withM¥SS KETA

“Wearing M¥SS KETA means making an internal part of myself vibrate”

Wearing Myss Keta means making an internal part of myself vibrate

It almost feels like a joke that Milan is so beautiful and sunny on the very day we’re set to photograph an artist who has captured the essence of the city—its beauty and modernity—while adding an ironic layer of grit, playing with its stereotypes and prejudices. Even more ironic? While the sun shines outside, our shoot takes place indoors, in a cold vintage car garage. But M¥SS KETA thrives on contradictions, as she tells us herself. Her outfit changes, besides being top secret, are also intricate. Yet her dedication to the cause prevails. When I finally get the chance to interview her between scene changes, I find myself in front of a focused professional who switches between person and persona with a deep breath and a snap of her fingers. “M¥SS KETA’s 2025 is sparkling, explosive, and punto,” she declares, gesturing in the way that has made her both recognizable and highly imitable. That word "punto" isn’t just a punctuation mark but also the title of her new album. Or, to be precise, its title is ".", the actual dot. “It’s a very fresh album,” she says, lounging in the driver’s seat of the car chosen for the shoot, wrapped in a nude-colored bodysuit, face covered except for her lips. “If you haven’t listened to it yet, you’re missing out on the best thing that’s happened in 2025. Period.” Then, beyond the dramatic soundbites, her artistic pride shines through: “From an artistic perspective, it fulfills me completely. I’m proud of it, and I can’t wait to take it on tour in Italy and Europe. It’s my most visceral album. It comes after a journey that started in 2013: nothing happens without a path. This album is the result of everything I’ve done, told, and sung about so far. It’s not a change in direction, it’s more of a realization, a mental positioning. I don’t want to go against my instincts and desires anymore. I’ve realized that what satisfies me most is letting whatever’s inside me, deep in my gut, in my core, flow out. Doing it with no filters, in the most independent, autonomous, and authentic way possible.”

Dress JORDANLUCA, sunglasses CARRERA.

Top MM6 MAISON MARGIELA, shirt stylist’s own, skirt MONIQUE FEI, shoes FRANCESCA BELLAVITA, hat ILARIUSS, sunglasses TOM FORD.

Rings JOLIPINJ.

“M¥SS KETA’s 2025 is sparkling, explosive, and punto,” she declares, gesturing in the way that has made her both recognizable and highly imitable. That word "punto" isn’t just a punctuation mark but also the title of her new album. Or, to be precise, its title is ".", the actual dot. “It’s a very fresh album,” she says, lounging in the driver’s seat of the car chosen for the shoot, wrapped in a nude-colored bodysuit, face covered except for her lips. “If you haven’t listened to it yet, you’re missing out on the best thing that’s happened in 2025. Period.” Then, beyond the dramatic soundbites, her artistic pride shines through: “From an artistic perspective, it fulfills me completely. I’m proud of it, and I can’t wait to take it on tour in Italy and Europe. It’s my most visceral album. It comes after a journey that started in 2013: nothing happens without a path. This album is the result of everything I’ve done, told, and sung about so far. It’s not a change in direction, it’s more of a realization, a mental positioning. I don’t want to go against my instincts and desires anymore. I’ve realized that what satisfies me most is letting whatever’s inside me, deep in my gut, in my core, flow out. Doing it with no filters, in the most independent, autonomous, and authentic way possible.”

The European audience gives me the thrill of seduction; the Italian audience gives me the pleasure of indulgence.
“”

Interviewing a persona is fascinating, even a little intimidating. Especially when you can’t look them in the eyes—when their identity is one of the best-kept secrets in Italian showbiz. But that, in a way, is part of the game. Paradoxically, removing the personal component and direct eye contact seems to make everything even more honest, putting M¥SS KETA - the artistic project, the character that belongs to everyone - at the forefront. “M¥SS KETA is a fantastic, surreal, and fabulous character, but one deeply rooted in reality. And that’s where she stays. I use the mask and the glasses as tools, but that doesn’t mean M¥SS KETA is detached from the real world, quite the opposite.” We push further: “I’m not the first to say, ‘Give me a mask, and I’ll tell you the truth.’ The act of masking, in art and performance, is always a form of revelation. Anyone who has tried it knows this. Think about what happens at Carnival: people dress up to undress, to reveal their lighthearted and playful sides. If you’ve ever dressed up, if you’ve ever played at being a character, you’ll understand what I mean. Wearing the persona of M¥SS KETA means making a deeply internal part of myself vibrate. Try it and see”.

Soon, the rest of Europe will get to know M¥SS KETA, so we ask her how she’s preparing and what she sees as the difference between Italian and international audiences. “Preparations are in full swing,” she begins. “In March, I’ll be all over Europe; in April, all over Italy. Some training is necessary. Otherwise, I wouldn’t survive such an intense tour on stage. In fact, if you’re coming, I suggest you train as well,” she says, and we take note. “I’m locked in rehearsals from Monday to Monday, working on a high-energy, high-intensity setlist that matches the pulse of the album. I want to include all of M¥SS KETA’s tracks that carry that same bite, that same power on the beat. Punto. I’m working with dancers to create a full-on performance. I want to build a ritual moment, a space of collective sharing, where we can all feel truly free.” And about Europe, she adds: “Starting there is exciting because international audiences don’t always know M¥SS KETA as well as Italian ones. I love that, it keeps the game of seduction alive, the same game I played with Italian audiences a few years ago. There’s always someone discovering M¥SS KETA for the first time. I love drawing them in, seducing them, attracting them. It’s not an obligation, it’s a pleasure. The European audience gives me the thrill of seduction; the Italian audience gives me the pleasure of indulgence.”

Visualizza questo post su Instagram

Un post condiviso da nss G-Club (@nssgclub)

This transition from Italy to Europe also comes with a rise in fame, a broadening of her reach. We’ve seen M¥SS KETA go from an underground favorite to a recognized European artist. “M¥SS KETA has been around for quite some time, and throughout this journey, there’s been growth, both musically and in terms of pop culture recognition, which I love. I love the fact that I’ve become part of the pop imagination. I’m obsessed with pop culture, especially the Italian TV and post-TV landscape. It was only right that M¥SS KETA broke through boundaries, to explore and express herself fully, because she exists at the intersection of music, visuals, imagery, conversation, and social discourse. I love navigating different territories, it excites me. And when that’s acknowledged by mainstream Italian culture - which is so unique, truly a DOP-certified cultural product - it’s even better.” M¥SS KETA, it seems, is in her element, balancing between Italian identity and international reach: “Being able to take this tour across Europe with an album in Italian is an honor - it’s proof of the project’s musical strength. I love being impactful both musically and pop-culturally. I’ve built myself up over these years, and seeing the external response makes me happy. There’s still a lot to do, and trust me, you haven’t seen anything yet.”

Dress MONIQUE FEI, hat ILARIUSS, sunglasses TOM FORD.

Dress MONIQUE FEI.

Dress VIRGINIA BRUNI, visor stylist’s own.

Dress VIRGINIA BRUNI, shoes GIUSEPPE ZANOTTI, visor stylist’s own.

We’ve traveled across Europe, but now we return to Milan. For years, M¥SS KETA has been the symbol of a certain Milan—the inclusive, rainbow-colored, Porta Venezia Milan. But Milan, as always, is constantly changing. “The city evolves even faster than the contemporary world. It’s globally connected, strategically positioned, and industrially driven. There’s a creative buzz here that you rarely find in other Italian cities—it’s more open, more in sync with global shifts,” she says. “What remains of Le Ragazze di Porta Venezia is being one. It’s not tied to gender or geography—it’s a state of being. Singing about it in 2015 had a certain meaning because back then, Porta Venezia was a strong LGBTQIA+ landmark but not as widely recognized. The ultimate message is about embracing your identity, sharing it with your community, being proud of it, and celebrating it. I still do that every day, and seeing ragazze di Porta Venezia all over Italy makes me proud. We must always embrace the ragazza di Porta Venezia within us.”

And finally, the inevitable question about the future: “The immediate future of M¥SS KETA is simple: a tour across Europe and Italy. As for the real future, I’m having a couple of AI-driven cars bought for me and my team,” she jokes. “Beyond that, it’s hard to grasp. I look to the future with the fog of a Milanese winter, the kind that settles in and obscures your vision. Or maybe it’s just the times we live in: foggy, dark, cloudy. I can’t see too far ahead. So, I take it step by step. But for 2025, I’m ready. We’ve got a tour ahead, ketamini to meet and nourish, and that will be done. As for the rest, I want the freedom to be fluid, not just sexually, as you know, but also mentally. That’s my goal.”