MEET THE CREATIVE DIRECTOR: LUKAS BENTEL OF MSCHF

Known for their subversive projects, MSCHF collective has blurred the lines between art, fashion, and internet culture.
To gain deeper insight into the world of the Brooklyn-based collective, we had the opportunity to visit their studio and sit down with Lukas Bentel, MSCHF’s creative director, for an in-depth conversation. Raised surrounded by art and design and driven by a relentless creativity, Lukas has contributed to give life to one of the most innovative projects out there, in the landscape of fashion and art.

MSCHF is hard to define, so who can provide a better definition rather than the person guiding its creative vision?

"At its core, MSCHF is an artist collective — but a contemporary one that operates like a business. That comes with its ups and downs, but, ultimately, it lets us use the most powerful tools to create. Why should artists be limited to galleries? Art should be part of everyday life, not stuck behind the door on white walls or made just for someone’s social feed. MSCHF is a vehicle. It allows us to make art however we want, with complete creative freedom…at least, for now." - told us Lukas Bentel.

© Casawi | Maki Oddo

Diving into the world of art and fashion in NYC and contributing to one of the most innovative projects out there must be quite an adventure. How has this journey been for you personally and professionally?

There is nothing better than making things with your friends. 10/10 would recommend. I remember Gabe (Whaley) telling me when we started that even if it all fails we will never regret trying to make things together. So far, no regrets!

Who are your favorite artists and designers, that inspire you everyday?

I pull inspiration from all over. In the art world, it’s people like Maurizio Cattelan, DIS Magazine, net.art, and the whole Post-Internet movement. From design, Dunne & Raby and Tobias Wong stand out. In film and life, Pier Paolo Pasolini is a huge influence.

Fashion-wise, I’m inspired by Telfar, Babak Radboy, Shayne Oliver and, newly, AVAVAV. Brad Troemel is an important voice in criticism for me. But, I can grab inspiration from many places, even athletes like Russell Westbrook, Alessandro Del Piero and Marco Pantani who all have seemingly endless energy. It keeps me going!

And, of course, my creative friends — first and foremost my long suffering collaborator Kevin Wiesner and then James Orlando, Henry MacConnel, JS Tan, Mattias Gollin, Phil America, Clusterduck, Francesco Vullo to name a few. And, of course, everyone at MSCHF keeps me motivated. But, my biggest inspiration comes from my family. I’ve been lucky to grow up in a family of architects and artists. My parents (Bentel and Bentel), grandparents, and siblings Nik (Nik Bentel Studio) and Michela all have creative practices. We grew up in our parents’ studio, making things alongside them. That collective drive to create has stayed with me and continues to fuel me every day.

© Casawi | Maki Oddo

MSCHF’s drops, from the Big Reed Boot to the more recent Gufram collab, often go viral. How central is virality when processing new ideas?

I think people assume we’re always aiming to go viral. But, that’s not really the goal. In my opinion, chasing virality for its own sake doesn’t add value. It only matters if it makes the concept better or helps the work reach the right audience.

That said, we’re aware of how our stuff moves through the world. One thing missing from art education is teaching what happens after a project is completed. A project isn’t finished until it is “out there.” But we’re not chasing the speed of the feed. We work at our own pace. I think many artists feel tied to the constant scroll and it leads to bad work. I wish people would realize this. We’ve made a conscious effort to avoid that trap.

© Casawi | Maki Oddo

Each project is accompanied by a strong narrative or deeper meaning, usually connected to social issues or targeting specific cultural phenomena, sometimes causing controversy. How do you approach storytelling in your work? What role does provocation play in your creative vision?

Our approach to storytelling isn’t like a film with a tidy ending. We craft objects and scenarios that are open-ended, letting the crowd fill in the blanks. Angus is a great example. We bought a cow named Angus and sold him off as hamburgers and handbags. Now, those who purchased a piece of Angus have a steak in this story. When the time comes, if more than 50% don’t cancel their order, Angus will become dinner and designer bags. The narrative is still unfolding—he’s got about two years left to grow. We, the collective public, are all watching and have equal ability to change the end of the story.

One of the artist's most important roles is to provoke, but not just for the sake of shock. Artists have this magical ability to spark conversations that matter. We can play with boundaries and touch on tough subjects that people might shy away from otherwise. I also want to mention humor. It is a big part of our storytelling process. It helps ease the tension and opens doors for dialogue. You’ll see humor weaving through everything we do.

© Casawi | Maki Oddo

MSCHF’s aesthetic often overlaps with the world of streetwear and fashion, a space that also thrives on hype and exclusivity. What’s the role of fashion in your creative process?

Fashion is one of the most important artistic fields today. In the past, fine art had a greater connection with the public. It influenced culture. Now fashion is leading that conversation. But, fashion is driven by marketing with the premise that it can make people act in certain ways. We are infiltrating that space and creating opportunities for choice that are not bound up in that drive for marketing. Which is not to say that the artists currently working in the domain of fashion are not among the greatest artists of our time.

For us, it’s about engaging culture in its native environment — where it’s at. People relate to objects. We live in a consumerist world driven by that relationship between people and objects. Fashion is a big part of that. So that’s where we want to be.

© Casawi | Maki Oddo

MSCHF has created iconic products and art pieces that challenge expectations. What are some of your favorite pieces or projects, and why?

One of my favorites is Key4All. We sold 5,000 keys to one car, a beautiful PT Cruiser. Anyone with a key could unlock the car and drive it. We parked it under the expressway near our studio and let the chaos unfold. The car traveled all the way from New York to California, all because people kept taking it from one another. A unique community formed around the car, the first dedicated to keeping the car on the road, while the next group was more interested in using it without consequences—some crashed it or dismantled it. It turned into an exploration of communal ownership. An epic narrative emerged from all the stories generated by this car. It deserves a deep dive.

Another personal favorite of mine is Severed Spots. We bought a Damien Hirst spot painting, cut it up and sold the spots separately for less than the painting itself. This gave many more people a chance to own a piece by Hirst than if we had sold the painting as a singular object. We even sold the skeleton that remained after the spots had been removed. I cut the spots. It was both a beautiful and scary experience— to take something so valuable and break it apart. Nothing is sacred.

Your collective constantly reinvents itself. Where do you see the project going next? Are there areas or industries you haven’t yet explored but want to?

So many! We’ve got a vault of ideas—thousands of them. As long as we keep scaring ourselves with our concepts, we’ll stay on the right track.

© Casawi | Maki Oddo