When Love Fades: An Intimate Conversation with Princess Laurinda Art Gallery on Love and Art.

By Nexth iTV |  Julian
 

JULIAN:

Good evening, everyone — I’m Julian, your host for this star-lit evening on Nexth iTV. Tonight, we slip into a world of couture emotion and sonic elegance with the radiant Princess Laurinda — the visionary muse redefining heartbreak and glamour in When Love Fades.

JULIAN:

Laurinda, every time you release a new XShow, it feels like the world gets a little softer — and a little more dangerous. When Love Fades is heartbreak wrapped in silk. How did this world begin for you?

PRINCESS LAURINDA:

That's exactly what I wanted — heartbreak, but make it couture.

I think it began with silence. The kind of silence that doesn't hurt at first — it hums, it lingers. You start to notice the small things: the way someone doesn't look back, the way their laughter feels like an echo. When Love Fades came from that space between “still love you” and “learning to let go.”

Every song is a moment I refused to let die. Even when the feeling fades, the beauty stays — and I wanted to paint that beauty in sound and color.

JULIAN:

So the pain became perfume.

PRINCESS LAURINDA:

Exactly. The scent that lingers after someone leaves the room.

I'm fascinated by that — how love changes form. Sometimes it becomes art, sometimes a melody. Sometimes it just becomes silence you carry like jewelry.

JULIAN:

You open the series with You, Me, Always — and it feels like stepping into a private diary. There's a line that keeps echoing:

“Don't speak… I know what's coming.”

That's such a knife-edge of tenderness and fear. Was that a real moment?

PRINCESS LAURINDA:

It was a thousand real moments. 

That line came from a night when words would've ruined everything. You know that feeling — when someone's about to say goodbye, and you think, “If I just stay quiet, maybe we can keep pretending a little longer.”

I wrote it like a confession whispered under candlelight. The quiet moments in love — those are the most erotic, the most dangerous. You don't need to touch; you just breathe the same air, and it's already too much.

JULIAN:

That sounds like your signature — turning the space between two heartbeats into poetry.

PRINCESS LAURINDA:

I think that's where I live. Between the beats.

When I'm DJing or painting, I always think about rhythm — not just in sound, but in emotion. Love has rhythm. Desire has rhythm. Even heartbreak has rhythm; it just moves slower.

That's what You, Me, Always is — a slow dance with silence.

JULIAN:

Then we move into Blow Your Mind — and suddenly, it's like you turned the lights down and started whispering secrets.

PRINCESS LAURINDA:

That's my “don't tell anyone” song.

It's about that delicious tension — when two people know something's about to happen, but they're pretending they don't. The line

“We don't need a single word to feel what hasn't yet been heard…”
is my favorite. It's sensual without saying anything explicit.

I like teasing emotion out of restraint. The less you say, the more you feel. That's why the production is minimal — breath, pulse, the sound of someone turning toward you.

JULIAN:

And then One Kiss — that one practically glows. It's like the soundtrack of falling in slow motion.

PRINCESS LAURINDA:

That song is pure surrender.

“One kiss, and we begin.” That lyric isn't about the kiss — it's about permission. When two people decide to step past fear, past logic, into that sacred chaos called love. It's not reckless; it's inevitable.

I wanted the music to feel like the moment right before you close your eyes — where the world holds its breath.

JULIAN:

There's something cinematic about the way your albums unfold — almost like a romance told across paintings and beats.

PRINCESS LAURINDA:

That's the Brand Art Emotion Remix Edition — I don't separate visual and sound anymore. Every beat has a color. Every lyric has texture.

In One Kiss, the visuals are warm — soft light, silk tones, bare shoulders. It's not about showing skin; it's about showing feeling. I wanted it to look like the air was made of touch.

JULIAN:

Then the tone shifts with These Walls. Suddenly it's quiet — the kind of quiet that hurts.

PRINCESS LAURINDA:

That's the moment love starts to dissolve. It's not dramatic — it's tired, almost tender.

“If these walls could talk, they'd tell us it's over.” That line came from sitting in a room that used to feel alive. Same furniture, same perfume, but the air changed.

I remember thinking — maybe the house knows before we do. 

The song is about honesty without cruelty. Love can fade gracefully if you let it.

JULIAN:

And then London Boy — a total mood shift! It's flirty, sparkly, cheeky — like champagne on cobblestones.

PRINCESS LAURINDA:

Every heartbreak deserves a London chapter!

That one's about memory with a wink. You know, the boy with messy hair and terrible coffee who somehow ruins you for everyone else. 

I wanted London Boy to feel nostalgic but stylish — heartbreak in a trench coat. The lyric “I got a thing for a London boy” is really about falling for the city itself — its chaos, its charm, its contradictions.

JULIAN:

Your visuals from the Princess Laurinda iArt Gallery are always striking — especially the scenes in Truly, Madly, Lonely. There's this haunting beauty, like time has stopped.

PRINCESS LAURINDA:

That one was hard to record. I had to sing through tears — real ones.

“Truly, madly, lonely — I'm still holding on…” That's not a lyric, it's a heartbeat.

The gallery visuals are soft — flowing fabrics, rainlight, slow motion. It's like walking through someone's memories. I wanted people to feel the ache, but also the devotion behind it. Because when love fades, it doesn't mean it was a mistake. It means it was real enough to miss.

JULIAN:

Then comes Fading Into You, one of the most sensual tracks you've ever made. It's like smoke and silk — mysterious, intoxicating.

PRINCESS LAURINDA:

That one's the quiet fire.

It's about the kind of desire that doesn't ask for permission. “I want to taste the night inside you…” — I remember writing that and thinking, oh dear, this one's dangerous. 

But it's not about lust — it's about merging. Losing the border between two people, emotionally, spiritually. That's why the production feels fluid — you're not sure where one sound ends and another begins.

JULIAN:

Then, like sunlight after the storm, Sunday Morning. You suddenly give us warmth, ease, something almost innocent.

PRINCESS LAURINDA:

That's my “breath again” song.

After all that darkness, I wanted light. “Driving slow on Sunday morning, and I never wanna leave.” It's peace disguised as pop.

When I recorded it, I imagined waking up next to someone you love and realizing the world can be simple again — no drama, just quiet happiness.

JULIAN:

You play so much with contrast — Midnight Waltz follows, and it's pure seduction.

PRINCESS LAURINDA:

I blame candlelight.

That song is the dance of desire. “Spin me slow in this midnight waltz…” — it's sensual, yes, but also spiritual. It's about trusting someone enough to let them lead you into the dark.

The art for that one is drenched in crimson and violet — like sin and royalty making peace.

JULIAN:

And then Let Me Reintroduce Myself — I have to say, it's iconic. You go from heartbreak queen to cosmopolitan goddess.

PRINCESS LAURINDA:

Thank you! That one's my victory lap.

“Silk heels on Shanghai streets, baby, watch me shine.” That's me reminding the world — I may break, but I don't stay broken. I evolve. I flirt with my past selves.

It's playful, a little sassy. After all the tears, I wanted to dance again — but in heels.

JULIAN:

Then, you pull us right back into intimacy with No One Touches Me Like You Did. That's pure velvet.

PRINCESS LAURINDA:

That's my most vulnerable piece.

I wanted it to feel like remembering someone's hands after they're gone. “Every heartbeat melts under your name…” — it's soft, but it cuts.

I recorded it in one take, lights off. I wanted to capture the honesty that comes after the performance — when it's just you, memory, and the echo of a kiss.

JULIAN:

And the sequel, Part 2 — it's even more tender, almost like a dream you don't want to wake from.

PRINCESS LAURINDA:

That's the closure that doesn't close. 

When I whisper “Love me, soft and low,” it's not about wanting the person back — it's about keeping the warmth of what was. I believe in eternal tenderness. Even if someone leaves, the affection can stay pure.

JULIAN:

Then comes Happy For You — I have to admit, that one surprised me. It's the sound of grace.

PRINCESS LAURINDA:

I think it's the most grown-up song I've ever written.

It's easy to sing about pain or desire. It's harder to sing about peace. “I must've loved you more than I ever knew… ‘cause I'm happy for you.” That line is freedom.

The moment you can bless what broke you — that's when love becomes eternal.

JULIAN:

And Scared To Be Lonely — oof, that one hits differently. It's honesty without makeup.

PRINCESS LAURINDA:

Exactly. That song is about the nights when we don't call it love, we just call it not being alone.

I think everyone's been there — holding someone, knowing it's not forever, but needing it anyway. It's the kind of vulnerability that makes you human.

The line “Is the only reason you're holding me tonight ‘cause we're scared to be lonely?” — that's me admitting I've done it too.

JULIAN:

And finally, You Kissed Me Like a Goodbye and Almost Forever. They feel like the perfect closing chapters — bittersweet and cinematic.

PRINCESS LAURINDA:

You Kissed Me Like a Goodbye is that moment when you realize the end can still be beautiful. “Soft and tender, but it burned inside.” Love and pain — they share the same temperature.

And Almost Forever is the dream — the duet between connection and distance. “Almost forever” means it wasn't eternal, but it felt like it could've been. That's enough. That's art.

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