Stargazing

October 08, 2019

Alexa Demie is a star. She walked on set looking as such, hair piled high on her head, oversized sunglasses hiding most of her face, with a long sheer dress barely covering her feet, which were perched atop gemstone-encrusted, glittering pumps. She said “that’s hot” as if it were her catchphrase, and she was the perfect embodiment of Hollywood style.

Additionally, Demie is, by definition, quite the Millennial Renaissance woman. An astute actor, she went from a fresh-faced starlet to having features in major films and one of the main roles on a monumental modern television series—all to much praise. She’s released a single she wrote herself, with more music on the way, and she’s in the midst of working on a film alongside her mother. She even has a history of working in the fashion industry.

Interview by Anna Zanes
Photography by Ashley Olah
Online Editor: Caroline Brown
Videography by Clare Gillen
Styling by Isabella Papile
Makeup by Raoul Alejandre using eyeliner by UZ 7 Shades of Black
Hair by Iggy Rosales
Nails by Natalie Martins
Assistant Vivian Cheng
Specials Thanks to Schmidli Backdrops

Her array of accomplishments and abilities only solidify the fact that she will be a household name in no time—but this did not stop Demie from demonstrating refreshing, elegant humility. On the hectic set of a fashion shoot, she took the time to sit down with me, after shaking everyone's hand on set, and opened up. We discussed everything from our Halloween costumes, (we decided she can be Priscilla Presley combined with Catwoman, and I will be a not sexy nun), to dream homes (her's is a ranch on a lake). We also discussed the important things, like the incredible projects she’s been working on, what her experience has been with Euphoria and its cast, and how she draws inspiration from family members.

Left - Bra and Skirt by Di Petsa, shoes by Amina Muaddi, jewelry by Adinas Jewels

Right - Top, skirt, + gloves by Jono Cheong, shoes by Amina Muaddi, earrings by Joomi Lim + Alighieri, rings by Adinas Jewels

Alexa, I’ll go ahead and say that the characters that you have played are all fairly intense women.

Yeah, I'm trying to do a comedy!

That would certainly be unexpected. Do you think you could transition to that easily after playing such dark roles?

Absolutely. I'm more playful in my day-to-day life, and I feel like, as you said, these characters that I've been playing are really intense and...

People assume that you're like that yourself?

Of course. Especially when you're dealing with a show [like Euphoria]. There are so many episodes, and people assume all the time. They forget that it's acting, and they think you're exactly like your fucking character.

Unless there's like dragons that separate the viewer from reality, I can see how that happens. What do you do to decompress and practice self-care after working in those roles? Because the Maddy role especially seems pretty heavy.

It takes over you a bit. Especially when you’re filming for that long. So it's hard. I feel like I'm still learning how to detach, especially from my Waves character. It took me like a whole month to feel good again. And I like to take baths and listen to music, because I use a lot of personal trauma in my work. I tell myself, from the psychological side, [the work is] how my mind can release it.

Do you feel like it's been beneficial to like use your own personal pain or triggering? Or both?

It's been both. I think I've triggered myself, but also has been super beneficial in healing myself as well.

Left - Dress by Ludovic de Saint Sernin, shoes by Rene Caovilla

Right - Top, skirt, + gloves by Jono Cheong, shoes by Amina Muaddi, earrings by Joomi Lim + Alighieri, rings by Adinas Jewels

[The role of any character] takes over you a bit. Especially when you’re filming for that long. So it's hard. I feel like I'm still learning how to detach...

Demie does the modern coming-of-age drama well. Extremely well. She smoothed the edges of Jonah Hill’s gritty skater film Mid90s, presenting the provocative character Estee with an unforgettable performance. Then there’s Euphoria, the cult HBO show that came out this Summer and has since turned into a phenomenon, in which Demie plays Maddy, a bold, bright, 16-year-old who proves to be strong-willed against everyone but her abusive boyfriend. Demie does it all astutely. She’s debuting in her next film Waves which comes out in November, alongside Lucas Hedges and Sterling K. Brown amongst other stars, and after that, we’ll see her in the latest Gia Coppola flick with Andrew Garfield.

Left - Underwear by VOFT Valeriya Olkhova, jeans by Di Petsa, shoes by Amina Muaddi

Right - Rings by Adinas Jewels, eyeliner by UZ 7 Shades of Black

So, you have some projects upcoming. One of which is Waves.

It comes out on November 1st. We did the Telluride Film Festival, we did Toronto, and there were a bunch more. But I think it's getting a really good response. In Toronto, it got the longest standing ovation in seven years.

That's awesome. Can you tell me what your character is like in Waves?

She's really strong, and she's got a strong sense of self. Well, I can't say much, because there's like a really big spoiler, but I really liked playing her, because I feel like my character in Euphoria, Maddy, is a little bit more submissive in her relationship. Alexis, my character in Waves, is less so. Even though [Alexis] is so in love with this boy, she’s still willing to stand up for herself and what she wants.

So with Waves you got to move out of the California-based characters.

Exactly. I spent a couple of months in Miami and Hollywood, Florida. Have you been to Florida?

It's weird.

Yeah! Honestly though, it was such a good experience. I would drive from Hallendale, Florida where the condo was to Miami, because they gave us all rental cars and find shit to do in Miami. I love the sunsets in Miami. And I love The Standard Spa.

Self-care, again, important. So you have something else coming up as well. With Gia Coppola? Mainstream?

That's a really small part. But it was nice because it was right after Euphoria. I didn't want to get into something big, really a little bit of a break because we shot for so long. And that was a small role, but I got to work directly with Andrew Garfield. And he's fucking amazing. I learned so much from him in two days.

With Euphoria, who do you think you learned the most from on the set?

For Euphoria, because we had different directors for different episodes, I learned from each of those directors just seeing the differences in how they all work.

Left - Dress by Ludovic de Saint Sernin, shoes by Rene Caovilla

Right - Underwear by VOFT Valeriya Olkhova, jeans by Di Petsa Pee, shoes by Amina Muaddi

That must've been really good to build up your skillset, knowing what you're in for when working with a variety of people in film in the future.

It really was. Sam directed most of them, and I love him. I loved the way he directed, and it's his world… With different directors, you learn what works for you and what doesn't work for you, you know? And so I think I learned the most from watching how the directors work.

You’ve really done quite a lot outside of the film industry. You have music, let’s talk about that. I heard somewhere that a new EP is coming up…?

Brewing. It’s something I've been working on, honestly, since what feels like fucking forever… But I'm definitely focused on it now. It's a priority.

That's a lot of expectations to put on yourself.

It is. And it's also really vulnerable, because with acting, you're playing this character, and with music, it's you. You know, you're like writing your stories and you're performing them. It's really vulnerable, and that’s also a good thing—something I've been working for.

Left - Bra + skirt by Di Petsa, shoes by Amina Muaddi, jewelry by Adinas Jewels

Right - Dress by Ludovic de Saint Sernin, shoes by Rene Caovilla

Well, that's actually a very brave choice to be open and honest in music, because I feel like not everyone is representing themselves. Some artists do hide behind characters even in the music industry.

With my music, it's like I'm telling; I'm telling it all.

Do you do other sorts of writing?

Ever since I was little, writing has always been an outlet for me. I started with poetry and then realized that could be turned into lyrics. Also, I write short films all the time. One day I want to write my movie and direct it. I'm just writing and waiting. I don't want to force anything. So when something really sticks, I am going to develop a full screenplay.

And then that's another way you can use all your directorial experiences. What's your movie, do you think?

I don't know yet. I have so many different ones. I'm actually making a movie right now with my mom which she wrote for about eight years—just pages, because she doesn't know how to write a script. We actually got producers and writers [for the project]. It’s her story growing up. She was born in Mexico, and moved in the eighties to East Hollywood, experiencing East Hollywood and Westwood. While it’s set in the 80s in LA, it’s really more about her life when she was a teenager.

Sounds amazing. Are you and your mom close?

Yeah, she had me really young, and we had our, you know, ups and downs when I was younger. And I left home really young, but I feel like through growing up and making this project together, we've actually healed a lot. We're super close.

Bodysuit by VOFT Valeriya Olkhova, skirt by Mathuson Anthony, shoes Vintage McQueen from Decades Inc, bracelet by Alighieri, earrings by Alighieri, rings by Adinas Jewels

That's great. I feel like that's not always what happens when people get fame. It gets hard to stay close to home.

I grew up with a really solid sense of family. Even on my mom's side, my family—they're very Mexican and traditional, and they want to get together for everything—every barbecue, every birthday, every event. I just feel like I’ve always had and still have that sense of family. They’re all here in LA, because I'm from here. So no, I’m close with all of them.

I see there's a lot of rhinestones happening on this set. It reminds me of Maddy. Is that aesthetic something that an element of your own personal style, or something that you’ve adopted by way of your character?

You know, I've always saved all my showgirl references and done gems before, but through Maddy, I was definitely able to live that truth. It's always been a part of me, and since I got to bring that to the character, I’m leaning into it more.

What other parts of yourself do you think were infused into the character?

Definitely the beauty and the outfits. She has helped me explore my feminine side. I have always been Jeans and tennis shoes, though I've always loved fashion. Through her, I’ve been wearing more heels lately. Little heels and dresses. She opened up a side of me I knew was there, but wasn’t out there yet.

She’s a pretty interesting character. Dark, but there's a lot of strength there.

I'm happy to hear that, because I often get frustrated with the character 'cause I'm like "get out of this fucking relationship." But you know, you can't really do that.

Left - Bra + skirt by Di Petsa, shoes by Amina Muaddi, jewelry by Adinas Jewels, eyeliner by UZ 7 Shades of Black

Right - Bodysuit by VOFT Valeriya Olkhova, skirt by Mathuson Anthony, shoes Vintage McQueen from Decades Inc, bracelet by Alighieri, earrings by Alighieri, rings by Adinas Jewels

I think people underestimate how hard it is to get out of like a domestic violence situation. Trauma bonding. It’s like a fucked form of Stockholm Syndrome.

It can be toxic even if there's no physical violence. Mental violence. I got a lot of messages from girls who were in similar relationships. Some of them even left their partners after the show.

That's the goal, isn't?

Yeah. And I'm hoping that Maddy explores her freedom a bit more.

Do you keep in touch with the cast?

We're on a group text, and we’ll all see each other or go to someone’s house. We're all very close. I think that helps us get through it. I was so grateful that we actually all like each other.

That's definitely a bonus, and I bet especially helpful with that tricky business of detaching from your character.

Oh yeah, as soon as we would cut, we're all joking nonstop on set.

Left - Bra + skirt by Di Petsa, shoes by Amina Muaddi, jewelry by Adinas Jewels

Right - Bodysuit by VOFT Valeriya Olkhova, skirt by Mathuson Anthony, shoes by Alexander McQueen, bracelet by Alighieri, earrings by Alighieri, rings by Adinas Jewels, eyeliner by UZ 7 Shades of Black

That show has some really impactful messages there too that are useful. I was worried about glamorization, but after watching the season, it doesn't actually glamorize anything.

No. If you see something—you’re going to then see the downfall of it.

How do you feel like the overall impact of Euphoria has been on teens—people in the portrayed age range?

I only know what I see. As I said, I've received messages from people in relationships, and then other than that, I think people having a lot of fun. We haven't had something in a while that's such a cultural phenomenon. And it really is, people are dressing up as the characters…

Oh, I know. I have friends who are being Maddy for Halloween.

Oh my God, I have to see. I know that fucking outfit that I wore for the carnival went on backorder. People are excited, and that's really cool, because when I was younger that's what I got excited about. Life is so serious. You know what's so funny though, I don't dress up for Halloween. I don't. Maybe because I dress up in my, like, real life.

Culture

The Club Is Coming to the Stage

We enter and make our way to what is approximately front left of the DJ booth, where we’re accustomed to dancing at clubs in New York. “So is this a techno club or a dance performance?” yells an uncertain participant in my boyfriend’s ear. He laughs, bouncing along to Ben UFO, and yells back, “It’s both!” The club has long been a hot topic in European contemporary dance but it is only now making its way into New York performance venues, largely through transatlantic tours. R.O.S.E. follows recent examples like Michele Rizzo’s HIGHER xtn. at MoMA PS1 (May 2024), (LA)HORDE’s Room with a View at NYU Skirball (October 2023), and Gisèle Vienne’s Crowd at BAM (October 2022).

Do these performances compromise the club’s spirit — a space idealized for its anonymity, dark lighting, and thundering music? The notion of the club as a utopian escape is admittedly just that — an ideal — because of how its intense conditions can create barriers to entry. Still, the club remains sacred for many, a place to forge connections and embrace an alternative state of being. Looking at how performances transfer this spirit to new settings reveals what aspects of the club are essential and those that aren’t.

Sharon Eyal, R.O.S.E. 2024. Photography by Stephanie Berger, courtesy of Park Avenue Armory.

Eyal’s dancers make their entrance. The lighting shifts from roving blue to yellow spotlights as Ben UFO’s tracks transition to more melodic beats. Clad in deconstructed lace Dior lingerie with dark red tears painted on their faces, the dancers move cautiously in a tightly maintained pack, slicing paths through the horde with hoof-like steps and jerky leg extensions. After around ten minutes of this controlled choreography, the dancers vanish as the lighting shifts back to blue and Ben UFO picks up his dubby beats. The club, as we knew it, resumes. This cycle of tightly executed movements and free-flowing club-goers repeats several times, each time emboldening the dancers to plunge further into the crowd.

Clubbing in a building once built for the U.S. Army National Guard on Manhattan’s Upper East Side turns out to be surprisingly successful — at least for the audience. What starts as an awkward, scattered group searching for their non existent seats gradually gels into an engaged, bouncing crowd that erupts in cheers each time the dancers enter and exit. Performance patrons who might never step foot in a club find themselves swept up in its potential for communion, moving in unison with fellow ticket holders. But it isn’t until the very end of R.O.S.E. that the dancers finally break free from Eyal’s choreography and join the fired-up audience in a brief moment of improvisatory movement with the music. By keeping her dancers at arm’s length, Eyal seems more interested in the club as a backdrop for her signature movement style than wholly as a space with meaningful stories to be told.

Michele Rizzo, HIGHER xtn. 2024. Photography by Cameron Kelly courtesy of MoMA PS1.

Back in May, I attended Wire Festival, a multiday electronic music event at Knockdown Center that had no shortage of organically united dancefloors. It attracted a crowd of seasoned ravers who were eager to celebrate the start of spring as they danced alongside DJs who played well into the daylight. I left Wire in an afternoon daze to see Michele Rizzo’s HIGHER xtn. at MoMA PS1. My sleepless euphoria only deepened as the performance unfolded, starting with a lone dancer who looked plucked out of the festival.

The dancer, dressed in sneakers, baggy jeans, and a tight tank top, shuffled slowly into the gallery, perfectly in sync with the looping bars of an understated electronic melody. Soon, other dancers, clad in the same staple rave uniform, joined him — each having traveled from Europe for the U.S. museum debut of HIGHER xtn., which premiered at the Stedelijk in Amsterdam in 2018 and quickly became a fixture at kunsthalles and festivals across the continent. As the score’s tempo climbed, the choreography locked into a 16-count sequence, which the dancers executed with precise synchrony. They remained intensely focused, never making eye contact with each other, as they sought release in the endless repetition of synthesized beats. Once the dancers reached their limit, they stopped the sequence and exited the gallery, one by one.

HIGHER xtn. used the focused daylight of the gallery to highlight the meditative release found in the repetitive movements that dominate dark dancefloors. The performance’s restraint brought more consistency and intentionality than Eyal’s all-encompassing club construction in R.O.S.E. Yet both performances offer enticing entry points into club culture for those who may not frequent raves. Rizzo’s ecstatic, hypnotic repetitions reveal how the club can mirror other meditative practices, while Eyal’s interpolation of performance and clubbing helped hesitant audience members blossom by the end. Still, both works overlook one of the most underappreciated aspects of clubbing — its potential for individual expression. HIGHER xtn.’s pristine uniformity especially risks promoting the outdated techno trope that there’s a “right” way to dance to electronic music.

Maybe this shortcoming is, in fact, a benefit. For habitual ravers jaded by one too many sunrise sets, it’s a reminder to return to the club with more intention. If you pause and peer through the darkness, you’ll see hundreds of people moving to the same beat, each with their own subtle variations. This collective choreography is a ready-made spectacle that doesn’t need validation in a theater or museum. And when the music shifts slightly, you can watch the ripple effect sweep through the crowd while feeling the new beat in your body. Maybe this small bit of magic is best left on the dance floor.

Culture

Real Slick, Jack: Psyche Organic Arrives in New York

Shop Psyche Organic at Happier Grocery and Dimes. Coming soon to @citarellagourmetmarket @unionmarket @gourmetgarage @deciccos @fairwaymarket plus many more.

Culture

Porsche SCOPES Brings Art, Music, and Design to Toronto

The festival was a full immersion into Toronto’s dynamic creative energy. Day one set the tone with DJ collective Living Room, followed by an experimental performance by Claire Rousay that captivated the crowd. Jewelry designer Steff Eleoff unveiled her Porsche Taycan 4S art car installation—a bold fusion of automotive and wearable art inspired by her Sedona ring—while OVO Sound’s Naomi Sharon and DVSN wrapped up the night with powerful, genre-defying performances.

We witnessed SCOPES Toronto bridging underground and mainstream with day two’s lineup. DJ Korea Town Acid’s set paved the way for Angelphroot and Dameer’s debut of BASSMATI, a track blending South Asian influences with bass-driven sounds. Chippy Nonstop’s return to Toronto and Richie Hawtin’s extended set were milestones of the evening, proving that the city’s underground scene has a global resonance.

The final day featured standout performances from local pianist Harrison, Indigenous artist Tia Wood, and hip-hop visionary Sean Leon, who elevated his set with a live choir. Moonshine Collective’s film and musical performance explored themes of African utopia, showcasing art’s power to bridge culture and technology. Rising Toronto star SadBoi, who paused her tour to perform at SCOPES, further underscored the festival’s commitment to nurturing local talent.

Throughout the weekend, we experienced installations from artists like Mitsu Mitsu and culinary creations from Bar Mordecai, capturing the multifaceted creativity Porsche SCOPES brought to Toronto. This milestone 10th edition, open to all, allowed Toronto’s vibrant arts scene to thrive, underscoring SCOPES’ mission to celebrate local talent while connecting it to a global audience.

office had the chance to connect with rising star SadBoi ahead of the event. In our conversation, she shared insights into her creative journey and reflected on what performing and growing up in Toronto means to her and her work.

How are you, and where are you at right now? You told me you were traveling.

Um, I’m good, I’m feeling really good right now. I’m traveling back to Salt Lake City. I had a show yesterday in Seattle. I’m on tour right now with Coco and Claire.

How is touring life treating you? Do you like it?

I love being on the road. To be honest, I feel like I don’t know—like I’ve had good experiences and bad ones—but this time it’s really fun, especially with the people I’m surrounded by. It’s also the longest tour I’ve been on; I have about four more weeks to go. I’m trying not to think about how many days I have left.

Do you feel homesick?

Yes, because when I start thinking about how many days are left, I start to miss my dogs. I’ve just been trying to stay in the moment—I don’t even know what day of the week it is, to be honest with you.

Oh, sweet! What are your dogs’ names?

Jillian and Winston. I know, they’re crazy names.

You’ll be performing at SCOPES in Toronto, which is where you grew up. Do you feel like the crowd is different when you perform in Toronto compared to other cities?

Yes, I mean, Toronto just feels different because it’s home. Every time I come back to perform, something in my career has changed. The last time I performed in Toronto, people just wanted to have a good time, and I’m excited to perform back home again to see everyone’s reactions. I know it’s going to be different from the last time. It’s exciting to see your own growth. Toronto is a tough crowd, though. If we’re with you, we’re really with you.

So, they’re super picky? You have to gain their respect, or what is it?

I think Toronto people are in their own world, but when something really connects with them, they’ll lose themselves in the moment. But it takes something to bring them out of that. Toronto crowds are tough because even if they like you, they won’t show it outright until they’re really vibing with you.

It’s like a vibe check, right?

Exactly. They’ll enjoy your performance, but it’s hard to explain. When people visit Toronto, they often say, “Oh, you guys are so nice,” and I’m like, “I don’t think we’re that nice, we’re just polite.” Like, you can walk down the street, and no one will say anything, but it’s just our mannerisms.

You mentioned Toronto can have a moody energy, especially at night, and that the underground night scene there really inspires you. Can you talk more about what makes Toronto's nightlife so influential for you?

Absolutely, Toronto has this unique energy that comes alive at night. Similar to New York, there are the popular clubs everyone knows, but you need to find your niche—the people who know where the real parties are. I remember going to raves in high school yards, sneaking in because I wasn’t old enough. Events like Baby, Jerk!, and Yes Yes Y’all were pivotal, exposing me to DJs blending dancehall with EDM—something I hadn’t seen before. Toronto nightlife is moody and intense, but when everyone’s out, it’s like the whole city is alive.