Numéro Gallery

Numéro Gallery is an offline extension of Numéro China. Numéro was founded in Paris in 1999 by renowned stylist Babeth Djian. Since its inception, Numéro has positioned itself as a dissenting voice in fashion, challenging mainstream publications through avant-garde imagery. With a vision extending beyond the conventional scope of a magazine, it has collaborated with masters such as Karl Lagerfeld, Sølve Sundsbø, Jean-Baptiste Mondino, Greg Kadel, and Nick Knight to build a visual universe where fashion narrative and artistic expression converge, becoming an essential source of inspiration for a new generation of fashion practitioners.

In 2010, Numéro officially entered China. The Chinese edition has continued the avant-garde spirit and innovative DNA of the French original, departing from the traditional narrative framework of fashion media. Through a distinctive perspective, it interprets fashion, art, design, film, architecture, and other cultural fields, while working closely with leading image-makers around the world. In 2026, Numéro China redefined its brand value. Moving from a single medium toward multi-format immersive experiences, the publication is no longer confined to printed pages, but unfolds across diverse forms. Numéro Gallery is an exhibition of fashion, culture, and art with print as its medium.

Jaša Müller

Jaša Müller was born in Slovenia in 2000 and currently lives in Paris. Growing up in an environment shaped by horticulture, he developed a close connection with natural elements such as plants and flowers from an early age. These experiences continue to influence his practice, entering his images in transformed forms. His work centers on portraiture. In the early stage of his practice, he used himself as the most immediate and sustainable subject, repeatedly photographing and processing his own image within the constraints of fixed composition and format. This method based on “limitation” not only provided a free yet stable condition for creation, but also became the starting point for the formation of his personal visual language.

Building on this foundation, Müller has developed a mixed-media image practice that combines photography with drawing, covering, cutting, and re-photographing, allowing images to be continually intervened in and reconfigured. The figure is no longer merely recorded, but exists within a process of manipulation and becoming. His images often present a subtle relationship of looking: the figure is being observed, while also seeming aware of being looked at. Through this partially unstable state, he detaches portraiture from representation and turns it toward an inquiry into “looking” itself, allowing the image to remain suspended between reality and construction.