ECSTATIC presents new washed out club music project SUPERMODEL, delivering their self-titled statement of flashbulb minimalism rendered in elegant slo-mo beats. VHS-smeared runway chatter and behind-the-scenes debris clatter alongside icy Discovery Channel pads. From the bombed-out dubbing of ‘Behind The Velvet Rope’ to the anthemic catwalk stomp of ‘Eternity’ to the crystalline fantasia of ‘Giorgio’, SUPERMODEL casts a knowing eye over the golden era of 90s fashion maximalism — the beauty, spectacle, and excess — feeding MTV culture through a blender shot on camcorder and blasted through a distorted CRT.

The record drifts through the same atmosphere as the era’s legendary runway spectacles: the cinematic bombast of Versace’s supermodel finales, Thierry Mugler’s hyper-theatrical fantasy productions, Galliano’s decadent historical fever dreams, and Chanel’s transformation of fashion shows into global entertainment events. Fashion in the 1990s no longer existed solely inside magazines or ateliers — it became mass-media mythology, transmitted through Fashion TV broadcasts, paparazzi flashes, tabloid culture, and late-night club circuits. SUPERMODEL channels the afterimage of that world: limousine reflections in wet asphalt, backstage exhaustion hidden beneath perfect makeup, the emotional static humming beneath glamour’s polished surface.

Threaded throughout the album is the washed-out pulse of post-club melancholy — the faded euphoria of VIP rooms after sunrise, Balearic ambient drifting through hotel suites, anonymous deep house bleeding from superclubs, and the soft-focus emotionalism of late-night European dance music. These tracks feel less like triumphant runway soundtracks than degraded memories of them: luxury dissolving into tape hiss, catwalk percussion collapsing into dub echo, glamour replayed through damaged media formats. The music mirrors the strange emotional contradiction at the heart of the supermodel era itself: a world designed to appear untouchable yet haunted by exhaustion, fragility, loneliness, and relentless image production.

Balancing sincerity with satire, SUPERMODEL plays as both homage and critique: an electroacoustic runway fantasia fascinated by the glamour and mythology of the era while remaining aware of its artifice and absurdity. It’s a glittering meditation on image-making, celebrity culture, and the emotional weight carried beneath surfaces polished to perfection — the afterparty haze of stale cigarettes, warm champagne, and blurred flashes from disposable cameras.

Drifting through the record is the aura of the supermodel era itself: the commanding cultural impact of Naomi, Linda, Christy, Claudia, and Kate — figures who transformed modelling into a new form of global celebrity. Their charisma, individuality, and attitude helped fashion become a dominant visual language of the decade. Runway shows became televised theatre; magazine covers defined international beauty standards; the model became both human being and corporate symbol. SUPERMODEL approaches this world with admiration for the women who shaped it, celebrating the confidence, style, and power they projected while reflecting on the machinery of fame constructed around them.

Yet orbiting the edges of this fantasy was an opposing force: the anti-glamour radicalism of Martin Margiela and the broader deconstructionist movement emerging from Antwerp and Paris. Against the polished perfection of the supermodel machine, Margiela exposed seams, anonymity, decay, repetition, and absence. Faces obscured, garments unfinished, models detached from celebrity — his work challenged the fashion industry’s obsession with image, status, and spectacle.

SUPERMODEL exists partly within the tension between these two worlds: the ecstatic seduction of fashion mythology and the impulse to dismantle its illusions from within.

Across the record, SUPERMODEL freeze-frames this universe at the exact moment glamour begins to flicker and distort. Satin sheen melts into tape hiss; luxury dissolves into pixelation. The album moves like a half-remembered Fashion TV broadcast playing at 3AM in an empty penthouse suite — equal parts elegance, humour, and melancholy. Beneath the stylised surface lies something unexpectedly tender: a fascination with beauty not as perfection, but as performance, vulnerability, and cultural memory.

Beneath the nostalgia also sits a political undercurrent. The supermodel era coincided with the acceleration of global consumer capitalism, the consolidation of media power, and the rise of celebrity as commercial infrastructure. Fashion became aspirational ideology: selling fantasies of wealth, perfection, whiteness, thinness, luxury, and access to a newly globalised audience.

SUPERMODEL reflects on how these images shaped desire and identity while simultaneously revealing their instability — the cracks beneath the fantasy, the labour hidden backstage, the loneliness beneath hypervisibility, the body transformed into commodity and projection surface.

Rather than simple nostalgia, SUPERMODEL explores the tension between aspiration and reality — the choreographed poses, the backstage chaos, the humanity behind the spectacle. What remains is a dream rendered in chrome, soft focus, and cigarette ash: decadent, self-aware, seductive, and deeply fascinated by the cultural language of glamour.