Bianca Censori, the architect and artist whose red carpet reveals of nearly nude looks made her the most searched woman on Google in 2024, has halted her media and interview blackout to speak publicly for the first time and prove that she is not a mere puppet of her husband, rap superstar Ye (formerly known as Kanye West).

In a wide-ranging interview with Vanity Fair, which marks her first public statements since she was catapulted to fame from her life as an unknown Australian architectural graduate, Censori reveals details of her upbringing, her relationship with Ye and the nudity-centered art project that made her famous.

“I was naked everywhere. I didn’t detach from it at any point … I love my artwork,” Censori told the magazine, as she clarified that her frequent and well-publicized nude moments — most famously in an all-exposing sheer dress at the 2025 Grammys — are fully in her control and not displays of a partner’s iron grip on her public persona. (Ye did, however, indicated the address received his “approval.”) Censori counters this to Vanity Fair, telling the magazine, “It was like a collaboration, it was never ‘I was being told to do something,’” and “I wouldn’t be doing something I didn’t want to do.”

Censori, the feature reveals, is launching a long-term art project titled BIO POP — a seven-year performance-art project of which the string of nude appearances was merely the first act. For her, public nudity and bold fashion are intentional performance art pieces, not the shocking publicity stunts or exploitation her art has been accused of being.

Censori studied sustainable housing abroad in Manila (which left her cold on the topic) and toiled away for four years at a boring job at an architecture firm until she got the call from Yeezy, Ye’s lifestyle brand, after Ye noticed an image on her Instagram — “a digital mask with alien proportions.” One shipment of her portfolio later, she was offered a head of architecture gig at Yeezy.

Their romance was fast and came just as Ye split from Kim Kardashian. They began a workplace romance that was subsumed in unrealized projects and his penchant for extravagance. She fell in with an arty L.A. crowd, some of whom are collaborating on her massive art project. With Ye, his “aura both overpowered her and complemented her own,” the magazine concludes, and Censori indicated that “you’ve got to see it”; in Ye’s one appearance in the article, he eats a heart-shaped cake and tells the magazine that she’s the “one with the aura.”

Setting the record straight on Ye and his antics is predictably a key topic, and she expresses their love without straying from the talking point of her own independence, career and vision.

“I didn’t marry my husband because I wanted some sort of platform,” Censori says. “I married him because I love him. Is that like the corniest thing ever?”

She adds, “I wouldn’t be doing something I didn’t want to do.”

On the Nazi stuff, Censori says her husband has his obsessions, and she’s never received a clear answer on that particular — and particularly damaging — fixation of his.

“You have to think of other obsessions he’s had,” she says. “Because this would have been one that was perceived as damaging — obviously, it was damaging. But hasn’t he also had extreme obsessions before?”

Ye apologized publicly in January for his past hateful speech about Jewish people. In fact, the Vanity Fair reporter notes that she had outreach from his rep as her Censori article was about to be released to ask if she wanted to interview the rap superstar around that apology to use in the piece. As the article notes, that would make it about him and not her.