PLASTIC: A Diary in Shadows and Static

“PLASTIC” feels like a personal glitch, part fashion film, part fever dream. Directed by Myles Bryant himself, with production from Harmon (a name worth remembering) and rich, distorted color work from Jack Rottier, the video moves between dimly lit caves and open desert shots with a warped, noir-ish quality. The visuals are tense and cinematic, but never over-produced. Myles floats somewhere between swagger and isolation, confident, but never fully present. The line between real and artificial doesn’t blur, it flickers.

Nothing in the video feels accidental. The color grading pushes skin tones into synthetic territory, the handheld camera slips just out of rhythm, the jump cuts glitch like corrupted files. It all feeds back into the title: “PLASTIC”. The performance, the persona, even the setting, it’s all stylized, but never hollow. You’re not sure if he’s putting on a show or trying to escape one. That’s the point.

Lately, Myles has been teasing the hashtag #covergirl, and it’s starting to feel like the start of something, a rollout, a reveal, or maybe a shift in how he wants to be seen. He’s already dropped three projects, the latest being 2024’s Atelier, which leaned hard into design and presentation. That title alone, French for “studio” or “workshop”, framed the whole release as a construction site for identity. If “Atelier” was the blueprint, then #covergirl might be the campaign. And if that’s true, he’s building something worth watching.