Kanye West‘s wife, Bianca Censori, recently gave an interview, where she opened up about her work, her relationship with the public, and if she felt “trapped.” The Australian fashion designer has found herself in the limelight numerous times due to her marriage to West. However, she has also been mired in controversy, primarily due to her revealing clothing at public events. Notably, her look at the 2025 Grammys — a sheer transparent dress that revealed her nude body — sparked significant backlash.
Bianca Censori talks about ‘feeling trapped’
The 30-year-old architectural designer recently sat down for an interview with Interview Magazine‘s Taylore Scarabelli, where she discussed her latest project in Seoul, South Korea, BIO POP (THE ORIGIN), which involves sculpted furniture and body doubles.
However, Bianca Censori did not directly answer the questions asked. She instead had one of her doubles, who wore a mask inspired by Censori’s face, answer in her place.
During the discussion, the interviewer asked Kanye West‘s wife about the importance of her doppelgangers and if she ever felt “trapped in [her] own image.” The masked woman responded, clarifying that the doppelgangers weren’t “copies” of Censori but “spillages.” She added, “They’re what happen when a public image detaches from the person who animates it.”
The masked woman stressed that a woman in the limelight had to see “versions of herself multiply without her consent.” She further stated, “People project, people invent, people erase. So she sculpts the versions they create, the phantom selves.”
The woman emphasized that their words weren’t “a confession of feeling trapped,” but “an act of repossession.” They elaborated, “She is reclaiming the unauthorized clones. She’s not trapped in her image. She’s multiplying it until the original becomes myth.”
Notably, BIO POP (THE ORIGIN) is Censori’s debut performance work. It is also the first in a series of seven projects expected to launch between 2026 and 2032.
As mentioned on her official website, the project “stages the body inside the language of the domestic.” It starts with Censori, clad in a red latex bodysuit, baking a cake in the kitchen. She takes the cake to a dining room where women — dark-haired, masked doppelgangers of herself — are restrained within furniture Censori sculpted.
