Bianca Censori took “bareback” riding very literally.
The architect and performance artist, 31, sat for her first in-depth interview for Vanity Fair, revealing more than skin as she finally spoke publicly about her marriage, her husband’s antisemitism and what she framed as a multiyear performance art project conducted with very little clothes on.
“I was naked everywhere,” Censori told the publication. “I didn’t detach with it at any point. I consistently showed the same imagery over and over and over again. I live my artwork.”
Photographed by Katy Grannan, the spread features Censori in various states of undress.
In one striking shot, she sits astride a black stallion, covered only with long, dark faux hair and accessorized with a toe ring. In others, she wears fishnets, pinup-style underwear and even a fuzzy thong — albeit not one of Kim Kardashian’s infamous Skims styles.
But the real reveal was verbal: after three years as the internet’s most scrutinized silent figure, Censori addressed the public’s long-running question of whether her barely-there wardrobe is self-expression or spousal control.
“I wouldn’t be doing something I didn’t want to do,” she said, adding that she and Ye, 48, collaborate on her looks. “So it was like a collaboration, it was never ‘I was being told to do something.’ If you were married to Gianni Versace, wouldn’t he give you a dress or something?”
The Melbourne native has been testing the limits of public decency since she and the rapper were first spotted together in January 2023.
Her greatest hits include sheer bodysuits, an edible candy bikini, a transparent raincoat with nothing underneath, and a see-through stocking dress worn on the red carpet at the 2025 Grammys.
Censori’s rising profile culminated in becoming the most googled woman in the world in 2025. “I’m not trying to sound like I’m bragging, but it is not a position that anybody in time has ever had that much visibility without speech,” she explained. “If it was just nudity, a lot of people would have that. But it also proves in a time that was so overexposed and vulnerable, that mystery still has power.”
The feature follows her Seoul art show “BIO POP,” which debuted in December. For that performance, Censori donned a blood-red latex catsuit, while body doubles in flesh-colored bodysuits were contorted into furniture pieces.
As for why the woman who built an empire of intrigue on silence chose now to open her mouth?
“Because I have something to talk about,” she said. “Demanding me to speak is a form of control in itself.”
Or as she put it more succinctly: “My life is my art. Isn’t that so annoying?”
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