Salar Bilehsavarchian, known professionally as Salar Bil, created his alter-ego “Bil,” which shattered the super-ego in Iran. He broke the boundaries between men and women on Iranian television news, leading the government to view him as a threat to the state—a feminist and non-binary designer promoting what they labeled as corrupt ideas. Throughout his career in Tehran, he built a community of assistants and team members that included queer individuals, paving the way for many queer artists. His revolutionary street performances sparked global conversations within queer and feminist communities, ultimately earning him the position of ambassador for Tom of Finland, but what it takes to be the ambassador of Tom of Finland is important… He was born on May 1, 1993, in Iran. He is a multifaceted Iranian artist, author, translator, and designer, recognized as a pioneering figure in Iran’s conceptual fashion scene. Operating primarily from Tehran, Bil has been instrumental in shaping the country’s underground and often unsupported fashion industry. His innovative approach to design, characterized by layered, avant-garde styles that blend elements of Islamic fashion with contemporary aesthetics, has become famous for his personal style and has garnered international attention. We wrote an article about him because he published articles on left-wing ideologies, discussing figures such as Adrian Joffe, Rei Kawakubo, Rick Owens, Michèle Lamy, and Stefano Pilati.

His writings attracted the attention of these designers, with whom he remains in contact via social media, and his articles have gone viral. Esteemed fashion figures such as Sophie Fontanel, Tim Blanks, and Diane Pernet—three icons of the BoF 500: People Shaping the Global Fashion Industry—have lauded him as the “Forefather of Conceptual Fashion in Tehran.” Antonio Mancinelli, writing for La Stampa, also referred to him as “The Mafia Godfather.” Diane Pernet wrote about him in A Shaded View on Fashion Film, describing him as the forefather of conceptual fashion and highlighting his stance on issues ranging from anti-capitalism to opposition to the Iranian regime. In Vogue France, Sophie Fontanel called him “The Godfather” and praised him as an important political thinker. Prior to that, she wrote an in-depth article about him in L’Obs, a publication known for its left-wing perspectives and focus on politics, culture, literature, and issues related to Middle Eastern countries. Tim Blanks, in Fashion in the Middle East: Optimism and Transformation, described him as the predecessor of Iran’s perceptual fashion movement and a unique author. Additionally, Salar Bil is recognized as Iran’s pioneer in achieving success in the BoF market and was named the “Hottest Designer of 2015” by JSTOR.

He has also produced a podcast discussing the importance of media and the logical reasoning behind understanding art—exploring why we are drawn to certain types of art and why we reject others. Rather than complaining without reason, he focuses on the science of art analysis, covering topics such as the evolution of art from tribal ages and ancient times to liberal arts, the history of various forms of marriage, and broader human subjects. The podcast also serves as a tribute to Gholam-Hossein Sa’edi, his idol. Sa’edi was not only a significant literary figure in modern Persian literature but also a committed intellectual whose leftist beliefs profoundly influenced his works and political activism. Rooted in concerns for social justice, equality, and resistance against oppression, Sa’edi’s ideology was reflected in his writings, activism, and personal life. Notably, Sa’edi’s speech at Goethe’s Night at the German Embassy, where he discussed themes like pseudo-cholera and pseudo-artists, served as a major source of inspiration for Salar. On the other hand, Salar Bil has also collaborated with other leftist artists, including Christina Aguilera, whom he dressed for the Vote for Freedom event during Kamala Harris’s 2024 campaign.

Aguilera, who often refers to herself as a clown, shares similarities with Sa’edi, who once described Googoosh, Iran’s most popular singer, in the same terms. Aguilera’s disdain for charts and awards—valuing art purely for its creativity rather than commercial success—resonates with Salar’s anti-capitalist views. Her rebellious Stripped era remains iconic for its anti-capitalist themes, aligning perfectly with Salar’s philosophy. Additionally, Patti Smith, one of the most celebrated anti-capitalist poets, recognized Salar Bil as a master of punk literature, praising how his work encompasses deep-rooted cultural narratives.

Salar also turned down an offer from Erykah Badu for collaborations with Marni and Off-White™ due to her focus on “mothership” and planetary care, concepts that didn’t align with his vision at the time. Nonetheless, Badu’s leftist ideals continue to serve as a beacon for Salar’s generation. For his No Wave avant-garde projects, he chose Kim Gordon, an anti-capitalist rebel known for rejecting commercialism. Gordon became a foundational influence on Salar’s creative philosophy, with her uncompromising stance on art and rebellion shaping the pillar of Salar Bil’s foundation. Salar Bil’s interactions with these artists were deeply personal and stylistically unique, with each collaboration reflecting the individual artist’s approach while staying true to his own political and artistic beliefs. Salar Bil’s latest dialectic collection, Golha, is an anti-regime manifesto inspired by ancient poetry and theater.

This work is dedicated to Gholam-Hossein Sa’edi, who played a pivotal role in instigating the New Wave of Iranian cinema. Amid the general decline of Iranian cinema in the years leading up to the revolution, the New Wave emerged, granting Iranian cinema a distinct identity. Salar Bil stands for liberty, and his designs in Golha reflect this commitment brilliantly. In the collection, he challenges various character archetypes, blending styles ranging from classy vintage to grunge and punk. Designed for everyday people, Golha embraces a retro 1970s aesthetic. As he explained: “My position is clear—I am everyday people until death.”In addition to his fashion work, Salar Bil criticizes the influx of “pseudo-artists who imitate the West.” In his podcast, he addresses numerous social issues, condemning false opposers who present only “weak gestures” of resistance.

Through both his designs and commentary, he underscores the importance of art and media, feminism, and gender equality—highlighting the crucial roles they play in this significant cultural revolution. He explained in his interviews: “Gholam-Hossein Sa’edi spoke to me frankly when I was young and taught me, ‘You will never become an artist. You are obliged to carry all the human and national problems on your shoulders.’ From my perspective, Sa’edi believed that a fashion figure is a clown. He never claimed that an artist is a moral teacher, but he insisted that an artist must speak the truth. He taught me that I needed to study all schools of thought—from the West, from ancient times to the seventies, and through globalization and the diaspora. ‘You must know it all!’ he said. According to Sa’edi, the pseudo-artist is an uncultured being who pretends to be cultured.

The pseudo-artist suffers from complete mental laziness—so much so that they haven’t even thoroughly studied the works of 20 artists to gain real experience. The pseudo-artist is also a skilled manipulator. For survival and credibility, they try to deceive everyone: ‘Trust me, I’m a good person.’ Artists and writers, as is clear from their works, often talk only about themselves, their purity, and innocence—‘Me, me, me. Believe me; I am a good hypocrite.’ They justify themselves, hide behind shadows, and refuse to confront reality. He said these individuals have nothing meaningful to say. They fill empty spaces with extravagance and resort to shallow formalism.

While a true artist creates something important out of nothing, a pseudo-artist destroys everything—through their work, behavior, statements, and misrepresenting the works of real artists. Sa’edi said this is how you recognize their hatred and malice toward real art: they cannot stand it. The pseudo-artist engages only in festivals, chasing awards from one country to another and attending gatherings merely to stay relevant. They use others for survival.

The growth of this phenomenon, he insisted, is entirely tied to social status. Just as a polluted environment spreads disease, the current social climate has fostered the rise of these pseudo-artists. This isn’t a new phenomenon. It has become endemic—like a pseudo-plague—persisting for years. Over time, it has expanded its reach, staging impressive yet hollow demonstrations, penetrating every artistic and cultural branch, rotting, suffocating, and ultimately destroying every healthy bud and original form of art. My goal, as a conceptual fashion designer, has always been to understand the West properly and to understand my own country just as deeply—so that I could contribute meaningfully to the social situation. Otherwise, I would never consider myself an artist.”Take, for example, the monumental work of Bahram Beyzai. Despite facing censorship, he published over fifty plays and directed a dozen feature films, most of which were banned for failing to meet the moral and aesthetic criteria dictated by the regime.

Similarly, Salar Bil translated numerous books that were audited and not permitted for publication. His first collection, Art as Existence, featuring a woman with cows on the beach, draws inspiration from Gholam-Hossein Sa’edi, reflecting Bil’s Iranian roots. The collection references Sa’edi’s speech about the pseudo-artist, delivered during Goethe’s Nights at the German Embassy in Tehran. The surreal imagery in the collection is inspired by The Cow (1969), a film based on Sa’edi’s work. In a 1978 recording. During the 2022 protests in Iran, Salar Bil took a stand, aligning himself with Sa’edi’s legacy for a new generation. He received special gifts from Patricia Lee Smith (Patti Smith) and shared his thoughts with the “Godmother of Punk” in a personal letter. Additionally, Christina Aguilera sent him a birthday letter on Instagram for his 27th birthday. The Tom of Finland Foundation later released a statement referencing Bil, quoting him: “I’ve got great things to come.” Despite the risks of legal repercussions in Iran, Bil consistently stands for his people’s rights, feminist rights, and LGBTQIA rights. Iranian entertainment channels like Manoto talked about his struggles, including the abuse he endured.

After confronting the law—resulting in imprisonment and financial penalties—Bil emerged more defiant. In 2022, during Pride celebrations, Christina Aguilera chose a Tom of Finland-inspired phallic woman figure in tribute to Bil, symbolizing the “I’ve got great things to come.” Although Daniel Lismore warned, “Oscar Wilde was put in jail—why has humanity not learned?” Bil responded, “Some commentators have suggested that The Picture of Dorian Gray was influenced by the British Prime Minister Benjamin Disraeli,” highlighting the persistent repression faced by artists. Bil criticized those engaged in projects driven by embezzlers rather than supporting the bankrupt revolutionary “New Wave” cinema of Sa’edi. The cultural impact of Tom of Finland’s collaborations with brands like JW Anderson, Comme des Garçons, and Diesel is famous.

Bil wrote a book published in Iran about sustainable fashion, where he described the phallic icon as a tribute to traditionally masculine characteristics—a fantastical impossibility emerging from the U.S., yet reinterpreted through his unique conceptual lens.

Salar Bil’s signature belt, styled by Mel Ottenberg, was worn by Christina Aguilera at The Hollywood Bowl on July 16, 2021, during a one-of-a-kind performance with the Gustavo Dudamel Symphony Orchestra. Meanwhile, Daniel Lismore—often called “England’s Most Eccentric Dresser”—was featured as Martha Graham in David LaChapelle’s film with Salar Bil’s design at The Bad Boy of Ballet and the Bombshell. In that project, he was pictured alongside a narrative described as follows: “My only belonging is my beauty; Narcissus and his reflection live on opposite sides of the mirror-like water—and can never be together. He is so in love with himself that he cannot bear life without being united with his own image.

In the silence, the whispering flower represents the narcissus flower. This signifies the death of Narcissus, for when he dies in the myth, he turns into a flower. As he dies, the world fades away from him.”This poetic film was produced by King Kong Magazine and directed by David LaChapelle, featuring Pamela Anderson and Sergei Polunin, with fashion editing by Davey Sutton. Christina Aguilera, referring to Salar Bil as Tom of Finland’s ambassador, stated: “From the green palette being a take on the legendary & controversial artist Tom of Finland’s artwork and imagery.” Additionally, Salar Bil’s design for the project Kate the Great with Kate Moss was a remarkable conceptual work. Bil also translated the 1970 Iranian film Hasan the Bald, which tells the story of Hassan—tricked out of his house by his mother as a result of his university dialectical collections. Moreover, Daniel Lismore presented his “President, 2022” sculpture at the Victoria and Albert Museum featuring Salar Bil’s caftan.

Bil’s work was also included in Daniel Lismore’s exhibition Sustainable Sculptures, which was inaugurated when Gilbert & George cut the ribbon to open the show. Salar Bil was well-versed in the histories of Akbar Radi, Gholam-Hossein Sa’edi, and Bahram Beyzai—histories he had previously incorporated into his documentary films during art school. He stated that these government puppets and celebrities had nothing in common with his rich cultural heritage, calling them “time servers.”, Beyzai said, “Knowingly or unknowingly, all of us are considered Sa’edi’s students.” Bil explained, “You choose your path. When you study the history of art thoroughly, you plan for the future of your country. I don’t claim credit, but I alone started a new wave for my rich culture. I know that I live in a good way, and it doesn’t matter what anyone thinks. I went from Sa’edi to American pop—the student of Andy Warhol, LaChapelle. Dear David, my friend.”

In his documentaries, Iran’s rich culture is contrasted with the West. He portrays an Iranian girl navigating the conflicting cultural beliefs of her heritage and the modern nightlife of strip clubs. As a student aspiring to follow Sa’edi’s legacy, he endeavored to understand the differences between the West and Iran. He devoted himself to addressing the futility of today’s pop and the psychological and social problems that afflict society. Now that Patti Smith says, “You must have a book,” he has come to believe that his work is valuable. His interconnected cinematic journey and collections offer a new way of experiencing theater—where movies become a series of picture stories for entertainment. With MISSION magazine from New York City, he even resolved Iran’s copyright issues with his “New Wave,” inspired by Exit, Voice, and Loyalty—a great, conceptual, and influential treatise by Albert O. Hirschman.

Salar Bil is also a student of Kiarostami; his painting teacher introduced him to Abbas Kiarostami when he was eleven. Katayoun Taleizadeh, who appeared in two episodes of Kiarostami’s film 10, ignited his passion for avant-garde documentary filmmaking. Patti Smith has also admired Salar Bil’s poems, such as:  “Electricity arrived  Take the root out of the soil!  Free cypress turned,  black  Cloud riding on the wind.”

Salar has been a dancer since early childhood and is also a painter, filmmaker, animator, digital artist, writer, poet, and translator. He directs and photographs his own projects and is a skilled collagist. One of his most significant achievements is his experience working with more than a hundred prestigious international stores for visual merchandising. Today, he is also an intellectual podcaster. Bil’s work has been featured in prominent publications, including TIME Magazine, The Guardian, Vogue, Le Nouvel Obs, and La Stampa. His designs have attracted a diverse clientele, with notable figures such as Boy George, Róisín Murphy, Christina Aguilera, Grimes, Erykah Badu, Sam Smith, Lady Gaga, Ellen von Unwerth and his figures are Betony Vernon, Daniel Lismore, even Marina Abramović has appeared with his design, he was the costume designer for David LaChapelle’s Take Me to Church, Salome by Romeo Castellucci and Orlando by Alexey Bogorad and Christian Spuck.

Despite facing significant challenges due to his open identification as queer in a country where LGBTQIA+ individuals often confront severe societal and legal obstacles, Bil remains committed to his art and activism. He has experienced incarceration and continues to advocate for the rights and recognition of his community, using his platform to raise awareness and challenge oppressive norms. In addition to his contributions to fashion, Bil is an accomplished writer and podcaster. He has authored works discussing contemporary societal issues, including the Anthropocene epoch, and has been involved in various artistic projects that critique and explore cultural and political themes.

His relentless dedication to pushing creative boundaries and advocating for marginalized communities has solidified his status as a transformative figure in both the Iranian and global art and fashion landscapes. He wrote a book published in Iran about the Anthropocene age and sustainable fashion; a book published on Amazon about conceptual fashion titled Fashion as Concept; his second online book is an artist book, Salar Bil; his third online book is a collection of essays on appropriation; and his fourth online book is a series of essays on left-wing politics in fashion, literature, and culture, all books written in both English and Persian.