le mile magazine Stella-Tennant-photographed-by-Colin-Dodgson-for-Burberry-c-Courtesy-of-Burberry-_-Colin-Dodgson-alongside-`Still-Water'-by-artist-Nic-Fiddian-Green-photographed-by-Peter-Langer-for-Burberry-c-Courtesy-of-Burberry-_-Peter-Langer.jpg
 Sankuanz Men's Spring 2019

Artist Talk. V&R


Artist Talk. V&R



.artist talk: Viktor & Rolf
* between art + fashion

august 019
written Monica De Vidi

Is your work fashion or art?”, this is a question that Dutch designers Viktor Horsting and Roelf Snoeren had to answer quite often during the twenty-five years of their fashion house, a period during which they created clothes characterized by an impressive sculptural appearance; clothes that they presented with runway shows similar to art performances, causing critics and the wider public to discuss the definition of fashion.

Viktor and Rolf seen by Frits Schroeder

Viktor and Rolf
seen by Frits Schroeder

Despite the international attention, indeed reinforced by viral initiatives such as the Fashion Statements collection, the duo is still based in an atelier in a seventeenth century house in Amsterdam, that represents the place from where Viktor and Rolf brought a breath of creativity and newness to the Netherlands, a country that is not known for avant-garde in fashion, but that was more famous for its traditional wooden clogs and lace costumes. As a tribute and a recognition about how fundamental the duo is the national cultural heritage, as well as worldwide, a retrospective exhibition has been hosted at the Kunsthal in Rotterdam, from May, the 27th to September, the 30th 2018.

In January 2019, Viktor and Rolf took part in the Paris Couture Week, where they unveiled seventeen looks belonging to the Fashion Statements collection, a collection that confirmed their genuine freedom within a fierce business, their desire to express ideas taken from the daily life, from the Internet and the social media, translated to haute couture’s language: “Sorry I'm late”, “I didn't want to come”, “Go to hell”, or “Give a damn”. Yet, “Freedom” and “I want a better world” are also part of slogan canon, and appeal to the global audience. That audience was enabled to take part in the couture show thanks to a simple Instagram account, where people could virtually share the feelings triggered by the voluminous, enormous and colorful gowns constructed with tulle and embellished with the designers’ sophisticated and precious details.

On the occasion
of this event, we
had the chance to
interview Viktor & Rolf
and to discuss the
balance between
creativity and
commercial interests. 

Viktor&Rolf NO readytowear


When did you start to define yourself as “fashion artists”? Are critics the ones insisting on finding a definition for your creativity or do you feel the necessity to express your identity with “traditional” categories?

We have always had close ties with the museum world: we started in the art world before focusing on fashion, but we have never identified as artists, we prefer “fashion artists”, because it addresses a question that is often asked: is your work fashion or art?

From the start, you’ve been featured in spaces dedicated to art, such as museums and galleries. What kind of public do you want to reach through these gestures? How do you want people to see your work and why is it important to stem the exclusivity of fashion shows?

The art world embraced us before the fashion world did. That was not our choice, it just so happened. We felt quite at home there and we had many shows in the art context before focusing on fashion. We still like to do both because they both offer unique possibilities. A fashion show is for a small group of people and it happens at one specific moment in time, never to be repeated. A good catwalk show can have an energy that is unlike anything else. A museum or gallery show is more democratic: it can reach a wider audience than the catwalk, and an exhibition offers different circumstances to focus on different aspects of the work.

You both come from an education in fashion, but at the same time you constantly look at the art world for inspiration. What drives you? How important is the commercial side of your activity?

We express ourselves through fashion. This is what drives us: to create. Our ambition has always been artistic, and we still see commerciality as a byproduct thereof. Flowerbomb, our first perfume was created with the same approach as our most extreme couture. It’s a difficult balance to strike, between commerciality and artistry. Sometimes it works, often it doesn’t.

You have demonstrated that you are able to cross boundaries between different media and techniques, what’s the role of experimentation in your activities?

We like to experiment. For us, couture is our laboratory for creative experimentation. The aim is to try to express something new.

Based on a former exhibition in Melbourne at the National Gallery of Victoria, curated by Thierry- Maxime Loriot, the exhibition “Viktor & Rolf: Fashion Artists 25 Years” digs into duo ́s traditional themes. The show features one or more pieces from old and new collections, stage costumes for ballet and theatre and artisanal porcelain dolls wearing down-sized versions of the dresses of each collection, produced with the papier-mâché technique since 2006 by a Belgian manufacturer. Everything is showcased alongside a wallpaper, a unifying element made for this event and digitally realized from hundreds of original sketches by the designers.

On display there’s one of the symbols of Viktor and Rolf ́s constant connection with the artistic universe, an extract from Wearable Art (AW 2015/2016). When originally presented, the designers themselves appeared on stage to remove the “clothes/paintings” from the walls and to put them on the models, and then back from the models to the walls. There’s also the installation Russian Doll (AW 1999), a catwalk with moving mannequins, each of them wearing one of the “arquitectural” layers of the composition made with various fabrics and with different techniques, which remind us that wearability is not the main concern for Viktor and Rolf, because clothes and fabrics are only objects in their conceptual process. The same theme was investigated in Red Carpet collection (AS 2014/2015), literally realized with carpet fabrics, or in Bombon collection (SS 2014), where garments were pushed to create a surreal effect, a second skin, suggesting even the idea of wearable nudity. The research of the duo on materials, their limits and possibilities is well represented in the retrospective, for instance with the mono-material of Surreal (SS 2018), where satin is the only protagonist, or with the unique piece of Shirt Symphony (SS 2011), or furthermore with the studies about the effects of lights and colors on textiles inWhite (AW 2001/2002). But the pair’s range of materials goes beyond textiles. They bravely use different media as in Van Gogh Girls (SS 2015) that combines abstract volumes with organic elements, including three-dimensional flowers. Emblematic in the exhibition is a sample from the NO collection (AW 1996/1997), a self-portrait of a moment of rebellion of the designers against fashion ́s fast pace and its consumption logic, a protest represented also by the picture of the model walking around Paris from the On Strikecollection (AW 1996/1997).

Viktor&Rolf NO Performance of Sculpture

Performance of Sculpture

Divided in chapters and developed in a coherent path, the exhibition reflects the evolution of your work and proofs that you feel free to belong to both, the disciplines of art and fashion. Would you define this connection as the secret of your success? Have you ever thought about addressing yourself to one of them only?

There is no real secret to our success. We believe that staying true to ourselves is the key to our success. We try not to feel inhibited by categorization or external factors when we create. We try to feel free.

Looking at the exhibition, the temporal dimension seems key to understanding your art. Your art is made last. Would you donate, in the future, your creations to museums, where memories are preserved? Where do you see your own work in the next twenty-five years?

That is an accurate observation. The dolls as well as the tapestries are an example of our fascination with time and our desire to somehow cherish and safeguard that what is fleeting. Our work is present in numerous museum collections worldwide, such as the Met, the Kyoto Costume Institute and the Palais Galliera in Paris.






COS aw_019
* seen by Mark Borthwick

july 019

COS is pleased to present its autumn/winter 019 campaign by iconic photographer Mr. Mark Borthwick. The shoot exhibits a collection with contrasting forms and sensual richness, featured on models Khadim Sock, Lina Zhang and Giedre Dukauskaite. 


“COS launches
new campaign
seen by Mark
Borthwick in
the English

An exploration of scale combining a brutalist approach based on the strong, angular lines and a tranquil mood of escaping to nature is reflected in the contrasting backdrop of pristine English countryside and raw, architectural structures.

COS Autumn Winter 2019 campaign film

Drawing the manmade and the natural worlds together, traditional yet reworked pieces form a distinct theme this season. Firm structure and soft fluidity intertwine to form exaggerated proportions, while natural and innovative materials create architectural shapes. 


Very Ralph

Very Ralph



Ralph Lauren
* Documentary: Very Ralph

july 019

With an uncanny ability to turn his dreams into reality, Ralph Lauren has built one of the most successful brands in fashion history out of his aspirations, becoming a living embodiment of American optimism and the American Dream.

Featured in the photo: Ralph Lauren, 1978, Photo credit: Les Goldberg / Courtesy of Ralph Lauren

Featured in the photo: Ralph Lauren, 1978, Photo credit: Les Goldberg / Courtesy of Ralph Lauren

*VERY RALPH is directed and produced by award-winning documentarian Susan Lacy and will be the first documentary portrait of fashion icon Ralph Lauren that debuts on November 12, 2019 on HBO. The feature-length film reveals the man behind the icon and the creation of one of the most successful brands in fashion history.

For more than 50 years, he has celebrated the iconography of America and defined American style, translating his vision andinspiration into one of the world’s most widely recognized brands. In *VERY RALPH, as he enters his sixth decade in business, Lauren reflects on his journey from a boy from the Bronx who didn’t know what a fashion designer was, to becoming the emblem of American style all around the world.

Offering unprecedented access to his life and work, Ralph Lauren speaks candidly in extensive interviews about his childhood, his five-decade-long marriage, the early days of his company, his response to criticism, his inventive multi-page ad campaigns and his pioneering vision which includes a remarkable series of firsts: Lauren was the first designer to create and market a complete lifestyle brand and expand into home furnishings, one of the first to champion diversity on the runway and in advertising and the first to create immersive retail environments that transformed the shopping experience.


IVH Paris HCW Paris

IVH Paris HCW Paris



* hypnosis

july 019

For this collection, the designer fnds inspiration in the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe’s kinetic sculptures is the wind beneath the wings of this collection. Howe's spherical ‘Omniverse’ sculpture explores our relationship with nature and intertwines with infnite expansion and contraction, expressing a universal life cycle. The meditative movement of the ‘Omniverse’ serves as a portal for the collection and the models, encircling a state of hypnosis.


“The 'Hypnosis'
collection is a
hypnotic visualisation
of nature’s tapestry,
the symbiotic cycles
of our biosphere
that interweave
the air, land, and
oceans. It also
refects the ongoing
dissection of the
rhythms of life and
resonates with the
fragility within
these interwoven

Iris van Herpen

The collaboration with Howe evolves ‘in an ecstasy of attentiveness’ through the symbiosis of all the elements of nature that are dependent on each other. As one of the key pieces of the collection, the fnale ‘Infnity’ dress comes alive on the breath of a fnely balanced mechanism. An engineered skeleton of aluminium, stainless steel and bearings is embroidered with a delicate layering of feathers in cyclical fight; revolving around their own centre. ‘Hypnosis’ refects the beauty and complexity of our environment, exploring the patterns and structures within its fragile landscape.

On July 1st, 2019, Iris van Herpen presented her latest Couture collection, titled 'Hypnosis', at Élysée Montmartre in Paris. The collection is inspired by the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe's kinetic sculptures is the wind beneath the wings of this collection.

The 'Hypnosis' collection consists of 19 silhouettes that fow deceptively in transparencies. Multilayered around the body, they revive the ancient silk moiré weaving technique that links to the illusory nature of human perception. The ‘Epicycle' looks are constructed by multi-layering luminous organza spheres, which challenge the relationship between surface and substance through illusory patterns that wrap into each other infnitely.

The ‘Suminagashi’ garments which refect the venerable art of Japanese foating ink on water, are lasercut into liquid lines of dyed silk, heat bonded onto transparent tulle to seemingly and seamlessly fow over the skin. The ‘Dichotomy’ looks are laser- printed, heat-bonded and lasercut into contra-positive waves. Each dissected curve is then pressed onto hundreds of ripple-like panels that ebb and fow in an exquisite swell of meticulously hand stitched silk organza. The ‘Hypnosis’ technique, developed in collaboration with Professor Phillip Beesley involves ten of thousands of plottercut mini ripples that continuously dissect the dress through each movement of the body, revealing skin in between the whimsical spheroid patterns. The printed duchesse-satin is plottercut into thousands of 0.8 mm exquisite waves that each are interlinked, designed to move faster than the eye can follow.

courtesy Iris Van Herpen






* seen by Daniele Neu

july 019

The new DROMe advertisement campaign stars Querelle Jensen in images seen by photographer and director Daniele Neu. Neu teamed up with creative director Marianna Rosati, art director Jamie Reid and stylist Emma Wyman to capture the fall/winter 019/020 collection in New York City.


“The campaign
was shot using
film to emphasise
the texture of the
images, …”

Aesthetically, the photographs remind us of the previous campaign images that maintain the same unfiltered approach but with a different feel and scenery. This time a woman is at the centre of an empty scene, where light and shadow interact with her in an intimate atmosphere, marking the plasticity of her movements. A minimal and esential scenery, where colours emerge brightly from some photographs, while black + white redraw shapes and volumes in others. Its simply a document of moment and simplicity.

Well-known model and queen of beauty and femininity, Querele Jensen is the face of the campaign and represents a confident woman with strong features that perfectly embodies the world of DROMe.






* p/f 019

july 019

Clear in function and shape, Wandler shows a distinctive aesthetic: elegant with unexpected dimensions and a dynamic use of colors.


The bags are
in Italy
and named
after loved
who are an
for the

Embodying modern femininity, each bag is a reflection of the designer – as she is and who she aspires to be. Wandler is committed to sincere quality, each design is handmade in Italy.

In 2017 Elza Wandler launched her namesake brand Wandler. Born and raised in the south of the Netherlands, the designer currently works and lives in Amsterdam.


A palette of warm materials and tones is crafted that maximises the impact of leather textures, designed with an intentional interplay of soft and textured elements. For the first time, the designer includes grain, pony and tie dye leather and chooses denim to create an interesting harmony between materials. Colors like Syrup, Mahogany,

Eggshell and Thundercloud serve to enhance the underlying vintage-modern edge to the designs. This season’s new mini styles, the Yara Box and Luna Mini, and Zebra skin express the fun charm of the brand.

The collection is carried by a selection of high end retailers, including Net-a-Porter, Barneys, Matches, Isetan, Browns, Dover Street Market, Hypebae, Mytheresa, Antonia, Luisa Via Roma, Galleries Lafayette, 10 Corso Como, Moda Operandi, Boutique 1, Totokaelo, The Webster, Forty Five Ten, Holt Renfrew, Lane Crawford, Beymen, The Modist and Le Mill.


Griffin x Woolrich

Griffin x Woolrich



* sophisticated sustainability

july 019

For almost 25 years Woolrich´s design hub *Griffin Studio* has designed garments and collaborated with some of the foremost outerwear brands worldwide, mixing fashion and sportswear at the cutting edge of innovation with a refusal to compromise on attention to detail.


“Think about each
new piece that you
add to your wardrobe;
its care, laundry,
lifespan - in other
words its impact and
yours on the

Marie O´Mahony, Professor at Royal College of Art, London (UK)

Griffin Studio is Woolrich´s internationally renowned design hub. Based at the highly accoladed Loveland Farm eco retreat in Hartland, North Devon. Hartland is England´s most geographically remote location, famous for its stunning coastline and challenging, diverse landscape.

Woolrich is known for its high-quality wooden goods which pass the test of time with flying colors-both physically and aesthetically. Textile innovation is one of Woolrich´s core values, in terms of both fabric selection and manufacturing methods. Whether it´s prioritising stitches over bonding to ensure repairability, or utilising recycled fabric for packaging.

For the new fall/winter 019 collection, Griffin x Woolrich uses high quality, sustainable and 100% recycled polyester filament which is made by recycling the plastic collected at the bottom of the sea. The fabrics are highly breathable and waterproof.


Lacoste x Golf Le Fleur

Lacoste x Golf Le Fleur



Lacoste x Golf Le Fleur
* Tyler, The Creator

july 019

Following a teaser in a recent video from California-based musician Tyler, The Creator, we now have the chance to see the first collaboration between Lacoste and Tyler, The Creator´s clothing brand GOLF le FLEUR.


Don’t say dusty
pink, say “litchi”.
Beige becomes
a mineral
geode”. Forget
about off-white;
here we are talking


The collection injects some of the US artist´s iconic style into 80s courtside flair. 

The tennis-inspired collection includes tracksuits, shorts, bucket hats, Lacoste´s signature polo shirts and embodies comfortable and uni-sex cuts and styles in contrasted colours. The colours themselves were renamed to express singularities produced by surprising multi-shades or complementary side tints. The nerdy polo shirts are executed in solid mascarpone with accents of litchi. Somewhere in-between the classy, laid-back tennis lifestyle and street- evel subcultures, Lacoste × GOLF le FLEUR redefines conventional notions of elegance and casual style. 

This fresh, sport-oriented collection will drop on 17 July 2019 in Lacoste’s physical and online stores, as well as concept stores around the world.






*Collaborative Cleaning Initiative

july 019

For Paris Haute Couture 2019/2020 the Dutch fashion design duo Schueller de Waal teams up with Pik Pik Environnement to present its first Collaborative Cleaning Initiative named ‘Litter’, supported by the city of Paris.


On tuesday 2 July, on a public square, right in front of the town-hall of the 15th arrondissement,
a group of 50 models, cool kids and volunteers started to clean the streets in an upbeat cleansing fashion performance. The models picked up trash from the streets, dressed head-to-toe in freshly made garments made from the studio’s leftover fabrics, deadstock and other remains from the fashion industry. The act of cleaning served as an inspiration for both the presentation as well as a design principle. With the performance, the initiators aim to make a powerful statement on the current state of the industry and inspire for change.


‘Litter’ elevates ‘the act of cleaning’ by combining different elements into a collective cleaning session. Rather than changing a location to meet the needs of a fashion show, SDW studio created an intervention that has a positive effect on the location. Collaborating with local NGO’s (PikPik Environnement, Green Bird Paris, FNE France Nature Environnement) educating about garbage separation and conscious living as part of city maintenance, and fashion professionals (stylists, fashion journalists etc.) supporting the mission, SDW Studio dressed a diverse group of people in an eclectic range of cleaning uniforms.


Driven by the idea of re-using previous collections and giving them a new context, the collection translates the concept of ‘Litter’ into re-purposing. SCHUELLER DE WAAL re-purposes their body of work into a range of one-size-fits-all and multifunctional cleaning uniforms through various re-purposing design principles.

The foundation of the collection is the repetition of a singular silhouette, a workwear inspired overall. The symbolic meaning of ‘rolling up your sleeves’ to work defines the look and feel of the collection. Through belting systems the uniforms can be worn in various ways, creating different looks or silhouettes within a singular style.


Schepperheyn SS20 Collection - An evening with friends

Schepperheyn SS20 Collection - An evening with friends



* an evening with friends

july 019

Schepperheyn continues to spread genderless vibes within the new Unisex collection, presenting a number of oversized styles, merging tailoring with work- and streetwear.


An evening with friends - fun, comfortable, soothing, challenging, adventurous, reminiscing, magical and so much more. It can take you anywhere…

Prints are combined with fabrics such as cotton, silk, premium jerseys, organic & recycled denim and tech fabrics. The collection thrives on a variety of elements such as contrasting topstitching details, trimmings and colour blocking. The sharp colour palette of prussian blue, black, navy, off-white, caramel, lilac and white is accompanied by an interplay of technical fabrics and natural textiles. Printed silk scarfs complete the collection range.

During Berlin fashion week, they showcased the collection in their redesigned store.

seen Jaap Bräutigam
styled Theresa Gross
hair&make up Katharina Handel
models Huxley & Ellen


Paria FARZANEH Spring Summer 2020 * Virtual Signalling

Paria FARZANEH Spring Summer 2020 * Virtual Signalling



*s+s 2020

june 019

The fascination started in trying to find why someone would ever feel so attached to an item of clothing. What makes them obsess over it? Why would they make sacrifices for something they couldn’t have instantly? Perhaps they find it rewarding to work hard for that piece? 


The collection was never intended to be something that didn’t resonate. There has been an extreme pressure to create ‘newness’ in uncertain times, however the act of being able to anecdote and to be able to tell the next chapter of the story has never been lost. 

Constant searching led to amicable feelings towards a certain colour that resonated, or a memory and an experience. The colours feel quite primary but this time there wasn’t too much ‘compromise’. Stains of orange, dirty purple, military khaki and acidic mustard yellow came in pairs. Each look had to follow one another in synchronicity. The silhouette is soft, modest perhaps, with elements of creative pattern cutting, slashing a shirt’s form, imitating an apple pastry. Solemn tailoring is stripped away and is concluded in vibrant offcuts from the entire collection to create a bold suit, broken into geometrical panels.

Sometimes I feel I should completely stop but then there is still so much that needs to be said. When you are a creative the biggest judge is yourself. I always think, if it isn’t good enough for me, then it won’t be good enough for anybody else. When reflecting on this again in the future, it will be looked at from a different perspective, a part of the story which helped to build the ongoing narrative. 


ASTRID ANDERSEN Spring Summer 2020 Collection Lookbook

ASTRID ANDERSEN Spring Summer 2020 Collection Lookbook



*s+s 2020

june 019

Astrid Andersen launches her Spring+Summer 2020 collection taking a slower, quieter approach to the creative process. 


This calmer rhythm in the studio is echoed in a subtly focussed collection emphasising elements of handcrafting and a lighter touch with layered dip dying and more delicate fabrications. 

Leaning towards multi-step development techniques and lighter textiles demonstrates a conscious move to slowing the process down, taking time to breathe and take stock between each stage, and carefully consider every detail down to the individual seems and finishes.

Inspired by the ethereal and poetic, Astrid Andersen was deeply influenced by the visual universe of South Korean artist Do Ho Suh and the soundscapes of musician James Blake. Peacefully crafted hand-dyed organza anoraks, trenches and hoodies give a nod to this. A retrained palette of light greys into dusty blues, black and hints of ochre further flow into this season’s mindful and contemplative mood. Spring/Summer 20 reimagines pieces exploring the area of formal shirting and sweatshirts, applying custom tonal leopard print across silk sports shirts, signature seam-sealed tracksuits and shows a fresh perspective on the brand’s jersey/velour cut track suits with a retro-poetic feel.

Photographer_ Akram Shah
Stylist_ Simon Rasmussen
Hair & Make-up_ Jenna Scavone
Talent_ Mahi, Samuel Wilken, Symone Lu


Denmark’s crown prince of fashion doesn’t care what you think.

Denmark’s crown prince of fashion doesn’t care what you think.



*Denmark’s crown prince of fashion doesn’t care what you think


may 019

I was sweating. Beads of perspiration were pouring down my neck, my face, and back. Rolling down my gold and silver sequin blazer. The hot Parisian sun was unforgiving. The man beside me was wearing a leather trench coat.

Henrik Vibskov.  (c) Christian Larsen

Henrik Vibskov.
(c) Christian Larsen

Others looked like lost cast members of Willy Wonka and the Chocolate Factory. We all looked ridiculous. But we didn’t care. For some, it was as if Christmas had come early. One man raved to another about how far he had traveled just to see the show. The soles of my shoes seemed to be burning into the tar of the earth. Yet, here we were, a bunch of misfits standing in glamorous costume on an abandoned school playground, like school children to be ushered to morning homeroom. To the gymnasium of Lycée Henri-IV, one of France’s most prestigious secondary schools. Waiting for a fashion show to start. And as I looked around at the line that seemed to swerve around corners, I began to understand. For Henrik Vibskov the world was a show. A fantastical, bizarre universe where at 47, Vibskov remains a leader. And we were his sheeple.

Having produced more than thirty collections since his graduation from Central Saint Martins in 2001, the Danish multi-hyphenate is so much more than a poster boy for independent fashion. How many fingers do you have? A typical month for Vibskov includes an exhibition in Chicago, a visit to his New York flagship, England for more exhibitions, and then preparation for costumes he’s designing for the Swedish Royal Ballet. How does he do it? “I just like to explore my brain a bit,” he says with a nonchalance that can only be described as distinctly European or “North Scandi” to be exact. “Getting out on thin ice,” he calls it. 

With a whimsical boutique, selling more than 20 designers, from cult favorites like Comme des Garҫons to emerging labels like Eckhaus Latta, Vibskov has been in the business of doing it for yourself long before the notion of menswear received as much as head nod from a celebrity or discerning editor looking for the next big thing. Eons before entrepreneurialism became chic. For Vibskov, like many young brands, it was about survival. “It started many years ago when we didn’t have such big collections. We needed other products,” he says. “I like the mix of products, designers, colors, visions, and religions. Just as the world is.”

Visions that include a “Spaghetti Hand Job”, “Sticky Brick Fingers”, nude rhythmic movement, and most recently, “The Radish Arm Charm”, the designer’s Fall/Winter 2019 interpretation of futuristic farming. Of which Vogue called “amateur”. But the designer’s unique brand of eclecticism isn’t for everyone. “It’s not easy making cool commercial stuff that sells. But that’s not what I’m aiming for. I need passion,” he once told Scandinavian Traveler. “For graduation from Central Saint Martins I suggested to the teachers that I have real pigs on stage, but that was not an option,” he says, “So I made fake ones instead.” In case you haven’t gathered, Vibskov doesn’t care what you think.   

Yet since 2003, Vibskov has been a member of the Chambre Syndicale de la Mode Masculine, the official governing body of French menswear and is one of the most prolific menswear designers to come out of his beloved Denmark to date. Denmark is also where he lives with his family and where his studio is based. It’s also where Den Plettede Gris is, his café located in the center of Copenhagen, Danish for “The Spotted Pig”. 

And if you’ve also noticed, the designer has a bit of an unusual fascination with the rose toned creature. Perhaps a consequence of being raised by pig farmers. He even based a collection on his four legged friends, called “The Salami Kitchen.” And founded the P.I.G. (Practical. Intelligence. Genius) Foundation. “The aim is to focus on outstanding new talent, selected from across all creative fields, and to help them financially proceed with their work,” Vibskov says. "I had been doing a lot of talks around the world, participating in juries at schools and so on, and I decided that I wanted to start donating the fees for those activities to help foster some of the amazing creativity out there," he continues. 

In a landscape where change is the only constant, and funds always seem to be limited or non-existent for many independent brands, the Danish designer is somewhat of a unicorn. “There is always a limit,” Vibskov says, “but we always get our message across.”  

The PR girl aptly dressed in black ushered everyone to their seats. The humidity inside the gymnasium was equally as oppressive as it had been on the playground. Some guests were fanning themselves with programs. Three women in modest muslin began turning windmills. The ocean of commotion ceased. The models began to walk. Silence. The show had begun.


WOOLRICH Outdoor Label A/W 2019 Collection Lookbook

WOOLRICH Outdoor Label A/W 2019 Collection Lookbook



*coexistence of humanity and mother nature: Not a soul in sight, only the sound of falling snow fills the air

may 019

Woolrich draws inspiration from the coexistence of humanity and Mother Nature for a new outdoor wear collection. Channelling the tranquillity of falling snow amidst mountain fields of untouched nature, the Quiet Sports concept references Woolrich pieces from the 1980s and 90s, with a palette of neutral colours that blend with tones of sunrise & sunset, and also water & sky blue.


Launching FW19, the Quiet Sports collection includes innovative garment-dyed down jackets with waterproof membranes, and technical knitwear with new insulation technology. Long coats insulate with layering options, and are finished with Woolrich’s acclaimed Chevron stitching and precise cutting and detailing. Weather-proof fabricated pants are constructed with advanced DWR (durable water repellent) technology.


GUCCI Pre-Fall Campaign: Antiquity meets anarchy in the brand new campaign

GUCCI Pre-Fall Campaign: Antiquity meets anarchy in the brand new campaign



GUCCI pre-fall 2019

april 019

In the idyllic Selinute Archeological Park in Sicily, Jefferson Airplane’s ‘White Rabbit’ sounds, and time stops. Back in Ancient Greek times, people would gather after banquets to chat and dance by the temples.


Portrayed through 
Glen Luchford’s

Between enigmatic and delirious vibrations Creative Director Alessandro Michele‘s neo-classical crew connects through love, culture and philosophy in a countercultural bubble that comes from Venice Beach. A few thousand centuries forward, Gucci now reignites that spirit for their pre-fall 019 campaign and gives the after banquet gatherings a modern twist. Alessandro Michele brings an eclectic crew of bodybuilders, punks, rollerbladers, and surfers to the ruins in order to chat about philosophy and poetry, dance together or play music. This surreal setting gives a contemporary look at the antiquity afterparty.


Schepperheyn AW19 Collection

Schepperheyn AW19 Collection



Schepperheyn x Monty Python
* how not to be seen

may 019

This season, Schepperheyn collaborates with Monty Python, to pay tribute to their 50‘s anniversary. Original prints from their iconic video How not to be seen are combined with the clean design signature of Schepperheyn.

LE MILE MAGAZINE Campaign_Schepperheyn_09_003.jpg

Shepperheyn continues
to spread genderless
vibes within the new
Unisex collection, …

The collection pieces are inspired by Monty Python‘s humorous imagery and emphasise sustainability, craftsmanship and genderless aesthetics.
The label explores the topic of coexistence of being or not being seen in the collection details and finishings.
The extraordinary cuff closure solutions and partially hidden pockets in several execution serve not only to represent the inspiration for the collection but also to keep up Schepperheyn‘s love and attention for extraordinary elements.

Schepperheyn continues to spread genderless vibes within the new Unisex collection, merging tailoring with work-and streetwear. Checked and padded materials are combined with fabrics such as cotton shirting, organic jerseys, recycled denim and coated textiles. The sharp colour palette includes brick red, pink, black, navy, egg shell and green Cheetah. Knitted wool and printed silk Scarfs, mini wallets and multi-loop belts complete the collection range.


Magda Butrym Fall Winter 2019 Collection

Magda Butrym Fall Winter 2019 Collection



Magda Butrym
*assemblage of accessories

april 019

Each season Magda Butrym aims to create pieces that power both confidence and femininity, merge the sense of practicality with sensibility, and prove that the no nonsense wardrobe does not have to feel androgynous or cold. 


“I grew up with a
much romanticised
idea of the folklore
culture, ...”
—Magda Butrym

To explore this season’s sensuality, Magda turned to the richness of the Eastern European folklore:
I grew up with a much romanticized idea of the folklore culture, there was almost an idyllic aura about it, it was visually opulent but the energy was quite raw, very sensual. Pawel Pawlikowski evoked that spirit so beautifully and accurately in his movie “Cold War”. When I saw it, I thought that there had to be something in the air, and I’m ready to find my own way of interpreting that ambiance”, says designer Magda Butrym.

Infusing that raw character, richness and sensuality into her every piece became the motto for the Magda Butrym Fall Winter 2019 collection. Craftsmanship, one of the brand’s building blocks, is this time channelled beyond the traditional use in just detail into creating complete silhouettes. Masculine, voluminous jackets, strong lines of oversized pants and sculpted dresses convey confidence and comfort, and the contrasting elaborate lace and embellished details evoke sophisticated romanticism. When juxtaposed, the two worlds together bring about the effortless Magda Butrym look of perfectly balanced, refined, and rich femininity.

The super deluxe leathers and lush velvets set against ornamental white lace and luscious silks give
the collection a truly luxurious, sensual feeling. Floral prints are revisited in deep reds, greens, violets, bringing to mind the vibrant prints of traditional folklore fashion, and too in the light mélange of fine beiges and ecru. The dress is reinterpreted in many forms - from the folk inspired longer length in vibrant reds to the mini dress made entirely of lace, each piece introduces a special, eye-catching element - a cape, a bow, an embellishment or meticulous hand embroidery for an added sense of individuality and character.


Ralph Lauren debuts “FAMILY IS WHO YOU LOVE” campaign

Ralph Lauren debuts “FAMILY IS WHO YOU LOVE” campaign



Ralph Lauren
*family is who you love

april 019

Ralph Lauren debuts a new global advertising campaign entitled “Family is who you love,” an inspiring celebration of togetherness and unity. Eight diverse and multicultural groups are featured and represent a broad spectrum of family—from multigenerational families to same-sex couples to chosen families—all united by the notion of family is who you love.

Buzzy Kerbox, Kody Kerbox, Kasey Kerbox & Kyler Kerbox   Father & Three Sons

Buzzy Kerbox, Kody Kerbox, Kasey Kerbox & Kyler Kerbox
Father & Three Sons

“Raising kids is an
unimaginable task
to take on.
But being around
them means more
than anything to me.
Family is the center
of my world.”
—Buzzy Kerbox

Ralph’s vision has always been built upon clear values, and the idea of family has been central to what we stand for—in our brands and in our business. ‘Family is who you love’ is a celebration of the fact that family means different things to each of us—we live in a world where the meaning of family is bigger, broader, and more personal than it has ever been before. We believe that family is one of the most positive forces and powerful unifiers for all of us today. This campaign is a fresh expression of that idea, one that was central to our 50th Anniversary Show and is apparent in our work culture, and we believe it will resonate strongly with consumers around the world,” says Jonathan Bottomley, chief marketing officer.

Continuing the generational theme from Ralph Lauren’s 50th Anniversary Show and exemplifying the brand’s past, present, and future, the eclectic group is composed of iconic Ralph Lauren models from the early years and current models and friends of the brand alongside their families.


A review of the Henrik Vibskov Spring/Summer 2019 collection at Paris Fashion Week.

A review of the Henrik Vibskov Spring/Summer 2019 collection at Paris Fashion Week.



Henrik Vibskov
*is Gone With the Wind


june 018


Three women, performers, dubbed the “VIBS Air Repair Service” remove cloths from wind turbines made of recycled sheets. In their tea-colored muslin uniforms they control the wind, and therefore, the show. Medieval bonnets, linen khaki suits, and chunky roped sandals make my acquaintance. A scalloped seersucker dress blows by; a raised polka dot shirt raises my heart rate. 


 “One can’t see the wind, but it shapes and changes things on its way forward,” said the program. Everything but my mind. I’m now convinced Henrik Vibskov’s high concept, slow fashion approach in this day and age, is rather avant garde in it itself. Even more so than the clothes to be worn. And to be honest, to dissect a collection like Vibskov’s is like taking the brush from a painter before their final stroke. 

Vibskov gave new breadth to the phrase, wherever the winds blows. Layering his models in parachute prints, vintage-like “Soap Opera” sweaters, and Madras button-ups. “Due to Sudden Weather Change,” (the name of the collection), was much like the human experience, it was vast, varied and wasn’t always easy to interpret. But like Tina Turner once sang,

“the wheels just keep on turning.”

le mile magazine Stella-Tennant-photographed-by-Colin-Dodgson-for-Burberry-c-Courtesy-of-Burberry-_-Colin-Dodgson-alongside-`Still-Water'-by-artist-Nic-Fiddian-Green-photographed-by-Peter-Langer-for-Burberry-c-Courtesy-of-Burberry-_-Peter-Langer.jpg

Burberry reveals Riccardo Tisci´s first ad campaign - A new collection, a new aesthetic, a new era

Burberry reveals Riccardo Tisci´s first ad campaign - A new collection, a new aesthetic, a new era



*new collection, new aesthetic, new era

january 019

Recently, Burberry has revealed Riccardo Tisci´s debut ad campaign for the British house. For his first campaign, Riccardo has assembled a multigenerational cast of photographers and models, from the most experienced to the emerging.

Sora Choi, Natalia Vodianova + Rianne van Rompaey seen by Nick Knigh (c) Burberry, Nick Knight

Sora Choi, Natalia Vodianova + Rianne van Rompaey
seen by Nick Knigh
(c) Burberry, Nick Knight

“The thing that excites me the most about Burberry is how inclusive it is - it appeals to everyone no matter their age, their social standing, their race, their gender. So when I was thinking about my first campaign here, I knew I wanted to work with a collection of collaborators to help interpret the breadth of what this incredible heritage house represents to so many different people - from the millennial to the mature, to the British and to the international.

I pulled together 6 photographers, all with a very different energy, experience and point of view of the world - including British masters of photography and the next generation who have something new to say - to interpret this new Burberry era and the multigenerational men and women we speak to, all through their own unique eyes.

They are images that have the confidence to stand on their own, but it’s when they are assembled together that they truly bring the diversity, the eclecticism, the inclusivity and the beauty of Burberry to life.”

Riccardo Tisci, Burberry Chief Creative Officer

Fran Summers + Irina Shayk seen by Danko Steiner (c) Burberry, Danko-Steiner

Fran Summers + Irina Shayk
seen by Danko Steiner
(c) Burberry, Danko-Steiner

Creating a collection of contrasting imagery, the six creatives (incl. Nick Knight, Danko Steiner, Hugo Comte, Colin Dodgson, Peter Langer + Letty Schmiterlow) portray Riccardo’s diverse and inclusive vision, whilst translating the new cues and codes for Burberry in their own inimitable style. The multicultural stars of the campaign include Rianne van Rompaey, Natalia Vodianova, Irina Shayk, Sora Choi, Stella Tennant, Fran Summers, Claudia Lavender, Anok Yai, Darani, Matteo Ferri + Joe Plunkett.


Drag and Drop was born in Odessa in the South of Ukraine, on the Black Sea coast.

Drag and Drop was born in Odessa in the South of Ukraine, on the Black Sea coast.



*belle de jour

january 019

For the s+s 019 season, the upbeat and jovial Kiev-Paris based fashion label Drag+Drop comes in strong with pop sensations and viscous silhouettes. Drag+Drop proposes a collection where the design team found its inspirations in the dramatic sexiness of French movies heroins such as Isabella Adjani’s in “L’été meurtrier”, the scandalous Catherine Deneuve playing out the most erotic fantasies in “Belle de Jour” or the limitless sexiness of Jane Fonda as a space pop Venus.


From there, Drag+Drop is taking its ongoing exploration of unconventional beauty and aesthetics to the next level by smartly fusing this input with the meticulous study of the exemplary style of 2000s social starlets and LA vibe.
The Drag+Drop heroine is a complex creature, she is «the boys» best crazy friend, a fatal seducer and a skilled lover.

The style of 2000s MTV celebrities and IT-girls inspired slouchy micro top sand sleek Matrix coats in shiny vinyl to tight t-shirts emblazoned with a bold Drag+Drop logo in sparkling Rhine stones. Shiny hardware is all the rage too as seen on silk slip dresses with metal harnesses and on tank tops with silver hooks. Adding a bit of transgression captured in the s+s019 lookbook by the photographer Boris Camaca. Or at least look good when attempting to do so.


New global campaign showcases the stories of a group of millennial men and women.

New global campaign showcases the stories of a group of millennial men and women.



*new campaign redefines iconic fierce

february 019

The new global campaign showcases the stories of a group of millennial men and women, and how they ‘face their fierce’, and find their strength in the face of adversity. The new‘Faces of Fierce’ include athletes, LGBTQ+ activists, mental health advocates, and a group of Malibu surfers who, as volunteer firefighters, bravely fought the recent fires.

Romelu Lukaku and Keiynan Lonsdale for Abercrombie&Fitch Fierce

Romelu Lukaku and Keiynan Lonsdale for Abercrombie&Fitch Fierce

The fragrance, which is unchanged, with its notes of marine breeze, sandalwood, sensual musk and sage, has a newly imagined bottle, in stores this weekend, featuring the un- retouched torso of Judo fighter Julian Schneider.

Fierce has ranked in the top four highest selling men’s fragrances in the United States for the past seven years, and remains a top performing item for the brand. Now redefined, a new generation of individuals bring to life the essence of the Fierce evolved positioning; an exploration of the unexpected and emotional aspects of inner strength. The heart being the strongest muscle in the body, the campaign and stories are grounded in the idea of strength as compassion, vulnerability and humility.

The campaign is featured across the brand’s platforms, with in-store experiences and asocial call to action for customers to share how they ‘Face Their Fierce’. The brand will also have a round-up campaign in stores to raise funds for the families affected by the California wildfires.

Napoleon Jinnies for Abercrombie & Fitch Fierce

Napoleon Jinnies for Abercrombie & Fitch Fierce

Napoleon Jinnies made history this weekend when he and team-mate Quinton Perron, were the first male cheerleaders to perform at the Superbowl. They are also the first male cheerleaders in the NFL. Abercrombie & Fitch is proud to announce Napoleon as one of the new Faces of Fierce. The campaign, which explores the modern notion of what it means to be fierce through a sensitive, diverse and inclusive lens, considers aspects of inner and epic strength, through the stories of 20 men and women. 

campaign was shot in LA by photographers Jack Pierson, Sean Thomas and Devyn Galindo


‘Blue Monday’ marks the soft launch of our very own SCHUELLER DE WAAL SHOP.

‘Blue Monday’ marks the soft launch of our very own SCHUELLER DE WAAL SHOP.



*blue monday

january 019

Is your concentration gone ‘blu(e)rry’ ?
It is only natural as today is 21st of January, ‘Blue Monday’, officially the most depressing day of the year.

Blue Monday Schueller de Waal Fashion Capsule Collection 2019 le mile studios le mile magazine.gif

Depression is a natural state, blue is a beautiful colour, so the Amsterdam based design studio SCHUELLER DE WAAL [SDW] decided to do something with that instead of hiding underneath their desks. ‘Blue Monday’ marks the soft launch of their now launched SCHUELLER DE WAAL online shop. 

They’re kicking off with the SDW "Blue Monday” Capsule. A collection of shirts inspired by ‘Monday Blues Office Realness’. Referencing and re-interpreting the classic shirt the Shirt Capsule Collection offers a diverse range of fits in various high quality shirting fabrics. Playing with the proportions of classic shirt details serves for a quirky vision of corporate wear and offers you a look and feel in which you can bite Monday in the ass. 

Or at least look
good attempting
to do so.


art direction SDW
seen Lonneke van der Palen 
models Nadie Borggreve + Elisa van Joolen + Nathalie Haelermans + Ingeborg Meier + Benjamin Aerts 
hair + make up Bas Cornelis