Gia Margaret has announced a new album titled Singing. It arrives on April 24 via Jagjaguwar. It’s led by the delicate, staticky single ‘Everyone Around Me Dancing’, which Margaret describes as “a reflection on feeling isolated and the comfort found in that isolation. It is for taking a pause, for being in observation of a very scary and loud world and it is for finding stillness in our own inner worlds too.” Check it out along with the album artwork and tracklist below.
The title of the new record is a potent one. Singing will follow 2023’s Romantic Piano, the second instrumental record Margaret made after a vocal injury that kept her from singing for years. “There was a time when I really didn’t know if I would sing again,” Margaret explained. “So once I healed, there was a lot of internal pressure to come back strong. I didn’t know who I was anymore. So it felt like beginning again, and reconnecting with these very old, old parts of myself.”
The album was tracked in London, Eau Claire, and Chicago in 2024 and 2025, alongside Frou Frou’s Guy Sigsworth, David Bazan, Amy Millan, Deb Talan, Kurt Vile, and Sean Carey. Margaret’s longtime collaborator Doug Saltzman co-produced in addition to playing on much of the record. “A lot of me meeting some of these collaborators (now my friends) fell completely into my lap,” Margaret commented. “Almost as if they could hear something in me that I’m certain was influenced by them in the first place.” But opening her music to other musicians “did lead me back to myself, because I realized I really do like producing. I felt like I was missing out by not exploring those things on my own.”
Singing Cover Artwork:
Singing Tracklist:
1. Everyone Around Me Dancing
2. Cellular Reverse
3. Alive Inside
4. Moon Not Mine
5. Rotten
6. Rotten Outro
7. Good Friend
8. Phenomenon
9. Ambient for Ichiko
10. Phone Screen
11. Guitar Duo
12. E-Motion
Softcult is the project of Ontario-based twins Mercedes and Phoenix Arn-Horn, who previously made music together as Courage My Love. Though they retained some of the pop-punk elements of their previous band, eventually embracing them more authentically as riot grrrl, they wanted to break away from the industry pressures of being a “Warped Tour band,” initially writing music with no particular goal in mind and fleshing out different pockets of their sound across a series of EPs. Beginning with 2021’s Year of the Rat, they developed an intimate blend of shoegaze, grunge, and indie rock while building their own community through the monthly zine SCripture. Softcult’s debut LP, When a Flower Doesn’t Grow, arrives on their own terms, self-produced and self-reclamatory, a journey of personal transformation that understands its power in becoming a lot more than personal. In a press release, Mercedes mentioned feeling “rootbound” as a form of dissociation, but the record doesn’t close without her naming what it is the roots yearn for: the unknown. “When a flower doesn’t grow/ Do we blame the dying rose/ Or the soil that it called home?”
We caught up with Softcult’s Phoenix Arn-Hor for the latest edition of our Artist Spotlight series to talk about releasing a debut album the second time, self-producing, twin factor, and more.
Having released a debut album before Softcult, how has putting out When a Flower Doesn’t Grow made you reflect on this time and how your circumstances have changed?
You might know we were in a different band for 10 years, and we did a similar thing where we released a lot of EPs before putting out a full-length record. The reason back then why it took us so long to put out an actual full-length was more because it just took us a long time to get our label on board with actually signing off on what they were willing for us to put out, basically, which was a not-so-great situation. But in this band, it’s definitely the polar opposite of that, where we’ve been a band now almost five years, and we’ve just been releasing music every year, non-stop. Getting to do an actual full-length now – you don’t always get the opportunity to start over. Cedes and I are both in our 30s now, we’re 32. It’s pretty rare that you get the chance to start a whole new project when you’re at that age and you’ve already done it for so long. Getting the opportunity to be like, “I’m gonna release a debut record at 32” is just really cool and exciting. It lights that spark again and makes everything feel new, even though we’ve been doing the band thing for a while now. It’s definitely nostalgic looking back and thinking about all the things that we’ve learned from our previous project.
What was the motivating factor that made you feel ready to make a full-length record this time around?
I think this time around with Softcult, it just seemed like the right time because it’s always something that we wanted. We’d released four EPs before we started working on this record, and I feel like it was enough time to really sit in on our sound and figure out where our strengths lie. Having 10 songs to mess around with as opposed to 4 or 5 lets you explore a bit more each corner of your sound, and we did try to do that. There’s definitely some gazier songs and dream-poppy songs that you might expect from our band, but since we had the opportunity, we tried to lean into more of the riot grrrl sound that we’ve touched on before, definitely lyrically, but maybe not so much sonically. It was a cool exercise.
Given that you self-produced the record, I’m curious if there was an element, too, of feeling settled in your abilities and communication in that respect.
To give a little bit of backstory on the start of the band to now – we finally completed the last singles that we had to do for our old band’s contract to expire in 2020. It was already the pandemic at that time, and where we live, it was in a lockdown. At the time, Cedes and I lived together, which was cool. We had really nothing but time to kind of sit down and make demos, so we just got really comfortable being in a home studio. We were lucky that we had got that set up before shut down. That’s how this band has always been, a bedroom recording type vibe, so that’s what we’re comfortable with. There’s definitely been times where we’re like, “Do you think would it sound better if we actually did it the proper way and go into a studio?” But at the same time, I think us self-producing maybe is a core aspect of our sound. At this point, I think we’re happy with it. In the future, it could be something we try to actually do a bit more on a grander scale, but right now it feels genuinely a part of our sound to do it ourselves.
In that part of the process, do you feel like you have similar philosophies when it comes to getting a song right, or do they sometimes diverge?
That’s a good question. I do think we’re pretty similar with it. We make a good team when it comes to songwriting. I’m really grateful that I have her sometimes to tell me when something’s done, because I feel like I’m the kind of person who will work away on something forever, and it doesn’t necessarily always make it better; sometimes, it maybe makes it just weirder or worse. I do feel like it’s good for our dynamic that she’s the one that’s like, “Alright, it’s good. You don’t need to keep tinkering with it.” But I think for the most part, we’re pretty on the same page. She showed me a bunch of bands that really influenced me, and I’ve shown her some records that we both really enjoy the sound and production of. I think we do align and meet in the middle that way. So far, it’s been mostly me engineering and editing the stuff music-wise, but she’s starting to get more into that, too. Down the line, I think it could be something where we’re both taking on that role more, and that’s just gonna be exciting.
Do you tend to talk through a lot of these reference points or ideas for a song, or is it mostly unspoken?
Now that we don’t live together anymore, we have to basically schedule times for us to meet up and record and write together. A lot of the time, Cedes will send me voice notes of songs or ideas that she has, and then when we get together, we’ll put them together in Logic, start recording them and filling in all the blanks. Sometimes I’ll bring an idea – a lot of the time it even just starts as writing lyrics in your Notes app and sending them to each other. Sometimes, and especially right now, there’s just so much going on in the world – there’ll be a world event, something insane that will happen, and obviously that’s top of mind for both of us, so we’ll get together and that’ll inspire something that we’ll start together. It can go either way, really. Cedes obviously plays guitar, and she’s really good at that, so she’ll often come with a structure and melodies. If I have a riff idea in my ahead – I have so many voice notes of me just humming into my phone, and she ends up having to translate that and decipher that into how you would actually play it on a guitar. If I get hit by a car, you have to delete all my voice notes, okay? [laughs] Delete every single one. I don’t want that to get out into the world.
Aside from exploring different sounds, the journey of the album as an LP feels very intentionally sequenced, and I wonder to what extent that reflects the order in which the songs were written.
It was intentionally sequenced in that way. We tried to make it so that it ends in a really empowered note, and maybe you feel a bit stronger than you did at the very start. When we were writing the songs, we definitely didn’t write them in that order, but what ended up happening was, we had a couple songs kicking around, ones that were written but just didn’t make it onto EPs. Cedes was going through, personally, a big point of self-discovery in her life, finding ways to deal with that, and she ended up sending me this song – I think it was at 3am or something – it was just a voice note that was her playing guitar in her living room. That ended up being ‘When a Flower Doesn’t Grow’, which is the title track. As soon as I heard that song, I immediately texted her back and was like, “Hey, I think this should be the title track of the album. I think we need to call the album When a Flower Doesn’t Grow.” And I said I think it should be the last track on the record, because to me, it just said a lot of things that I feel like were encapsulating what we wanted to say with the album.
Once we had that plan, we were able to kind of fill in the blanks with songs that get from point A to point B. It’s basically about someone that’s discovering that their environment isn’t suiting them anymore, and they need to change things in order to allow themselves to grow and become the best version of themselves. It’s not the people in the world that should feel like there’s something wrong with them and they need to change – it’s more like the environment right now isn’t conducive to everyone growing and thriving together, so that’s what needs to change.
After the two songs, it’s interesting how you dive into a couple of more narrative-driven tracks, ‘16/25’ and ‘She Said, He Said’. What was it like switching perspectives and now stepping into them in a live context?
I’m glad that you can tell that it’s supposed to shift from perspective to perspective, because I could see it getting confusing, like, “Wait, what now?” [laughs] But I think that’s a fun exercise in songwriting, finding different ways to say something and coming at it from a different perspective. ‘16/25’ is basically trying to show how absurd it is that someone in their 20s is not self-aware enough to know that it’s weird that they’re dating a teenager. Why they would think, “We have something in common,” when there’s no way that that could be true. That one was an interesting one to try to write and get into that mindset. But live, I think it’s just really exciting to play some new songs and see the way people react. That one tends to go off live, and it might be because the drums are fast-tempo.
Another pair of songs that are powerfully juxtaposed are ‘Hurt Me’ and ‘I Held You Like Glass’, which seem to trace the pain from the moment it’s buried to the numbness that grows in its place. It sounds like they came from different places lyrically, but they complement each other.
Sometimes when you’re writing a song, you don’t always necessarily even know fully where it’s coming from, but once you sit in it for a while, you realize, “Oh man, I feel like I maybe wrote this song about this.” It was the same with pairing those two next to each other. They couldn’t be more different as songs – one is obviously so kind of aggressive and full of rage, but it ends off where the lyrics are like, “I’ll carry this all of my life/ I’ll bury this thorn on my side.” When you bury those things deep down, you bury that rage deep down, eventually it does get replaced by numbness, which is dangerous, because you don’t ever deal with it. It just grows, and you end up holding on to things that are damaging to you, but you eventually just become numb to it. I’m glad that makes sense listening through, because it did to us, but we were a little bit worried that no one else would get it because it’s so up and down vibe-wise.
And what you described becomes a cycle, right? That’s where the record looping back into itself comes in as well.
Oh yeah, we’re big on cycles. [laughs] Any kind of metaphor we can use.
Was ‘Hurt Me’ split into these parts from the beginning, or did it progress that way?
That one was just a weird outlier for a long time, because I originally had written it as more of a poem. I had it in my Notes app for a long time, and then eventually I showed it to Cedes when we were just kicking around some ideas. I honestly never thought it would become a song; I wasn’t even totally sure if I wanted it on the album, but Cedes was really down for it. She convinced me that that one was important in the context of the record. Obviously, the beginning is pretty intense and rage-filled, and when it just flips vibe-wise, we just kdidn’t want the whole song to be one-note. Because I think that’s the thing with these feelings that people have – it’s not always just, “Oh, I’m angry.” There’s always a deeper root cause for why someone’s angry, something underneath that’s a little bit more nuanced and more complicated.
When you’re both at this early stage where it’s maybe just thoughtson your phone, do you sometimes tend to work through them as just that first, or does it quickly become about what they could turn into?
We’re siblings, so when we’re showing each other stuff like that, of course we’re gonna ask, “Where did that kind of come from? What’s going on?” [laughs] I think talking about that stuff together does help give a deeper understanding into the issue, and we’ll maybe get different perspectives on it. It just lets you understand things a bit more. It doesn’t always have to turn into a song or into anything; it can just be talking about it. But I think for us, that’s just how my sister and I tend to deal through things in our life, is we do turn to music a lot. We’re lucky that we have each other, because we can do that together, and it is cathartic.
‘Tired’ is a song where the lyrics are pretty self-explanatory, but it’s interesting that the first thing you list is self-deprecation. I think you’ve talked about preaching empowerment while also feeling like you’ve internalized a lot of shame. From your perspective, what role does self-deprecation play in normalizing and feeding into self-doubt?
Cedes and I aren’t perfect people, and there’s no way anyone could really talk about some of these issues in a perfect way. Sometimes it does feel a little bit like we try to come at it from an empowerment role, but it’s hard sometimes to always practice what you preach in your own personal life. I think that’s something that my sister was going through big time during the writing of this record – she felt like she’d be this strong person on stage, but in her private life, she wasn’t really always taking her own advice. If you put yourself out there in that way, people expect you to live by your own words. I think for both of us, when we do feel like we’re messing up in our own lives, or if we feel kind of like we’re not living up to everything that we’ve tried to say in our music, it feels self-deprecating to go and be on stage and sing songs about certain topics. You kind of feel a bit of imposter syndrome.
‘Tired’ is a good one for that, because for me, that’s the turning point in the record, where you’ve already gone through some of these really dark traumas – you’ve kind of figured out the root of them with ‘Hurt Me’, and you’re like, “That’s where this cycle started.” And you get to ‘Queen of Nothing’, where you realize this isn’t even just a me thing, this is a societal thing. And then ‘Tired’ comes in and you’re like, “I’m not gonna keep going this way.” The end lyric is what really got me: “I’m gonna stay awake, but I’m tired.” You are freaking tired of this, but you’re not gonna be jaded. You’re gonna keep fighting.
Last night, I watched Jim Jarmusch’s latest film, Father Mother Sister Brother. The final segment focuses on these twins who’ve come up with a useful shorthand for when something happens that they attribute to their connection, “twin factor.” I wanted to ask if anything recent comes to mind that you could attribute to something akin to that.
Honestly, it’s hard for me, because I feel like I’m so used to that happening just from being a twin. Definitely when we were younger we’d always hear about twin telepathy, but I don’t think it’s even twin telepathy. It’s more like we’ve been around each other for so long, and we are really close. We can read each other’s body language really well, and I can just get a vibe off Mercedes, and she can get a vibe off me in any situation. Sometimes it’ll just be a matter of looking at each other, and we know we’re gonna talk about this later when it’s safe. But the twin factor, it happens a lot, especially in band practices. That’s just what I’m thinking of right now, because that’s just been my life the past few days. We’ll be kind of communicating, but we’re not saying full sentences – I’m saying the beginning of a sentence and trailing off, and then Cedes will be like, “Oh yeah, for sure.” And then our two friends that are also in the band with us, they’ll be like, “Guys, can you translate, please? We don’t know what’s going on.” I think that might be a twin factor.
This interview has been edited and condensed for clarity and length.
A new National Gallery exhibition devoted to George Stubbs will centre a monumental painting of a rearing horse, Scrub, a bay horse belonging to the Marquess of Rockingham (about 1762). Previously seen in public only once and the only life-size horse portrait by Stubbs still in a private collection, the painting will go on display 12 March-31 May 2026 in the H J Hyams Room. Admission is free.
The exhibition places Scrub in dialogue with Whistlejacket (about 1762), Stubbs’s celebrated masterpiece in the National Gallery’s collection, on view nearby. Painted in the same year for the same patron, the two works are among the first large-scale British portraits of horses shown without riders. They reflect Stubbs’s radical rethinking of equine painting in the eighteenth century, largely informed by his rigorous anatomical studies and close observation of individual animals.
The exhibition brings attention to the depth of Stubbs’s engagement with the horse as a subject. Together, these works underline how Stubbs combined scientific precision with artistic intent, reshaping the genre of animal painting in Britain.
Digital design is changing and evolving at a rapid rate. With artificial intelligence, personalized interfaces and user-centric design, and looking at design, as a whole, from new, shifting perspectives.
Vineet Kapil, a product designer renowned for his pivotal work on Snapchat’s chat features, has had an unconventional journey from a self-taught tech tinkerer in New Delhi to a key player at one of the world’s largest social platforms, Snapchat, in California. His insights shed light on the changing landscape of product design, the disruptive potential of artificial intelligence, and the nuances of building products for a Gen Z audience.
According to a recent report from 99firms, Gen Z has the highest daily screen time of all generations, averaging from 7 to 9 hours of screen time a day. Roughly 55% use smartphones for over 5 hours a day, with usage driven by social media and entertainment. Gen Z is also twice as likely to shop on mobile, with 90% having social media accounts. Key platforms include YouTube (93%), Instagram (76%), and TikTok (59%), with 89% using dual screens.
Yet, Kapil’s own design philosophy is rooted in the opposite of what is expected from him as a Gen Z designer. “One of my design philosophies stems from the fact that I dislike looking at screens,” he said. “What screen could ever rival the sky, the trees, or the presence of those we love?”
As he explains: “Perhaps technology is at its best when it serves life quietly, with humility and care.”
This taps into his own design approach. “What if good design softened interruption, favored clarity over captivation, and stayed curious about when to step aside?” asks Kapil. “Could success be measured not by how long we are held, but by how respectfully we are returned to what already matters?”
Kapil’s fascination with technology began not in a classroom, but in the customization of mobile devices, tinkering with technology around the house. His professional path began to crystallize when a university in his hometown of New Delhi launched an Interaction Design degree shortly after his high school graduation. Recognizing a natural extension of his hobbies, Kapil pursued the program, eventually building a portfolio through freelance work on platforms like Reddit to overcome the limited internship opportunities available at the time.
Innovation at the Intersection of Audio and Meditation
Before his tenure at Snapchat, Kapil honed his skills at several high-growth startups. As the sole product designer at Leaf Studios, an audio consumer electronics brand, he tackled the complex challenge of AI sound personalization. Kapil led the redesign of the core product experience, focusing on a “barrier-free user flow” for a patent-backed app, operating on a lean cadence that required shipping design-led updates daily.
Later, as a design consultant for Atom—then the top-rated meditation app on the Play Store—Kapil focused on elevating the user experience. He conducted global usability tests, held ux interviews, while refining product taxonomy. Recognizing a need for cohesion, he initiated a Design System to bring consistency and speed to the team’s cross-platform processes.
The Role of AI and Design Philosophy
Chatting about the current trajectory of the industry, Kapil highlighted the transformative power of artificial intelligence. “It’s giving product designers the power to directly tinker with code, which feels very liberating to me,” he noted, pointing toward a future where the barrier between design and development continues to blur.
Kapil’s philosophy on design consultancy emphasizes clarity amidst complexity. “The best thing a design consultant can do is make the invisible obvious,” he explained. “That means spotting the assumptions everyone else has stopped questioning, uncovering the grey area of what users are actually doing rather than what they say, turning that insight into a clear, decisive and aligned direction.”
A Transformative Chapter at Snap
Kapil’s career reached a pivotal moment when he reached out to Snapchat regarding a graduation project. To his surprise, he was invited to interview for a full-time role. The interview process was rigorous, involving multiple rounds that assessed his design thinking through “messy” Figma files and assignments.
The process culminated in a meeting with Evan Spiegel, Snap Inc.’s CEO and co-founder. Kapil described Spiegel as “friendly, kind, and inspiring,” an interaction that solidified his desire to join the company.
At Snapchat, Kapil drove the design for the chat feature, a core experience facilitating billions of daily interactions among users. He cites the experience of learning from Spiegel and some of the industry’s best designers as the most rewarding aspect of the role.
Reflecting on his interactions with corporate leadership, Kapil offered advice to young designers: “They are the ones who usually care the most about the product in a company, so it’s nice to take a moment to absorb their vision well.”
Kapil’s contributions to the platform’s chat functionality continue to influence how millions of users communicate daily. His journey from a tech-savvy child in New Delhi to a prominent product designer serves as a testament to the power of curiosity, resilience, and the relentless pursuit of user-centric innovation.
Some key aspects from growing up in a joint household has helped him in the tech world. “Working on a big tech team often feels like being part of a multi-generational family: diverse personalities, overlapping responsibilities, and shared goals. The same ability to listen, care, and anticipate to connect and collaborate better.”
Art often steps in where time refuses to pause. That impulse runs through Echoes of Summer, Anna Iarchuk’s exhibition at Friendly Grounds in London, shown from 10 November to 10 December 2025. The exhibition positions itself as an attempt to treat summer not as a nostalgic image but as a fleeting psychological state shaped by attention and memory. This approach is convincing because the works resist closure. They do not try to hold on to summer but stay close to the act of noticing it as it passes.
Having recently moved to London, Iarchuk seems to have entered the city through its parks. Paths, trees, and passing figures recur throughout the exhibition, yet they are never fixed to specific locations. Her collages combine painted surfaces, hand-cut paper, and digital elements, a vocabulary familiar in contemporary painting. This combination could easily become decorative, yet here it largely avoids that risk. The restraint of the compositions keeps the works grounded in observation rather than visual effect.
Many of the works began as outdoor paintings made during the artist’s first months in the city. That origin remains visible, not as spontaneity for its own sake, but as a method of working. These are not studies moving toward a finished statement. They feel like returns to an initial encounter. Sketches made on site are later transformed into layered collages that still carry traces of changing light, weather, and time spent looking. Rather than romanticising plein air practice, the exhibition explores observation as a slow and uncertain process.
This approach is particularly clear in the Under the Trees series. Small scenes such as a child on a bicycle, a bend in a path, or the outline of a ruined church are handled with a light touch. Unlike many contemporary collage practices that use fragmentation to comment on urban or social conditions, Iarchuk’s work avoids overt narrative. Instead, it operates on a quieter, almost diaristic level. This restraint is a risk, but it is also where the exhibition finds its strength.
The Summer Flowers monotypes slow the pace further. Their small scale and unpredictability suit the subject, turning each image into a brief encounter rather than a depiction. At times, this lightness comes close to dissolving into pure mood, and some works risk fading too quickly. However, the consistency of the visual language prevents that fragility from becoming weakness.
The exhibition grew from a curatorial idea by Irina Andreeva, and her role is evident in more than atmosphere alone. The placement of works, the rhythm of spacing, and the way light falls across the surfaces are carefully considered. Rather than imposing a rigid conceptual framework, a choice that could have flattened the subtlety of the work, Andreeva allows the exhibition to unfold gradually. Brighter colours appear first, followed by softer greens and quieter tones. This progression supports the exhibition’s focus on perception and duration rather than statement.
Echoes of Summer does not rely on scale or spectacle. Its importance lies in precision and consistency. The exhibition holds together because it understands its own vulnerability and accepts it as part of its language. In doing so, it makes a quiet but convincing case for observation as a meaningful artistic position.
Have you ever forgotten about a thing you cared about–left in the corner, out of sight–until one day you realize it’s already changed? Not broken. Just… not the same anymore. Well, little you didn’t know that’s exactly what can happen to your BBW sex doll when she’s forgotten, neglected, or stored the wrong way.
We get it–you’ve been busy. Maybe you’ve found a new favorite. Or maybe you told yourself, “I’ll deal with it later.” Whatever the reason, improper storage can lead to stains, pressure marks, material damage, and a much shorter lifespan–and honestly, that’s the last thing any owner wants.
Lucky for you, we’re here to rescue your doll, and of course… your peace of mind. Below, we’ll walk you through the best places to store your BBW (big beautiful women) sex doll, how to do it safely, and the most common rookie mistakes that can quietly ruin her over time, so you can avoid them before it’s too late.
5 Common Spaces and Storage Ideas to Keep a BBW Sex Doll
There are plenty of storage options for your realistic sex doll with huge breasts, but because of its full, curvy body (yes, the realistic feel of its big ass, big boobs, plump breasts, curvy hips, and thick thighs… ohhh my!), you need to be careful.
Enough daydreaming! You have a mission, but first, check out these storage ideas to keep your doll safe and in good shape.
1. Sex doll storage case
Special locked travel cases are one of the best options for BBW dolls. Many come with handles and wheels, which makes moving a heavy doll much easier. If you are on a tight budget, a large lockable plastic storage box or a sturdy suitcase with a padlock can also work well and help keep the doll out of sight.
2. Locked wardrobe or cabinet
Since closets or portable wardrobes are small, dark, and have a door, it can be a great place to store the doll. Some owners hang the doll upright using a metal hook in the neck to keep the doll’s shape and stop the back and butt from getting flat on the floor. If you live in a humid area, placing a small dehumidifier in the closet can help stop mold and mildew.
3. Under-bed storage
Putting the doll under the bed is easier to reach if you use it often. This is okay for short-term storage, but not for a long time. If the doll stays flat on a hard surface for weeks or months, its curves can slowly flatten, and its shape can be damaged.
4. Storage bench
Another smart way to hide a doll is by using a locked footrest or ottoman. It looks like normal furniture, so it blends in with the room. Since it can be locked and looks decorative, most guests will not guess what is inside.
5. Spare room or storage room
Garages, attics, and basements are common choices for long-term storage, especially if you own more than one doll. In these spaces, it is best to place the doll inside a water-resistant container and keep it off the floor on a shelf or table to avoid water or moisture.
How to Store a BBW Sex Doll: The Best Way
Unlike skinny sex dolls, BBW ones are bigger and heavier (in good ways), which can make moving, cleaning, or storing them a bit tricky. And since most of these dolls are made from TPE material, they are porous and heat-sensitive, which only means they need careful handling and the right storage conditions.
The best place to store them is somewhere cool, dry, and dark, since direct sunlight or temperatures above 50°C can damage them. Also, using a special storage case intended for sex dolls is the best way to keep them safe.
If you take care of them, these dolls can last 2 to 10 years. But besides the storage case, you will also need some cleaning tools, especially if you have used your BBW love doll before storing it.
Here’s what you need:
Antibacterial soap
Renewal powder or cornstarch
Vaginal irrigator or washer
Dustproof bag
Storage case
The steps to follow:
1. Clean the doll before storing
Make it a habit to clean your doll before storing, especially the mouth, vagina, and anus, to keep bacteria at bay. Stick to lukewarm or cold water and a mild antibacterial soap, and avoid anything over 50°C or products with strong fragrances or dyes, which can damage the material.
For internal channels, a vaginal irrigator works best to rinse away all fluids and soap. Once clean, air dry completely and dust the whole body with renewal powder or cornstarch to keep the skin soft, smooth, and free from tackiness.
2. Prepare the storage case
The best way to store your doll is in its original polystyrene mold or a sturdy, lockable travel case with handles and wheels. Keep the storage space cool, dry, and dark. If you’re using a basement or garage, place the case on a shelf or table to protect the doll from moisture or flooding.
3. Protect sensitive areas
Always remove the wig before cleaning and wash it SEPARATELY with regular shampoo and conditioner. While cleaning, avoid getting the eyes or eyelashes wet, and take care not to soak the neck or head joints, so you can protect the metal skeleton from rusting. Also, make sure no hard objects press against the skin during cleaning, as this can leave permanent marks.
4. Secure in neutral position
After use, return your doll to a relaxed, neutral position: arms at the sides, legs together. Whenever possible, store her vertically (hanging or standing in a supportive box) to prevent the weight from flattening her curves, especially along the back and buttocks.
5. Cover with a dustproof bag
Slide your doll into a synthetic dust bag or a clean white cotton pillowcase before putting her in storage. This extra layer shields the skin from dust, lint, and sunlight, which can cause uneven discoloration. For silicone dolls (even sex toys), a breathable fabric bag helps reduce odor retention.
6. Store it in the case
Before sealing her away, make sure your doll is completely air-dried, and never use a hair dryer, which can melt the material. Remove batteries from any electronic components to prevent leaks or corrosion. Last but not least, lock the case to keep your doll safe from prying eyes or unwanted access. You’re done!
6 Common Rookie Mistakes When Storing a BBW Sex Doll
We all slip up sometimes, but mistakes when storing a BBW or fat sex doll can be expensive–and heartbreaking. To avoid this dilemma, here’s a short list of common rookie errors to watch out for:
Leaving your doll in direct sunlight can fade her skin, distort her facial features, and damage the TPE over time.
Using a hair dryer or heater to speed up drying can melt or permanently warp the TPE material.
Keeping the doll’s limbs raised or open even briefly can cause tears or cracks in sensitive areas like the armpits and groin.
Storing a heavy BBW doll flat on a hard surface for weeks can flatten the natural curves of her back and buttocks.
Failing to fully dry internal areas can lead to mold, fungi, and unpleasant odors.
Leaving dark or tight clothing on the doll during storage can cause dye stains and lasting indentations on the skin.
The Final Note
There’s really no excuse for not storing your BBW or chubby sex doll properly. Sure, it’s up to you, but taking care of her means keeping that lifelike feel and gorgeous curves intact. This is especially true for TPE dolls (even made from high quality materials): unlike silicone, they’re softer, more realistic, and yes… a bit delicate. Handle storage wrong, and you risk damage that’s hard to fix.
This is also your way to preserve the things you love most: the fat asses, the wide hips, the huge boobs akin to a real woman, the realistic experience, and every detail that made you fall for her in the first place. Remember the day she arrived at your doorstep? Perfect, flawless, and utterly captivating. Now it’s your job to keep her that way… for the long haul.
FAQs
Here are some common questions asked by many:
How often should I clean the doll if I haven’t used it?
Even if you don’t use your doll regularly, it’s important to keep her dust-free and give her a proper cleaning at least once a month to keep the material in good shape. For TPE dolls, reapplying renewal or talcum powder every two to four weeks will help protect the skin and prevent it from getting sticky.
Is it safe to store the fat sex doll under my bed?
Stashing your doll under the bed is fine for short-term or daily use, but it’s not ideal for long-term storage. BBW dolls are heavy, and leaving them flat on a hard floor for weeks or months can flatten the back and buttocks, which potentially ruin her natural curves and realistic posture.
What are the best options for long-term storage?
The safest way to store your doll long-term is to put her back in the original polystyrene mold she came in. Other good options include hanging her vertically in a closet using a sturdy steel neck hook to keep her shape, or storing her in a locked travel case with wheels, which makes moving heavier dolls much easier. Wherever you choose to keep her, make sure she’s in a synthetic dust bag to protect against sunlight, moisture, and dust.
Why must I store the doll in a “neutral” position?
Always return your doll to a neutral position to prevent the TPE material from tearing or cracking. A neutral position means her arms are at her sides and her legs are together.
Can I store my doll while it is dressed?
Yes, you can dress your doll for storage, but be very careful. Dark fabrics can permanently stain her skin through “ink migration,” and tight clothes can leave lasting marks or indentations on the soft TPE. If you do put her in clothes, make sure they’re loose and have been washed a few times to get rid of any extra dye.
Cardi Gallery will take part in the inaugural edition of Art Basel Qatar with the presentation of a landmark installation by Jannis Kounellis, realised in collaboration with the Kounellis Estate. The work, Senza titolo (2003), marks a rare appearance on the market for an installation previously shown exclusively in institutional contexts.
Originally conceived for the cloister of the Monastery of San Lazzaro degli Armeni in Venice, Senza titolo is a large-scale installation made up of vertically suspended weighing scales holding delicate groupings of Venetian glassware. The scale, a recurring element in Kounellis’ practice since the late 1960s, operates here as both object and metaphor, pointing to systems of trade, movement and cultural exchange across the Mediterranean. Arranged in a mobile-like formation, the work subverts the scale’s conventional function, privileging instability over precision. Rather than advancing a fixed narrative, the installation stages a field of associations in which historical reference symbolic meaning are deliberately unresolved.
The work will be shown at Art Basel Qatar in Doha, taking place 5-7 February 2026.
Jesca Hoop has announced a new album, Long Wave Home, which will be released on May 1 via Last Laugh/Republic of Music. It’s led by the single ‘Designer Citizen’, which comes paired with a video directed by James Slater. Check it out and find the album cover and tracklist below.
Opening up about her new album, which follows 2022’s Order of Romance, Hoop shared:
When I was faced with the challenge of writing and recording a new album, I had the choice to stay where I was comfortable, under the sage guidance of a producer or to step out into the dark and produce it myself. It became clear that if I was going to grow in the craft, I needed to become my own lighthouse. So I made the commitment to take on the Producer role. There were a lot of sleepless nights.
Writing Long Wave Home, though no less daunting, became a refuge for me—a place to explore interpersonal connections and the rise and fall of emotions that come with relationships. Writing an album can be very agitating, but it’s a discomfort I am comfortable with. What a gift it is to spend my time examining my inner world, my relationships, and from it make music.
My life took an unexpected turn in 2025. Many people exited my life… like a bus pulling into the station. Some of these relationships were of great importance, so I had much to wrestle with in these verses. Disconnect, or the illusion thereof, was also fodder for songs—amid the chaos and confusion we are creating in this world, I feel a responsibility to record what I see transpiring among us: what is being done… by whom and to whom.
The song titled ‘Caravan’ articulates the risks of investing in or relying upon intimate relationships. The title track, ‘Long Wave Home’, addresses a certain estrangement that I believe we are all feeling, as technologies isolate each of us and make connections feel ever more distant. ‘Playground’ is a protest song advocating for the children of Gaza.
Recording this album was a road trip and a forage—me and a hard drive in a camper van, pulling into studios up and down England, gathering material. I enlisted engineers Leo Abrahams (at The Shed in London); Jim and Rob Homes (at Empire Sound on the Isle of Wight); Jim Barr (at J&J Studio in Bristol); and Tim Thomas (at Blueprint in Manchester). I brought in Jesse D Vernon to arrange brass and tuned percussion. I brought in Sebastian Rochford on drums, Jon Thorne on bass, and Sam Amidon to play a cast of stringed instruments. Over three weeks, I roved my way through these sessions, gathering performances. I slept under viaducts and ancient oak trees, and I woke to dewy, glistening pastures. I found the best cafés, and I swam in the sea. The sessions felt like discoveries—surprise after surprise—as the musicians and engineers coloured the tunes, each in their own way. With a full hard drive and heart, I returned to Manchester—to Tim Thomas—where we laid out the sessions like bolts of raw material and constructed the album.
Long Wave Home is not just a renewal of my commitment to the craft of writing and record-making—it’s a vote of confidence and an investment in myself as an artist and authority over my vocation and life’s path.
Long Wave Home Cover Artwork:
Long Wave Home Tracklist:
1. Adam
2. Now The Ash
3. Designer Citizen
4. Big Storm
5. Love Is Salvation
6. Caravan
7. Playground
8. Signal To Noise
9. Viv Over Drink
10. Long Wave Home
This year’s collection, “The Divine Androgyne” didn’t start with a sketch, but with a mislabel. In the aftermath of a fire that changed the course of both Gupta’s life and that of his partner, poet Navkirat Sodhi, last year, Gupta returned to the runway with a collection named “Across The Flame”, and straight into the familiar script of roles. Sodhi was called “his wife” by the media. A familiar reflex that says more about our need for tidy definitions than about the people being described.
For 2026, Gupta’s point of departure may have been last year, but the destination was far older. The Divine Androgyne draws from Indian spiritual philosophy, Advaita, to be precise, a school of thought rooted in non-duality. Separation here is an illusion, masculine and feminine, self and other, body and spirit, collapse into one. In couture terms, bodies are neither revealed nor concealed, but reshaped through Gupta’s sculptural language.
The opening look was a black dress with sculpted volumes behind the waist and up, worn by a model whose face we could only see by half, from the front of the waist and up, a glowing silhouette paid homage to The Big Bang. “Time exists only for those too caught up to create,” was a line from the poem that opened the show alongside the dress, but Sodhi was not the only one in the room playing with the concept of time. As the show went on, we saw Gupta’s designs carry watch components as metallic sequins. Web-like thread techniques translating energy into form, living, body-mapped networks connecting twin silhouettes, or flames. Red, white, gold, jasmine, brocade, and sari-inspired weaving turned couture into a cross-cultural bridal statement. This runway had it all. Even Sodhi stepped on it again, in a look that allowed her injuries to show, embodying resilience, healing, and shared ascent.
The Divine Androgyne was more of a manifesto than a collection. Gupta’s sculptural silhouettes, web-like threads, and gravity-defying forms turned bodies into living architecture. And through it all, the creatives themselves stood at the center, proof that creation and identity are never fixed, they flow and rise together.
Some people find that stimulant-based products increase restlessness rather than improving focus. Real progress requires a calmer mind and better control over distractions. Avantera Elevate is positioned as a daily supplement with a fully disclosed formula designed to support focus and stress regulation. This 2026 review explores whether its blend of adaptogens and gut-brain support offers a structured approach to supporting focus and mental organization through daily use.
What Is Avantera Elevate?
Avantera Elevate is a premium nootropic supplement designed to support long-term brain health and daily cognitive performance. Elevate is formulated to support calm focus through a blend of botanical extracts and non-aggressive energy sources. It is positioned for adults who prefer focused support without relying on strong stimulants.
Avantera Elevate Formula Breakdown
Elevate stands out for its label clarity. Every ingredient is listed openly. There are no proprietary blends. That alone removes much of the guesswork common in this category.
Exact Ingredients
Avantera Elevate contains the following active ingredients:
Bacopa Monnieri
L-Theanine (Suntheanine)
CDP-Choline (Citicoline)
Lion’s Mane mushroom extract
Rhodiola Rosea root extract
Turmeric root extract standardized for curcumin
Ginger root extract
Black pepper extract (BioPerine)
Green tea extract
All ingredients are listed directly on the label.
How These Ingredients Relate to ADHD-Type Focus Issues
The ingredients are selected to support attention, stress balance, and mental clarity without overstimulation.
Bacopa Monnieri
Bacopa is commonly included in cognitive supplements that focus on memory and information processing. It provides cumulative support. It’s not an instant fix; its benefits build over time as you stay consistent.
CDP-Choline
Attention regulation depends heavily on acetylcholine signaling. CDP-Choline supports this pathway. For ADHD-type users, this can matter for task initiation and staying engaged without feeling mentally scattered.
L-Theanine
Overstimulation is a real issue for many people with ADHD. L-Theanine promotes calm focus. It helps reduce mental tension without dulling alertness. This makes it useful for people who feel wired but unfocused.
Rhodiola Rosea
Stress often worsens ADHD symptoms. Rhodiola helps regulate stress response. This can support focus indirectly by reducing the mental fatigue that leads to distraction and shutdown.
Lion’s Mane Mushroom
Lion’s Mane is included for long-term brain support rather than immediate effects. It is commonly used for cognitive clarity and neural support, which aligns with sustained attention needs.
Supporting Ingredients
Turmeric and ginger support inflammation and digestion, which can indirectly affect brain function. Black pepper extract improves absorption. Green tea extract provides mild alertness without aggressive stimulation.
Key Benefits for ADHD-Related Focus
Elevate uses adaptogens like Rhodiola to support stress balance and emotional steadiness, which can influence focus during demanding days
Sustained Attention
Elevate is not designed to force focus. Instead, it supports staying with a task once started. This is a common pain point for adults with ADHD.
Reduced Mental Noise
Ingredients like L-Theanine and Rhodiola help calm background mental chatter. This can make it easier to prioritize tasks instead of bouncing between them.
Better Stress Control
Stress often triggers distraction and avoidance. Elevate’s adaptogenic ingredients support emotional regulation, helping maintain productivity under pressure.
Long-Term Cognitive Support
This is not a stimulant stack. Benefits develop over time. That aligns better with ADHD-related executive function support than quick energy products.
Pros and Cons
Pros
Fully transparent ingredient list
Designed for calm, sustained focus rather than stimulation
Suitable for daily use and routine building
Clean label with allergen-conscious formulation
Cons
Results require consistency and patience
Not intended for users seeking fast stimulant effects
Pricing and Value Analysis
At roughly $1.78 per serving, Avantera Elevate is a premium investment. The value depends on how much importance a user places on ingredient transparency and routine-based use.
Option
Estimated Cost
Value Focus
Avantera Elevate (Single)
$64.95 / jar
High-quality, transparent dosing.
Subscribe & Save
23% Off – $49.95 / jar
Best long-term ROI.
Third-Party Testing and Safety
Avantera Elevate is produced in GMP-compliant facilities in the United States. The formula uses ingredients with published research and undergoes third-party quality testing.
The capsules are vegan-friendly and free from common allergens. This matters for long-term daily use, especially for users with sensitivities.
How to Use Avantera Elevate for ADHD-Type Support
To get the best results, consistency is more important than anything else. Here is the simplest way to add Elevate to your daily routine:
The Morning Routine: Take 2 capsules within an hour of waking up. This helps the ingredients work with your body’s natural morning energy levels.
With or Without Food: You can take it on an empty stomach for faster results. Try munching on a cookie or drinking milk if you have acidity issues.
Watch the Caffeine: Do not take Elevate with coffee, as it already contains natural caffeine
Note: While you’ll feel the energy quickly, the best focus benefits for ADHD usually appear after 2-3 weeks of daily use.
User Reviews and ADHD-Relevant Feedback
User feedback often mentions improved task engagement, better mental organization, and fewer focus crashes during the day. Many reviewers highlight the absence of jittery energy, which is a common complaint among ADHD-sensitive users.
Feedback tends to be strongest among users who commit to daily use and do not expect immediate stimulation.
A user on Reddit said: I’ve tried dozens of nootropics, and this is the first one where I don’t feel ‘wired.’ It just feels like someone turned down the volume on the background noise in my head.” ADHD women, 2026
Is Avantera Elevate Worth It for ADHD-Related Focus?
Avantera Elevate works as a support product. It does not treat ADHD, and it does not replace medication or therapy. What it offers is a clear formula meant to support focus, stress control, and brain health over time.
Elevate may be considered by users who prefer a non-stimulant approach and are open to evaluating results over time. It is not a good fit for anyone looking for quick energy or instant results.
FAQ
How long does Elevate take to work?
Some users report early changes, while others evaluate results after several weeks of daily use.
Can Elevate be taken every day?
Yes. The formula is designed for daily use to help build and maintain consistent cognitive benefits over time.
Does Elevate contain stimulants?
It contains a small amount of natural caffeine from green tea, balanced with L-theanine to prevent jitters or crashes.
Is it suitable for stimulant-sensitive users?
Many sensitive users prefer Elevate because it provides a calm focus rather than the intense spike of traditional energy products.
Can Elevate replace ADHD medication?
No. Elevate is a nutritional supplement for wellness support and is not a replacement for medical treatments or prescriptions.
Is Elevate vegan and allergen-friendly?
Yes. The capsules are vegan and free of common allergens such as soy, dairy, nuts, gluten, and artificial sweeteners.
