pink hoodie, bright orange vest, my Raimundo jeans, and Jeremy Scott animal print sneakers. I let him take me in and look over his shoulder. Hmmm… I will be swathed in darkness when he lets me in. Dark night, dark clothes, dark makeup, furs, hoods, leather accessories, and sunglasses. I don’t recognize anyone, but it’s hard to tell who anyone is because I can’t see after 8 pm without my glasses. Night blindness. I can still catch a vibe though.

“She’s in the bathroom,” Mr. Guard says, interrupting my squinting.

“Who?,” I ask.

“The woman in charge of the list.”

That’s a drag. I want to dance. Lately, I am going out in the name of music.

“So…can I go in?” I ask.

“Just wait for her to get back.”

That sounded fine. I wait. The outdoor smoking area is packed. I imagine the inside to be a mirror of this, hopefully with people dancing instead of blowing smoke in each other’s eyes.

“You got instagram?” The guard asks me after about ten minutes of flirting.

“Can I go in?” I said.

He laughs. He lets me in the event without a wristband.

Inside, I understand why the other guard was gone for so long. I made a mental note to not drink too much liquid, the bathroom line is almost as long as the line outside. The party is popping, far from a flop.

I push through the crowd solo, following the speakers to the DJ booth. The immersive visuals provided me with enough light to make out Mowalola in a gold bikini and her low rise denim. My pulse races like the horse printed on the front of her coochie. That’s the point of the collection, obviously.

My hips swing around before I head towards the open bar. I smile to myself, noting that it’s a mezcal forward menu. I see a drink that disgusts me so I order it without hesitation. It’s a mezcal coffee concoction. My heart ’s ran through already, why not go all in? I head back to dance when I hear Shigecki’s set start. I’m jumping around, sweating, and when I pause for a beat I let out a yelp. There are strippers working poles opposite and behind the DJ booth. Good. Events should be sexy.

I end the night smoking my friend’s Korean strawberry cigarettes taking in the air of cool- when a man comes up to me wild-eyed exclaiming that we look just like one another. I look at him- no, not at all. I turn slowly, remembering what I should be doing: listening to DJ G2G’s set. Back inside, she is playing reggaeton type beats with lasers beaming out of her headphones (I want these). A rave in it of herself.

Too bad all the events end at 2 am in LA.

Culture

Vans Pipe Masters 2024

On the first night, Steve Van Doren and the Vans team hosted the heat draw for the competitors at a casual backyard barbecue. The son of Vans’ co-founder Paul Van Doren, Steve has worked in the family business for decades, and is now known as the Ambassador of Fun. Wearing a Hawaiian shirt and a cowboy hat made out of old shoes, he was definitely dressed for the part. The surfers, along with family and friends gathered in a relaxed setting as 40 men’s and 20 women’s names were drawn from a shoebox. The competition would run in 3 rounds, the top 4 men and 4 women with the highest scores moving onto the finals. When asked about their strategies, most gave answers along the lines of “get waves.” Refreshingly simple.

After waiting a few days for favorable conditions, the first day of competition kicked off with Women’s Round 1. It was finally time to see Pipeline in action. Banzai Pipeline is known as one of the most dangerous places to surf due to the powerful waves breaking over shallow and sharp reefs. With the potential to crash into the rocky edges or have leashes caught in caves, it takes a ton of skill–-and even more courage–to surf here. No stranger to these risks, the first heat included favorites Caity Simmers and “Queen of Pipeline” Moana Jones Wong, who showed off exactly why they’d been successful here in the past. Midway through the heats, Mother Nature decided to throw in another element as a light drizzle turned into a proper downpour. Rain or shine, the athletes went out unfazed, focused on getting their first points on the board.

After another short day’s break, the competition continued with the women’s second round and the men’s first. The beach was filled with spectators, locals and tourists alike, as the competition was free for all to attend. While fans rooted equally for the women and men, the most popular were the local Hawaiian athletes, which made up about half the competition. The women started off the day again, hyping up the crowd with incredible rides. One ride by Bettylou Sakura Johnson earned the first Bag of Cash of the day– a cash prize (of undisclosed amount) awarded in a brown paper bag to any surfer that pulls off a wow moment, excites the crowd, and pulls off something spectacular regardless of what the conditions might look like.

Winds picked up as the men’s competition began and two strategies quickly emerged: an aggressive approach, targeting any decent waves to build small scores; and a patient approach, waiting for the perfect wave to chase a high single score. Even the waves that were unrideable were a spectacle in itself. The sheer size, illustrated by the length of surfboards riding up and over, and the following crash of white water spray was hypnotizing. Then imagining having to experience it out on the water, duck diving under or being lifted over, brought a renewed respect for the surfers.

After watching these early rounds, it was time for office to head back to the cold. With the competition officially spanning from December 8-20, it seemed the forecast was gearing up for some massive waves— and it didn’t disappoint. Following from afar through Vans’ Instagram and live updates, we saw the full extent of what it means to surf at Pipeline. After a series of electrifying and daring surfs, the 2024 winners were crowned: Erin Brooks and Nathan Florence.

The thrill of watching top athletes compete at the highest level of their sport, even remotely, never fails to inspire. Few sports surrender so completely to the forces of nature as surfing does. And at its core, surfing is all about having a deep respect for the ocean—its unpredictable whims, its immense power, and its ever-changing moods.

Culture

The Cost of Queendom

December 17, 2024

One summer afternoon in New York, a few days after their New York premiere of the acclaimed documentary Queendom, office met up with documentary filmmaker Agniia Galdanova and producer Igor Myakotin at a tattoo parlor on the west side of Manhattan. While Agniia received a tattoo of the portmanteau “DOCU CUNT” across her fists, she — unfazed by the needle on her knuckles — answered our questions alongside Igor about the making of the stirring story that has traveled around the world.

One of the opening scenes of Queendom depicts a ritual many of us are all too familiar with in the 21st century. Jenna Marvin, the documentary film’s central subject, takes her friend along with her to take photos for Instagram. When she finds a suitable backdrop, she poses, poses, poses, and then reviews the photos. Dissatisfied, she gives her notes, and then returns to pose, pose, pose again.

By Brook Aster
Photos by Liv Solomon

The ritual may be familiar, but nothing else about the scene — from its setting to its stakes — is ordinary. The backdrop behind Jenna is a sweeping expanse of ice and snow in a small Russian port town called Magadan. Jenna is dressed in drag, but not drag of the Rupaul’s Drag Race variety; her drag has been referred to as “creature drag.” Her signature white face paint, platform heels and surrealist costumes, with their exaggerated sculptural proportions and use of duct tape and repurposed items, catches the ire of her neighbors and the love of online admirers alike. Jenna eventually accrued a following on social media for her public and technically illegal drag performances, which often involved little more than her walking or being in public spaces but nevertheless were often met with abuse and threats of imprisonment.

But when Agniia first encountered Jenna, she hadn’t yet reached the level of virality that would eventually come in the years to follow. The filmmaker was researching different drag performers in Russia for her sophomore project, which she thought would be a docuseries, when she heard from a friend about a young drag queen from Magadan. “I was like, this is impossible. I have to meet this person,” Agniia remembers. “And I could not actually go meet her because I was in Moscow and she was in Saint Petersburg, so I sent a friend of mine with whom I’d been studying with in film school, and she went and filmed the sample.” The simple video, showing Jenna and her friend getting dressed up for a party, struck something in Agniia. The drag was an earlier, more prototypical version of the style Jenna is now known for; less duct tape and ornamentation, but still that signature striking makeup. “Something sparked. I knew I just had to stick to this feeling,” Agniia says. She decided to turn the docuseries into a documentary solely focused on Jenna.

Around that time, the entire world came to a grinding halt: the onset of COVID-19 pandemic had just led to lockdowns around the globe. With only a couple thousand followers on social media at that point in time, Jenna had tried to branch out and connect with other drag artists in Moscow and Saint Petersburg, but faced rejection; her drag was extremely unconventional, and not even other drag artists quite understood it. “I think we found each other at the right moment, because nobody knew what to do, how to cope with all this,” Agniia says. “Jenna was saying that she was lost, and she also didn't know how to develop her art next.”

Unlike some of the other artists Agniia had initially researched, Jenna didn’t need much convincing to allow the camera into her life. “[Especially] after COVID came, there wasn't really [any] drag in my life,” Jenna recounts when I speak to her later over Zoom. “I realized that what drag is for me is not just a costume, a dress, something that you leave, that you take off and then in the dead of the night you put back on. Later, I understood that this is who I am, that I am art and I am drag, and that this is way bigger and more important than just clothing or costume.”

[LEFT TO RIGHT: Agniia Galdanova, Jenna Marvin, Igor Myakotin]

When it came time to move into production stages, Agniia sent a clip to Igor, who had been referred to her by a past colleague. When Igor saw the footage, he was similarly struck by Jenna — and even more struck to find out she shared his small hometown of Magadan. “It was just so fateful to know that I also come from this town, and I've never seen it through this cinematic lens, through the vision that Agniia has,” he says. “I was mesmerized by the footage, mesmerized by Jenna. I thought to myself, I have to do everything I can [for us] to work together, whatever the collaboration is gonna be.”

The two followed Jenna for over three years; Agniia first relocated to St. Petersburg, where Jenna had taken up residence after leaving her grandparents’ home in Magadan, and later Jenna moved in with Agniia in her home in Moscow. All the while, Igor and his team worked remotely from the United States to meet Agniia’s production needs. Inevitably, with all their time spent together, Agniia and Jenna became close.

“There is an unspoken rule in documentary filmmaking that you have to keep this line, and you can’t overcome certain boundaries,” Agniia explains. “In my first film, it was not an easy subject [to do this with] as well. I was following a family for seven months, and [we became] close, but I always was trying to keep my distance, and was constantly thinking about it. How much should I say? How much should I give?” But as she got to know Jenna, it became clear that this time, that distance wouldn’t be possible. “With Jenna almost from the very beginning, I was like, fuck it. That’s not going to work with this one. I'm going to break this rule 100%. I never regretted it, because that's actually what built up the trust that is there.”

As Jenna's public performances continued and began to garner more public attention, her online audience multiplied. Among her virtual admirers was French fashion maven Michèle Lamy, who would eventually sign onto Queendom as an executive producer. Lamy's discovery of Jenna led to an invitation to walk in the Rick Owens show in Paris — her first time modeling, and her first time leaving Russia in her life. Of course, Agniia and her camera followed. But most of their excursions were not so glamorous; many of Jenna's performances shown in the documentary were undertaken at a real risk to her physical safety, and by extension, to the safety of Agniia. But neither of them were daunted.

I remember who I am. And this is what carries me through this life.

After all, Jenna was used to both taking risks and documenting them well before she was the subject of a film; she and her friends long filmed the often impassioned, sometimes violent reactions of strangers and policemen to their mere existence in public spaces in drag. And after a protest performance in which she wrapped herself in the Russian flag, Jenna was kicked out of beauty school, her last attempt at a practical route before pursuing her drag as a full time venture.

The only time Agniia tried to dissuade her was on Paratrooper’s Day, a Russian military holiday often characterized by the drunk soldiers roaming the streets. The risk for violence was especially high. “On Paratroopers Day, people say you can't come out in skinny jeans or with nail polish,” Jenna describes. “[I think] you should do the opposite. You should really make a statement and come out wearing what you want to wear. I think that clothes, what we wear, is really at some point beyond our psyche, our mind, our understanding. It is as if it's a certain kind of spice that is enticing you and you follow the scent of that spice and you don't see anything else except that scent and you follow it. That's how I see it.”

“I was like, ‘girl, maybe we should not do that,’” Agniia says. “Igor was stressing out and she told us, ‘well, you don't need to follow me. I'm gonna go and do it. I don't care if you're coming or not.’” In the end, Jenna ventured out for her performance anyway, protesting the then-recent invasion of Ukraine. Agniia followed. Not shown in the film is that the two were arrested, and managed to talk the police out of their arrest.

Not too long after, she would have to leave Russia again, this time moving for Paris for good; the film follows her struggles to get a visa in time to leave the country after the onset of the war. “It's already been three years that I've been in France, and it is important for me to understand and remember who I am, and to remember that pain, those moments when we were back in Russia doing drag, fighting with the police and law enforcement,” Jenna says. “It is important that this resistance continues and that those voices are not being silenced. Yes, here there’s much more freedom, there are pride parades and queer people can get married, but this is an illusion because there are also places where you cannot get married and you cannot enjoy the same freedoms. I cling to who I am, who I was from the very beginning. I remember who I am. And this is what carries me through this life.”

“Meeting Jenna gave me hope for the future of the country, because governments come and go, people in power come and go, but the generations change at the same time,” Igor says. “So it warms my heart to see that someone like her came from somewhere like that. If I saw her back then at a similar age, it would be even more personal. I think I would’ve accepted myself as gay quicker, and I wouldn't be nervous or closed and not open to the world or myself… Working with this project also meant that we were amplifying the voices of many, many people who couldn't speak like Jenna could.”

For Agniia, the honor of telling Jenna's story is only paralleled by the honor of having her in her life. “We found each other,” Agniia says. “And what I learned from Jenna is so precious; about life, about art, about surviving. And I appreciate it a lot. This film grew so much larger than just a documentary, because I have a family now, a working family.”

Queendom is now available to stream on Apple TV.