Brutal. Crazy. Provocative. Honest. Very honest.

Dubbed by American writer Jay McInerney as "the coolest girl in the world" during the 90s, and compared to one of Andy Warhol’s superstars—Edie Sedgwick—Chloë Sevigny has been considered THE Godmother of Independence ever since she was snapped in her dungarees on Sixth Avenue in New York City, by a 90s fashion magazine. Almost 30 years later, her incredibly impressive and unique resume hasn’t stopped growing. For many, Chloë Sevigny is no longer an unknown name— she is the muse of our age and unbeatable in her uniqueness.

Born in 1974, Sevigny grew up in Darien, an unspectacular, small town in Connecticut. Looking at Chloë Sevigny's life from today's perspective, it's kind of easy to imagine her growing up in a boring and affluent small town. She just wanted to get out. There probably wasn't much of the wild and unbridled flair of New York in Darien. Boring school, boring everyday life, boring surroundings. So at the age of 18, Sevigny moved straight to Brooklyn, New York City, where she was already spending her weekends.

Feminine and yet boyish at the same time.

The shaved skull. The boyfriend style. The appearance. New York has always been independent but Chloë Sevigny was more so. Sevigny is absolutely no “girl next door” and certainly no wallflower. Smoking, drinking and experimenting with drugs. Open sexuality and equality. Things that everybody thought were not allowed for young women back then. Things that were actually only allowed for boys. Sevigny did not care at all. Feminine and yet boyish at the same time. She never set any limit on herself.

In the early 90s, Chloë Sevigny was plucked from the streets of New York to later pose in front of the camera for a few indie fashion magazines. Then she made her presence known in the music video for Sonic Youth's "Sugar Kane" in 1992 and from that day on she took over New York City, as she defined everything that was known as “cool” in a new way.

No matter what she did—she never went mainstream.

We’re not sure if there is anyone comparable who has made a career like Sevigny. From self-produced arthouse movies like Gummo (1997) or Oscar-nominated movies like Boys Don't Cry (2000) to roles in cult movies like Zodiac (2007) or American Psycho (2000), international campaigns with Calvin Klein and Mugler - It doesn't really matter what she does. Chloë Sevigny never went mainstream. Because she has always remained herself and has not been blinded by the fake Hollywood world. She has taken on critical and extreme roles while living the life of a cult-style icon on the streets of New York.

While other young women or teenagers of her age became known through Hollywood and Disney, Sevigny became known through her provocation and playing with the still very sensitive issue of equality. It felt more honest, because in what reality did the sweet high school boy finally find his dream girl in a pink princess dress after a long dramatical search? In the reality of the 90s kids, this fantasy only existed in the movies. Our reality consisted more of long nights, wild experiments and emotional rollercoasters from pathological reality to sleepless madness.

Even the brutally honest content, the friendships and connections, the losses and experiences - all this was part of her real life and Sevigny made no artificial effort to cover up all these things. More on the contrary. She directly pointed the focus towards it.

The roles that were cast in the first self-produced movies almost all came from her real life. Kids and teenagers with whom she spent her weekends, experienced long loud nights and above all, they created memories and experiences that laid the foundation for several movies. Her still close friend and biggest inspiration, Harmony Korine met photographer Larry Clark in New York back in the 90s, who asked him to write a screenplay about the experiences and impressions of the young skaters in the scene. In 1995, Kids was released and catapulted Korine as director and Sevigny in the leading role to enormous cult success.

This movie and especially her role in it has spoken to the hearts of so many lives. The brutal truth. The feeling of helplessness. The fear. Everybody talked a lot about the movie back then and still today. Nobody said the movie was just "good". People talked about the touching story, what went through their minds and how the movie tore them apart.

“He was my university, I never went to college.”

The relationship between Harmony Korine and Chloë Sevigny resembles a fateful symbiosis. Quite impossible to know a more interesting, intensive and creative relationship between two people. You can see through their joint works, how they function and grew together.

“We just grew up together…I invited him to my high-school graduation. He was my best friend. He was my university, I never went to college. He taught me almost everything I know about movies and books and music”. Sevigny said in an interview in 2000.

Both of them didn't allow themselves to be limited. Even after headlines and heated discussions caused by Sevigny giving director Vincent Gallo an unsimulated blowjob during the filming of a scene in The Brown Bunny released in 2003.

“Life is great. Without it, you’d be dead.“

The two have clearly demonstrated their independent style and attention to detail in other joint productions. Gummo released in 1997, and directed by Korine featured Sevigny not only being cast in a role in the film but was also involved in costume design and production. To this day, almost 25 years later, she still has the well-known pink bunny ears she designed herself at home, along with thousands of other costumes, unique pieces and nostalgic memorabilia.

It’s still a question to this day with every role Chloe Sevigny has played, whether it was entirely fictional or even fact-based. Maybe that's her own style of art. She creates a world full of characters that are so extremely gripping and so immersed in authentic personalities, something that grabs you so much that you just need to know more, that you just can't let go. You just can’t.