Maayan Sophia Weisstub - Interview

MAAYAN SOPHIA WEISSTUB
*She Cuts the Body, Stitches the House, Feeds the Silence

written + interview JONATHAN BERGSTRÖM

As a multidisciplinary artist, Maayan Sophia Weisstub’s work examines the relationship between identity, space, and the broader human experience.

Based in the United Kingdom and a graduate of the Royal College of Art, Maayan works in sculpture, collage, and kinetic art, often centering on themes such as domesticity, gender, sexuality, and mortality. Her works have been exhibited internationally and have earned her recognition as a finalist for prestigious awards like the Robert Walters Group UK New Artist of the Year Award.

In this interview we speak with Maayan about her current projects, her approach to materials, and how she brings together the body, home, and identity in her artistic practice.


Maayan Sophia Weisstub
Courtesy of the Artist

The Bed, 2022
wood, foam, silicone
95 x 123 x 198 cm
Courtesy of the Artist

The Bed, 2022
wood, foam, silicone
95 x 123 x 198 cm
Courtesy of the Artist

Jonathan Bergström

Themes of domesticity, gender, mortality, and sexuality seem to be central to a lot of your work. What initially drew you to these subjects?

Maayan Sophia Weisstub
Sexuality, domesticity, gender, and death occupy my thoughts and are an inseparable part of my life, as they are an inseparable part of the universal human experience. The home represents a safe and protective environment- from the primal womb, through the family home and its transformations, to the final home where we will reside. It is a familiar and safe space on one hand, and on the other hand, it holds secrets and traumas.

As you’ve mentioned yourself, the domestic space has historically been seen as a place that restricts women. How does your work respond to or reframe that idea?

For example, in my sculpture The Bed, I give space to the traumas and violence that occur within our domestic environment. The bed, usually covered in our sheets, appears as battered skin, covered with bruises, scratches, and scars. In another work, Dine with Me, I present a dyadic configuration which embraces the concept of oneness between man and woman, symbiotic-patriarchal relationships, and the problematic nature of such dynamics.

What’s your process for creating one of your collages?

The process of creating a collage is relatively simple, at least once I have an idea. Once I have an idea, I either photograph or search for images as similar as possible to the visual concept I envisioned in my mind. Then, I combine the images and edit them into a collage on Photoshop.

What role do materials play in your practice, and how do you select those that enhance the emotional or conceptual impact of your work?

Usually, when I have an idea for a new piece, the concept appears intertwined with the material in its final form, and I can "see it" in my mind. This is why I work with and create in a variety of different media.
At the same time, there are the limitations of reality, and for some works that I would like to see in a particular material, I choose a more creative and practical solution.

How do you approach the creation of kinetic works, like your lightbulb sculptures?

Kinetic sculptures are technically complex, so when I have an idea for a kinetic sculpture, I develop the concept, create sketches and simulations, and when it comes to the technical execution phase, I work closely with technicians and professionals, guiding the process every step of the way.

“The home represents a safe and protective environment—on one hand. On the other, it holds secrets and traumas.”

Maayan Sophia Weisstub speaks with Jonathan Bergström

for LE MILE Issue 38 / Ephemeral Edition SS25

Familiar Fracture
The Vase
Courtesy of the Artist

Familiar Fracture
The Vase
Courtesy of the Artist

What do you want viewers to take away from the way you deconstruct and reassemble body parts and everyday objects?

I don’t want anything specific to be taken from my work; my creations are not didactic. I do, however, hope that my works evoke emotions, imagination, and creativity, connecting viewers with new ideas in the hope that they will resonate within them.

Your piece The Weeping Tap started as a video on Instagram. How does social media impact the way you create your art?

The Weeping Tap started as a video and was later uploaded to Instagram—it wasn’t originally conceived with Instagram in mind. Social media doesn’t have a conscious influence on my creative process; however, there is an acknowledgment of the dialogue that forms after the work is created. I feel its influence more in how I share my work—the immediacy and openness with which I expose my sketches or thoughts.

Duality is also a recurring theme in your work. How do you balance contrasting ideas, such as vulnerability and audacity?

Duality is an inherent part of reality, such as light and shadow. Whether the duality is overt or hidden, it will always exist, and it is what allows for depth. I don't aim to balance it but rather to give it space, to make the differences present, and through that, to reveal complexity and multiple layers.

How do you decide when to leave something open to interpretation versus when to make it more literal or explicit?

Even when the message is simple and literal, there is always room for interpretation, and anyone who experiences a work of art brings their personal perspective, which, in my eyes, enriches and enlivens it. Some works have a more straightforward and immediate concept, such as the video collage works on sexuality, which are playful and clear to the viewer. Other works, like 'The Breathing Table,' have a quieter concept and message, dealing with loss and memory, and require more patience as they are not immediate.

In addition to your visual work, do you have any interest in exploring other mediums, such as performance or sound art?

I am always curious about other and new mediums, and sound is very interesting to me. I really love sound, but unfortunately, I don't have much experience in the field. However, I would love to experiment and collaborate with more experienced creators. I also love and appreciate performance, but I don't see myself creating in this medium, at least not in the foreseeable future.

Are there any new directions or creative concepts you're planning to explore in your next body of work?

These days, I am very interested in the concept of the 'other' in society. As I delve deeper into understanding the meaning of the 'other' and its place in society, both culturally and socially, it naturally expands my awareness of the hidden parts within the depth of my unconscious.

Video Credit
The Weeping Tap
Courtesy of the Artist

ILONA - Interview

ILONA
*Always The Bride

written + interview HANNAH ROSE PRENDERGAST

"In some way, I always knew," ILONA says of her call to fashion. Born in Paris and raised in LA, the odds were set. In 2022, she made it official, launching her label on home soil.

Each piece is handmade with love, guided by self-taught haute couture techniques and the meticulous instinct of a Virgo. After all, psychological armor is heavy; the wearer must feel unbridled, deranged, and somewhat aggressive.

In this spirit, ILONA’s second collection, Psychosis, recounts her time as a teenager in a psychiatric hospital. Rather than relying on the darker, more literal tones often tied to mental illness, she stains warm off-whites and soft pastels for a more poignant touch.

The mood exists somewhere between frayed cotton, silk linings, weathered lambskin, distressed tulle—and lots of sparkle. Ask Esther. Here, ILONA emerges from under her rock, roaming the streets of Carroll Avenue in her own creation—a pink and gold lamé bridal gown with Calais lace.

ILONA seen by Miriam Marlène

ILONA seen by Miriam Marlène

ILONA seen by Miriam Marlène

Hannah Rose Prendergast
AS OF LATE

Ilona
I’ve been in LA planning some exciting future projects and taking a small break since the release of my latest collection.

LA EXPORTS

I brought back Betty Crocker fudge brownies and a sunny attitude, both lacking in Paris.

SHUTTER MEMORY

I got my first film camera when I was 16. It was a manual Nikon FM2, and I wanted to figure out how to use it. I had a photography teacher in high school who was really influential and taught me the ins and outs of the darkroom. It helps me today because I still shoot film occasionally and sometimes incorporate it into my work.

PLAY BY EAR

Music inspires me during the design process and keeps me going during the sometimes tedious sewing stages. I also always listen to music during my cigarette breaks and come up with new ideas.

BERLIN BRAIN

I moved to Berlin when I was 20 and knew only one person there. On a gloomy winter day, I decided to study neuropsychology. It was an enriching experience for which I’m grateful. I love Berlin and cherish my time there.

ILONA seen by Miriam Marlène

“After all, psychological armor is heavy; the wearer must feel unbridled, deranged, and somewhat aggressive.”

Ilona speaks with Hannah Rose Prendergast
for LE MILE Issue 38 / Ephemeral Edition SS25

NOBLE CAUSE

In the past, I struggled with the idea of working in fashion, thinking it was a selfish or superficial profession that didn’t contribute much to the world. As I’ve grown older, I’ve realized that the creative process of making garments makes me happy. Some people resonate with the clothes, and I’m okay with it being my calling.

CASTELLUCCI’S PARSIFAL

It inspires me to this day. The colors, costumes, and set design are insane. Castellucci creates a world like no other.

DEADSTOCK VALUE

I’ll continue using deadstock fabrics, as there is way too much waste in the world. I can also source unique couture fabrics I don't believe are made anymore. I like the individuality they bring to the garments.

NEVER THE BRIDESMAID

Most of all, I love the couture looks that take weeks to make. I included some more ready-to-wear elements for my second collection, which I hadn’t done in the first. I wanted some garments to be wearable every day. But I’ll always include a bride because I love to do it and think it really ties a collection together.

THE GOOD NURSE

I included quite a few nurses who were definitely my saviors during that time, as well as my friends who stuck with me through that traumatic period. I usually name my garments after my friends and people I love.

LAMB OF GOD

I sent Brodie Kaman pictures of all my stuffed animals, and we decided the lamb made the most sense. There’s a stuffed bunny that I've had since I was born, which I also included in some of the imagery for the collection.

LIGHTEN UP

Now, people think goth has more colors..

HAPPY IS

Iced coffee, puppies, cake, books, palm trees, my family, and my friends

NEXT LEVEL

I’m in a transitional phase of my life, figuring out where I might relocate as I plot my next collection.

LIFE ADVICE

Be delusional.

ILONA seen by Miriam Marlène

Ana Polvorosa - Interview

ANA POLVOROSA
*The Threads Are Still Moving

written + interview Alban E. Smajli

You see some actors once and that’s it — you’re in. Like a crush or a weird fever. You follow them through all their stuff, even the bad stuff, like they’re a cousin you sort of invented.

Then there’s the other kind — the shapeshifters. The ones who never show up the same way twice, who make you feel like you're watching them for the first time every time. Ana Polvorosa? She's that second kind. A glitch in the system. She’ll do twisted comedy, ghosts, heartbreak, mystery — whatever.

She folds roles inside out and wears them like borrowed jackets. Now she’s back, or sideways, or upside down, in Last Night at Tremore Beach, a Netflix storm-drenched, genre-melting thing, directed by Oriol Paulo and co-starring Javier Rey. And yes, she’s done it again, of course she has. What did you expect?

total look DIOR

Juan Marti
Ana, how have you experienced the days following the release of your new series, The Last Night at Tremore Beach?

Ana Polvorosa
Honestly, it's been a lovely few weeks. Many colleagues and dear friends have watched the series and left very positive comments. They're saying they really enjoy it and appreciate the work that went into it. So, overall, I'm really happy.

I’ve also watched the series, and I found it very intense. I have to admit that there are some things I think I didn’t quite understand …

Don’t worry. In the end, it’s a series that, precisely because it has so much to unpack and unravel, leaves room for many different viewpoints and ways to interpret it. This is due to how the story is told and what the series is like in itself. So really, don’t worry about that.

How did this project come to you?

Oriol Paulo, the director, got in touch with me and told me he’d written a story that was going to be adapted into a series format. He sent me the scripts and mentioned it was an adaptation of Miquel Santiago’s novel. He asked me to read them and share my opinion. I read the scripts and found the story fascinating on all levels, very… I don’t know, spectacular, impressive. What also caught my attention was how Oriol wanted to approach it, the perspective he wanted to give it. In short, there are many things, but what really connected me to the project was the character of Judy.

The series has a very complex plot, did you understand it during the first reading of the script?

Well, you obviously have to read it and reread it. Even then, there’s something in the story that makes you think way beyond what’s immediately apparent. But, for my taste, that’s what makes it interesting. It’s one of those stories that leaves you in a kind of limbo, like: “Is it telling me what I think it’s telling me, or is it really telling something else?” And that’s fine too, because it gives the viewer the chance and freedom to draw their own conclusions or have their own point of view.

Sometimes I feel like we’re too used to being given the answers instead of being allowed to ponder a bit …

I think right now we’re in a moment where we’re driven by a wave of action and reaction, quick responses, things made easier, so we don’t have to think too much or get stuck in universes that make us reflect or that allow room for different opinions. And it’s true that stories like this, at least, give us the opportunity for personal reflection and the chance to draw our own conclusions.

A story with so many plot twists and where the characters are not who they say they are must be quite a challenge as an actress. To what extent do you really need to understand what happens to your character?

It really depends, I think, on each project, each story, and where you are at the moment. It also depends on the colleagues you have, who is directing, and the vision they want to give it, how you feel with the character, or how you approach it. I think there are a lot of factors that influence how you approach all of that. At least, that’s been my experience. Maybe what I’m trying to say with this is that, in some cases, I start creating or connecting with the character from a more intuitive or sensory place, depending on how I live through the moment.

Did you discover Judy’s truths from the beginning, or did you keep being surprised by each script?

In this case, there was a previous novel that you could read or not. Then you have scripts to base yourself on, which are the ones you’re going to work with. Those scripts are written as they are, and you understand them as you read them. I mean, the way the information about the character comes to you is similar to how you later see the episodes.

You must have had many surprises!

In this series, the characters develop as the story progresses. I think that’s one of the hallmarks of the show, something that's really well done. I think Oriol has done this in other works and other stories as well—he often focuses on episodes that center more on certain characters, to delve a little deeper into their backgrounds. In this case, for example, you can see it in episode four or five, where the characters' past lives, traumas, or lived moments are explored. These elements continue to affect them, and in the end, it's not so important to know a character's pastto tell their present, but it certainly helps to understand them better.

As a viewer, do you like these kinds of series that make things easier for the audience?

Like everything in life, it depends on the moment you’re in. As a viewer, there are times when I feel like I want the story to be a little more complex, where I’m suddenly surprised or given something more "unusual." And other times, I prefer simpler stories, without flashbacks or unexpected twists, that are told from beginning to end, depending on how I’m feeling at that moment.

The series presents certain terrifyingly supernatural nuances. I think there are a lot of prejudices in the industry toward the horror genre, especially toward supernatural horror. How do you feel about these kinds of stories?

I think, in the end, what matters is that there’s some kind of relatively coherent justification, you know what I mean? Although, many times, I also like things that are... more "crazy" ideas, even if they’re a bit inexplicable. I don’t know, I think it’s not so much about wondering if a story has supernatural themes or something like that, because I’m not entirely sure what you mean by that. But I imagine you're referring to things that are more inexplicable, or stories that go beyond the ordinary. In the end, I think I focus more on the story itself, on what it wants to tell, what kind of story it is, rather than the twists or the themes it might explore or where it’s heading.

I love talking about supernatural experiences with my friends.

I don’t really pay much attention to those things (laughs).

Have you never experienced something supernatural?

Not that I’m aware of! Though I might have experienced something and just not realized it.

One of the things I liked most about the series was its foggy, menacing atmosphere. It’s a town that invites mystery …

I found the story attractive, and it also seemed like a great opportunity to work with Oriol. I’ve seen some of his previous works, and there are things I really liked. So, I saw this as a wonderful opportunity: to work with him, develop this character, and be part of this story. I don’t focus so much on whether the settings are more aesthetic or even more "flashy."

total look BIMBA Y LOLA

trench TERESA HELBIG
tights CALZEDONIA
shoes VERSACE

“Acting makes you evolve professionally, as an artist, as a creative, but also personally, a lot. You grow, you delve into other places, you mature, you learn.”

Ana Polvorosa speaks with Juan Marti
for LE MILE Issue 38 / Ephemeral Edition SS25

total look VERSACE

Are you a fan of mystery movies?

I think, initially, I’m interested in any kind of story. It’s true that, perhaps, mystery attracts me a bit more, but horror, not so much, actually. I don’t know, because then it’s true that sometimes I watch horror movies and think, "Hmm, I liked that." I’m not sure if, as a viewer, I usually focus on this type of story, but there are some films in this genre that I’ve enjoyed.

Would you like to work with horror filmmakers like Jaume Balagueró or Paco Plaza?

Why not? I’ll repeat a bit of what I mentioned before: within whatever genre it is, what really attracts me is the story itself. If there’s something in the story that connects with me, if the character touches me, and everything that the story encompasses, then yes, I’m interested. It’s not so much about the genre, but about what the story conveys to me.

Tell me about a piece of fiction that has touched you recently.

It’s true that right now I’m a bit disconnected, but what I’ve been able to do lately is read more. Look, I’m going to mention a book I just finished. I’ll tell you the author exactly because I finished it the other day, and I read it super fast. You know, those books that just grab you. I went to the bookstore to buy other books I needed, and suddenly I saw this one, The Vegetarian, and it caught my attention. It was written by Han Kang, the winner of the Nobel Prize in Literature this year, 2024. And, wow, it really disturbed me a lot. In fact, I read it very quickly, but that’s because it hooked me so much. What’s curious is that, when I finished it, I was really shaken. I mean, it affected me quite a bit. It’s a very disturbing novel, but at the same time, I find it fascinating. I got trapped in such dark and eerie worlds that… I don’t know, it was a strange feeling. Kind of in line with this more mysterious and dark genre.

I’m curious about what you did during your free time on the set of Last Night at Tremore Beach.

The truth is that, you know, during shooting periods, when I’m immersed in a project, I find it quite difficult to disconnect during the process. Well, I do disconnect, obviously, because when the shoot is over, I go home and have time for myself, but it’s true that I’m so immersed in the universe of the story… I don’t know, I tend to stay focused on the work, looking at the scenes for the next day or reviewing what I have coming up the following week. Sometimes, I even go back to check what we filmed the previous week to try to improve details. I’m really focused on all of that. As for disconnecting, well, the most we did was go out for dinner or make plans with the crew, because since we were shooting outside of Madrid, in Asturias and Barcelona, we formed a really close bond. Sometimes we’d step out of the characters’ bubble, but honestly, I didn’t do much to disconnect. I was very caught up in the universe of the story.

Isn’t it exhausting to get so involved at that level in your projects?

When it’s shoots like this, that deal with more delicate themes or, well, when the shoots are complicated, they inevitably affect you. There’s something you’re experiencing firsthand, and those complex themes, in some way, stay with you—in your body, in your mind.

How was the return to your life after a shoot like this?

Well, in this case, since the shoot was so long, and also intense, with a lot of commitment and responsibility, the excessive duration of the project added to it. Afterward, I needed some time to readjust to my daily life and routines. I mean, I had to normalize my life again, pick up my habits. I needed a period of time to settle back in because I was completely in another place, in a different context.

I guess it must involve a lot of personal work?

Yes, there’s a lot of personal work involved as well. It’s part of the process. For me, being quite reflective, I like to go over the moments I went through during the shoot, because in the end, that’s what leaves you with the learning, in some way. How have you evolved? Because shoots are incredible experiences. Acting, in itself, makes you evolve professionally, as an artist, as a creative, but also personally, a lot. You grow, you delve into other places, you mature, you learn. They are very powerful journeys.

What have you discovered about yourself during the shoot of Last Night at TremoreBeach?

Well, I’m still discovering myself. That’s not something that ends at the end of the shoot. It’s not like you finish shooting and say, "That’s it, I’ve got it all figured out." In fact, it’s been a year since we wrapped the shoot, in October or November of last year, and I’m still thinking and reflecting on many moments from the shoot. I’m still reaching conclusions about what it has taught me. So, I think it’s not something immediate, it’s not about finishing and knowing everything right away.

After this experience, don't you feel like doing something more naive and silly?

With stories, when they come to you, I think there has to be a connection, both with the story and with the character. When you read the scripts or when you get the casting calls, there has to be something that hooks you, something that makes you feel connected. Because if not, it doesn’t make much sense. I’m not sure if it’s something intuitive or sensory, I’m not sure how to call it, but it’s that feeling of reading the script and thinking: "Wow! Here’s something on an energetic level, something that connects with me and excites me." I don’t know, I think it depends on that, regardless of whether it’s comedy, drama, tragicomedy, theater, film, or television.

Are you an actress who is guided more by your head or your heart?

There’s a part of me that’s inevitable, a very passionate side, both with life and with my profession. That part is there, and it’s beautiful, I love it because I think it brings very intense things. But, of course, there are also moments when you have to stop, reason, think, and weigh things out. I don’t know, I think there’s a balance between both parts, depending on the moment.

What are you craving as an actress right now?

I think, precisely, what we were talking about earlier, about evolution, learning, and growth… I believe that stories come to you that move you from within, that make you say, "I want to dive into this, I want to explore it, I want to understand what this is, how I approach it, from what place I do it." It’s a continuous learning process, in the end. And that’s one of the most beautiful things about this profession, because you never stop learning, and at the same time, you never stop getting to know yourself.

suit BIMBA Y LOLA
earrings SUOT STUDIO
shoes VERSACE

total look ZIMMERMANN

talent ANA POLVOROSA
photographer DANNIEL ROJAS
stylist SERGI PADIAL
make up + hair MIGUEL ANGEL TRAGACETE for CHANEL BEAUTY + KEVIN MURPHY SPAIN
producer JULIA NAVARRO via SUNSEASANDS AGENCY
words JUAN MARTI
photo assistant JAVIER BLANCO
stylist assistant PAULA SÁNCHEZ

special thanks ESPACIO LA CANDELARIA + MESALA FILMS

Anxhela - Interview

ANXHELA Plays
*The Room Follows

written + interview ALBAN E. SMAJLI

Anxhela moves with steady momentum. Her sessions open when the day allows for it, tracks surface with the kind of weight that feels tied to place and time, and each one holds its shape without needing to explain how it formed.

She releases music in a way that suggests she’s already past the part where it needs to be explained — each piece arrives formed, quiet, intact, without scaffolding or commentary, and then lives where it lands. The tone across her output remains steady, and the surrounding space—both physical and digital—feels maintained with the same attention, creating a rhythm where every release holds its own position, shaped by a sense of timing that reflects the internal pace of her process, with no visible urgency or external structure, and everything aligned with a working method that keeps expression at the centre and lets the material speak without interference.

The same applies to how she dresses. There’s alignment without overthinking, detail without decoration. Each look feels connected to the environment she enters, whether that’s a small club, an outdoor stage, or a studio session in progress, and the alignment between sound, space, and image settles without commentary. Nothing leans toward performance and everything in view appears selected with quiet precision, creating an overall impression that builds naturally as part of the experience she’s creating, rather than functioning as a separate layer around it.

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Kosovo sits in recent memory — the kind of night that works in layers, with a familiar crowd positioned close to the stage, a set that held its shape across its full length, and a kind of energy that remained steady from beginning to end. Family watched. Energy held. Nothing overstated. Just the kind of connection that registers in the body and stays there for a while. Right now the work is happening in parts. Studio sessions, fragments, outlines, days where something clicks and the rest falls into place. The process stays active, shaped by the environment and the rhythm of her own attention, with new material appearing as part of that motion, guided by feeling and sustained by structure.

Playing live remains essential. The volume in the room, the faces, the architecture of the room and the way bodies move inside it. Each set builds on instinct, adjusted in real time, shaped by the way the crowd responds without language. She approaches the set as a whole structure, one that forms through presence and holds together through instinct, with every element placed deliberately and nothing overstated. The direction stays inward, the delivery stays exact, and the result maintains a kind of clarity that travels well beyond the night itself. That balance works. It’s already working.

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jewellery ARCHIVED PROTOTYPES

jewellery ARCHIVED PROTOTYPES

Alban E. Smajli
Please, define your sound without limitations. What does it evoke, where does it live, and who does it belong to?

Anxhela
Yes,my sound is an emotional journey and it reflects what I feel, what I imagine, and what I want others to experience. I stay true to what moves me, but I also think of the listener because I’ve been on that side too, waiting to be transported by music.
Every track I play or create carries a piece of my mood, joy, sadness, energy, nostalgia. It’s a mix of instinct, emotion, and connection. My sound lives between my inner world and the dancefloor, and it belongs to anyone willing to feel something real.

Fashion and music—does one dictate the other for you, or do they move in tandem as part of the same vision?

For me, fashion and music move in harmony, they’re both expressions of the same inner world. Just like sound, what I wear reflects how I feel, what I want to say, and the atmosphere I want to create.
Sometimes a look can amplify the energy of a set, or help tell the same story the music is telling. I don’t see them as separate, they evolve together and complete each other as part of my artistic identity.

Albums seem like a relic, streaming is a battlefield. Where do you stand in this war for attention?

Streaming is important, it’s where people discover you, connect with your music, and follow your journey. But I don’t create just to grab attention. I create to express something real and to connect with the listener. Whether it’s one track or ten, the emotion behind it is what matters most to me. I released singles so far, because I like focusing on each track as its own story. Every release is a moment, a feeling, something I want to share without waiting for a full project.

At the same time, I really admire the idea of building something bigger, like an EP or album. I haven’t done that yet, but it’s definitely something I think about for the future. I don’t follow a fixed strategy or release constantly, I create when it feels right. But at the same time, I know how important it is to stay visible, especially today. So I try to find a balance: I want to stay true to my sound, but also be smart about how and when I share my work. I’m learning to combine both sides: the passion and the planning, without losing myself in the process.

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“Every track I play or create carries a piece of my mood, joy, sadness, energy, nostalgia. It’s a mix of instinct, emotion, and connection.”

Anxhela speaks with Alban E. Smajli
for LE MILE Digital SS25

Are clubs sacred spaces, or are we witnessing the birth of something new?

I think clubs will always have a special place. There’s a certain and real energy you can feel there,but at the same time everything is evolving. Music evolves, and we see new collectives, new concepts and new ways to connect. I think we’re already in the middle of this change.
I love playing in clubs, but I’m also excited to explore other spaces and see how electronic music keeps evolving.

Festivals—have they lost their cultural significance, or are they evolving into something new in the live music experience?

I don’t think festivals have lost their meaning,I think they’re just changing, like everything else in music.
Today, festivals bring people together in a big way. It’s not just about the music anymore, it’s about the full experience, the community, the energy, the visuals, the feeling of being part of something. I think they’re evolving into something new, and that’s not a bad thing. As long as the music stays at the center, festivals can still be powerful and emotional moments, just in a different way than before.

Your music is a world of its own—what stories echo through it, and what emotions form its foundation?

My music is built on emotions. Every time I create or play, it depends on how I feel.
Sometimes I’m happy, sometimes nostalgic, sometimes sad, I try to express that through sound. I don’t follow one story, but I want the listener to feel something to connect with the mood. For me, music is a way to speak without words. It’s like sharing a part of myself, and at the same time imagining what the people on the dancefloor might need in that moment. I don’t follow one fixed story, it’s more like a journey through feelings.

If you could construct the perfect performance from the ground up—what does it look like, sound like, feel like?

My perfect performance would be in a special place, maybe outdoors, in nature, or somewhere unexpected. I’d want the music to be emotional, and full of energy. A sound that makes people feel something and takes them on a journey.

The lights, the space, the people, everything would come together. But the most important thing is the connection. I’d want everyone to feel free and present, just enjoying the moment with the music.

Kosovo—Europe’s youngest pulse. How did this performance come to life, and what was it like to play in a place so charged with energy and change? What’s next for you? A whisper, a roar, a new world?

Playing in Kosovo was a really emotional experience for me. I’m Albanian, and having my family there, people I love made it even more special.The energy was powerful, I could feel the crowd connecting with every sound, and I felt so free to express myself. It wasn’t just a performance, it felt like home.

What’s next?

I think it’s a mix of all three: a whisper, a roar, and maybe even a new world. I’m in a phase where I’m discovering myself more through music, step by step. I don’t always know where it’s going, but that’s the beauty of it. I just follow the emotion, stay true to what I feel, and let the sound lead the way. Whatever comes next, I hope it surprises even me.

dress HADERLUMP ATELIER
shoes DR. MARTENS
jewellery ARCHIVED PROTOTYPES

talent ANXHELA
photographer PASCAL SCHONLAU
production + styling BASAK SAYGIN
makeup & hair GIOVANNI ZUMMO
production assistant ANETA TARASEVICIUTE

Guy Remmers - Interview

GUY REMMERS
*The Duke Goes Off-Script

written + interview Alban E. Smajli

There’s something about Guy Remmers. Maybe it’s the voice — precise but unbothered. Maybe it’s the posture — somewhere between centuries-old nobility and Gen Z’s nonchalance. Or maybe it’s the fact that he’s straddling about five different lives at once and making it all look impossibly casual.

You’ve seen him as Theo, the Duke of Tintagel, in The Buccaneers — Apple TV’s velvet-clad, chaos-laced, post-bridgerton fever dream of a period drama. He plays it with just the right amount of restraint and emotional slippage, like someone holding a glass of brandy they’re about to smash. Now, with Season 2 freshly dropped last week, and the one and only Leighton Meester joining the cast, Theo’s world is about to get flipped on its finely groomed head. No spoilers, but let’s just say Remmers is riding the heartbreak horse hard this time around.

total look ANN DEMEULEMEESTER

But The Buccaneers is just one thread in the tapestry. Before screen, there was stage — and before that, Bristol. Guy trained at the Bristol Old Vic and made his debut at The National Theatre in The Grandfathers, a moment he still talks about like a first kiss. “Being a Bristol boy at that age in London… that was the moment I knew,” he says, and you believe him. His presence off-camera feels less rehearsed. You might’ve seen him walk for Burberry, pose for Jimmy Choo, or drift across a moody editorial like he woke up in a 1970s issue of The Face. But fashion, he insists, is its own thing — something he enjoys, but doesn’t conflate with his work as an actor. Still, there’s a symmetry: both spaces let him play with image, identity, and what he calls “the evolving shape of masculinity.” You get the sense he’s aware of how he’s looked at, but not defined by it.

Ask him what he wants next, and he lights up. A detective role (“Life on Mars” energy), a comedy-drama à la The Thick of It, something American-accented. What you’re reading is a man who wants to stretch — not because he’s bored, but because he knows how good the view is from the edge. In an industry obsessed with immediate heat and viral cool, Guy Remmers is moving differently. He’s not here to be loud. He’s here to last.

total look ANN DEMEULEMEESTER

Alban E. Smajli
So you’re the Duke of Tintagel—old money, stiff collars, and then boom: American chaos. What made you say yes to Theo, and how did you find your way into all that aristocratic angst?

Guy Remmers
Thank you! Theo's constant battle with the benefits and disadvantages of his title has always fascinated me. I did a lot of work on what his upbringing would have been like and how he physically carries himself and speaks. A lot of suppressing his emotions but the really exciting part was then allowing him to be swept off his feet by this new unique ball of energy from overseas. 

Season 2’s loading, Leighton Meester’s crashing the party, and Theo’s still stuck between duty and desire. Where’s he heading this time—and what happens when fresh blood hits old money?

New faces and characters are super exciting as it means you get to meet and work with incredible new actors. I loved seeing how they all seamlessly intertwined into the story. Theo's journey in this season is an absolute rollercoaster and his world flips upside down when he has to decide if love is more important than the institution he has been born into.  

You started on stage, Bristol Old Vic, National Theatre, all that velvet and sweat. Now you’re in streaming land. What do theatre and screen give you that the other can’t?

They are both magical in slightly different ways. I haven't done theatre in a few years now and the thing I miss most is the feeling of being part of an ensemble where you all rehearse together and feel like one organism. The Buccaneers is an ensemble cast but it is rare for us to all be on set at the same time. But I have now done two seasons of seeing the world through Theo's eyes and growing with him and that is equally as special.  

You’ve done Burberry, Jimmy Choo, the whole fashion orbit. What itch does that scratch that acting doesn’t or is it all just dress-up in different lighting?

I feel very lucky to have done those things, especially as I have a love for fashion. To me they are completely separate, neither offers me something that I would need from the other.  

You move between film sets and fashion shoots, all soft tailoring and sharp stares. Do you see yourself as part of a generation that's reshaping what masculinity looks like, or does all that talk just feel like another box to be put in?

I definitely feel like 'masculinity' is evolving into more open and expressive ways and I think one strong representation of that is in fashion. I hope it keeps moving in that direction. 

You’ve done corsets, campaigns, a bit of everything in between. Is there a role or genre still lurking on your wishlist, just waiting to be cracked open?

I've always wanted to play a detective, that would be super cool. I loved watching police dramas like 'Life on Mars' and 'Ashes to Ashes' when I was younger, I think that's where my love for them started. My favourite TV series is 'The Thick of It' so I'd love to do a comedy drama in that tone too.  Also a big goal is to do a role in an American accent.  

Was there a moment where it all just clicked and you thought, yep, this is it, this is the thing I’m meant to do?

When I was 18 I did a play called The Grandfathers at The National Theatre - it was an extremely special experience. Being a Bristol boy at that age in London doing a play at that theatre was the best feeling in the world and a moment that I knew I was doing what I wanted to do for the rest of my life. 

total look PAUL SMITH
shoes JIMMY CHOO

“I definitely feel like 'masculinity' is evolving into more open and expressive ways, and I think one strong representation of that is in fashion.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

blazer + beret EMPORIO ARMANI
trousers ANN DEMEULEMEESTER
vest SUNSPEL

coat + trousers ISSEY MIYAKE
shirt DAVID KOMA
trainers ADIDAS X WALES BONNER

jacket + trousers Y-3
shirt BRUNELLO CUCINELLI
boots DAVID KOMA
gloves HANDSOME STOCKHOLM
tie TURNBULL & ASSER

“Theo's journey this season is an absolute rollercoaster. His world flips upside down when he has to decide if love is more important than the institution he was born into.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

total look VERSACE

total look DANIEL W FLETCHER
trainers ADIDAS x WALES BONNER

photographer ANTONIO EUGENIO
stylist JUSTIN HAMILTON
grooming TRAVIS NUNES
photo assistant GEORGE TAYLOR
styling assistants KATIE SOMAVIA, LORNA LANE
videography VALENTINA VILLA
talent GUY REMMERS

Special thanks to Caroline Fergusson + Grace Yeoman, PR Pinnacle

Wanda Lephoto - Interview

.aesthetic talk
WANDA LEPHOTO
*Fabric As Archive

written + interview ALBAN E. SMAJLI

Wanda Lephoto builds narratives in fabric. His work is a continuum of history, community, and identity, shaped by memory and lived experience. Fashion carries weight, holds space, and restores what has been lost.

His Johannesburg-based label moves through cultural currents, weaving together ancestral knowledge and contemporary expression. Each piece exists with intention, shaped by deep research and a commitment to craft. Materials tell stories. Silhouettes hold memory.

Threads connect past, present, and future. Recognition follows, but the purpose remains. Lephoto’s approach prioritizes ethical production, local artisanship, and material integrity. He moves with purpose. Each stitch marks a place in time. Each piece speaks beyond the surface. Each collection expands the conversation.

trench coat NTWANA
shirt + pants WANDA LEPHOTO
shoes MAISON MARGIELA

photographer THANDO NXUMALO
stylist PEYTON JOE BASSON
talent and designer WANDA LEPHOTO
photo assistant BONOLO TLHOLOE
stylist assistant AYANDA KANISE

follow designer @wandalephot

“I design for a person I envision—someone who doesn’t yet exist in the ways I’ve seen.”

Wanda Lephoto speaks with Alban E. Smajli
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

total looks WANDA LEPHOTO

Alban E. Smajli
What does fashion allow you to say that words can’t?

Wanda Lephoto
I think fashion allows me to express my love and gratitude toward a people, a culture, and a history in a deep and meaningful way—something words, especially English words, often fail to convey.

South Africa, 2025. What does the landscape of fashion look like to you—raw, evolving, defined, or still untamed?

Oftentimes, it feels as though things are improving, with increasing visibility for designers striving to push boundaries in a complex country like South Africa, where much unlearning still needs to happen. I would say South Africa’s landscape embodies all the words you mentioned—raw, evolving, defined, yet still untamed—due to our complex history, which requires careful navigation. Over the past decade, we’ve seen tremendousgrowth. The next ten years will be pivotal in shaping the future of fashion—not just for our country but for the entire continent.

Your work moves between tradition and now. Do you see yourself as a translator, a disruptor, or something else entirely?

To honor, in the best way I can, those who came before me, fought, and shaped the context in which I now exist is fundamental to what we do. I am because we are—a philosophy rooted in our continent's teachings, emphasizing the human spirit and the essential role of each person in shaping and developing new ideas. This belief is dear to my heart, making the honoring of tradition pivotal to our creative process. Neither translator nor disruptor. I see myself as someone who fosters plurality—bringing together communities, conversations, cultures, and traditions in diverse spaces to create propositions for newness. It’s about shaping a different way of seeing and being, but even more, a different way of believing.

What’s the hardest truth about building a fashion label in Africa that no one talks about?

It’s a lonely feeling. The hardest part, for me, is that when we win, we win together—but when we lose, I lose alone. That can feel isolating. The financial setbacks. The emotional, mental, and spiritual weight of carrying it all alone. The responsibility of dreams—not just your own, but those of so many who rely on you.

Who do you design for—the person who wears your clothes or the culture that shapes them?

I design for a person I envision—someone who doesn’t yet exist in the ways I’ve seen. I design for the culture and community that believes in me—whose stories are often neglected but deserve to be seen and celebrated.

I design for those who shape culture alongside me—who, like me, believe in the individuality of our journeys yet the shared responsibility of dreams. I design for those who are no longer with us, but whose memories and stories live on—as a way of ensuring they are never forgotten.

I design for future generations who will inherit, through spirit, the importance of our collective work in shaping history—understanding that for us, it’s more than just clothing.

total look WANDA LEPHOTO
shoes DR MARTENS

What fuels your process—memory, instinct, resistance?

My process at this point in my design journey is hugely fueled by memory and resistance. I believe in honoring where we come from, because there is a lot of healing that needs to happen in the works we create —works that begin to fill the void of the missing archives we have lost. In the future, I know this will evolve. But for now, this remains the cornerstone of our work—restoring pride and memory of where we come from. The sentiment being: from the dusty concrete, a flower can bloom.

If you stripped everything away—labels, industry, expectations—what remains at the core of what you do?

The stories.

Africa has always dictated global culture, whether the world acknowledges it or not. Where do you see its biggest creative shift happening right now?

Africa is the heartbeat of fashion. Right now, I’m fascinated by the cultural fusion happening with high-low fashion, real/fake fashion, and western/traditional styles. The mixing of colonial dress with traditional dress.

The blending of thrifted dupes from Europe with real high-end fashion—which, in many ways, is a metaphor for how western fashion has become destructive to itself. All of this exists alongside the growing pride in wearing African fashion brands—brands that celebrate craftsmanship and culture through design.

Ephemeral. Fleeting. Unstable. How does that word sit with you? Is fashion ever meant to last?

Fashion is meant to last forever—not just as clothing, but as a feeling, a memory of a time that meant everything to us.

If clothing could dissolve at the end of the day, leaving only its impact, what would yours leave behind?

I think my clothes would leave behind the stories of a people, a group, a community—and, hopefully, a continent. Though history sometimes makes us feel as though we should be ashamed, the stories we carry are far more beautiful than any hardship we have endured.

We have true culture and community. We have true design and philosophy—something beyond mere aesthetics or financial trends, something that defines who we are.

Gab Bois - Interview

.aesthetic talk
GAB BOIS
*Endless Playground

written + interview TAGEN DONOVAN

Gab Bois possesses a rare and almost alchemical ability to take the mundane and twist it into something extraordinary, something that lingers in the mind long after you’ve looked away. Bois’s work doesn’t just sit quietly in the background—it demands attention, not through loudness, but through its quiet valour.

By taking the everyday, the objects we barely glance at, and reimagining them into striking, surreal creations that challenge not just our ideas of design and functionality, but our very perception of reality itself. A pair of boots crafted from old keyboards, earrings fashioned from I-phone cameras—these are not just whimsical ideas; they are provocations, invitations to see the world differently.

What makes Bois’ work so compelling is not just the cleverness of her visual puns or the precision of craftsmanship, though both are undeniable. It’s an innate ability to weave together humour, intrigue, and a deep sense of aesthetic playfulness. Each piece exists in a space where the familiar becomes strange, and the strange becomes oddly familiar. It’s a space that feels both futuristic and nostalgic, as if she’s tapping into a collective memory of childhood make-believe while simultaneously pushing us toward a new way of seeing. Each image doesn’t just ask, “What if?”—it insists, “Look again.”

Gab Bois
seen by Joseph Davies

(c) Gab Bois

Bois’ artistic journey is one deeply rooted in curiosity, a trait that pulses through each visual story she creates. Growing up in a creatively rich environment, Bois was exposed early to the power of visual storytelling. Her father, a painter, introduced her to the language of imagery, a language she now speaks fluently, though in her own distinct dialect. Through this creative trajectory, Bois has etched out her own niche of visual expression, a vast terrain where possibilities stretch into eternity, folding worlds within worlds. Within these spaces, Bois orchestrates a new vocabulary, whereby a cocktail dress made of Scrabble tiles isn’t just a playful costume—it’s a commentary on language, identity, and the ways we construct meaning.

Her visual style is a melting pot of influences—design, fashion, pop culture, and advertising—yet it feels entirely her own. Growing up in the age of selfies and self-representation, Bois has a keen understanding of how images function in our digital age. Extending an open conversation with the viewer, lending itself to an intimate exchange that bridges the gap between artist and audience. There’s a sense of shared understanding, as if to say, “You’ve seen this before, but have you really looked at it?” Through this connection, Bois invites us into her world, a world where the ordinary is anything but.

At the heart of Bois’ practice is a fascination with paradox. A practice that exists in the liminal space between reality and simulation. She plays with these tensions, creating pieces that feel both timeless and of-the-moment. In a world dominated by endless scrolling and fleeting attention spans, we are invited to pause and engage, even to reconsider the forms we encounter every day but rarely truly see.

“It feels like my playground is constantly getting bigger, giving me the opportunity and privilege to work with whatever materials my concepts call for.”

Gab Bois speaks with Tagen Donovan
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

(c) Gab Bois

(c) Gab Bois

(c) Gab Bois

Tagen Donovan
Let’s start at the beginning. How did your early artistic influences shape your creative perspective, and in what ways has this visual language guided your approach to storytelling?

Gab Bois
My creative practice has always been deeply rooted in the sense of wonder I felt as a kid, my wonder of objects and curious perspective of the world. I’ve tried to construct a visual language that blends elements from my childhood play and my teenage Tumblr days, in which I continue to tell a story.

The idea of working with what you have in front of you is a recurring theme in your art. Do you see this as a direct extension of your childhood experiences, or has it evolved into something more conceptual as your practice developed?

I’d say it’s a product of both. My creative practice has always been shaped by my surroundings—a continuation of childhood days spent playing outside and collecting objects. Over time, though, my career has given me access to more resources. It feels like my playground is constantly getting bigger, giving me the opportunity and privilege to work with whatever materials my concepts call for. The spirit of my practice is still the same: playful and rooted in my environment. But the process has definitely evolved, especially when working with briefs and as part of a team.

Your work often features a blend of humor, discomfort and beauty found within the mundane. How do you select objects for your pieces? Is it a meditative process or something more instinctive?

It’s definitely an instinctive exercise—I’m drawn to objects that catch my eye aesthetically. Since my practice is grounded in time and place, I usually gravitate toward objects or themes that feel current, whether they’re seasonal or flooding my explore page.

Blending elements of conceptual art, sculpture, and fashion with a playful and thought-provoking edge creates the tapestry of your practice. If you were to describe the genre or identity of your art, how would you define it? Or is there an element of transcending labels and boundaries?

I don’t usually try to describe my work, but I love when people who know art history connect it to other movements or genres. I don’t really have the knowledge—or the urge—to place myself within the larger art landscape, though I’m not opposed to it. I’d say my work is conceptual, and my practice is more about a general vision than sticking to a specific medium. I see it more as a special sauce that I can adapt to any dish.

In the age of the infinite scroll, your work creates moments of reflection, inviting viewers to pause and view the ordinary through a different lens. All while tapping into our innate sense of curiosity amidst the rapid consumption of content. How intentional is this aspect of your work?

Thank you for framing my work this way—that is very kind. Creating work that calls for a moment of reflection or pause is definitely something I aim for. I think everyone has a personal gallery of images that stick with them—or at least I do. If my work becomes part of someone else’s mental gallery, that is awesome. But if people keep scrolling past it, that won’t stop me from making more. I’m well aware that most of us are overwhelmed by images daily, and I can’t control if my image will cut through this. What I can control—and what I think has been a strength of my practice—is building a distinctive visual universe.

Captions evolve into titles for each piece, while the comment section transforms into a dynamic space for recontextualisation and community dialogue. What is it like to witness, in real time, how your work sparks conversations and invites fresh interpretations from your audience on social media? Have you ever been surprised by how it's interpreted?

It’s funny you say that because I feel like this was especially true when I first started sharing my work online. People were very engaged and the comment section was very dynamic, so many people shared strong feelings, positive or critical. The Instagram landscape has changed a lot in the past few years, and I’ve noticed people interact much more with reels than with still images now. My comment section feels a lot calmer now. It’s mostly a mix of love, clever puns, or references of work that people are reminded of, which I enjoy learning about.

You’ve previously mentioned your father’s ability to“talk with images”,which resonates with your own approach to creating art. Do you see your work as a continuation of this legacy, or have you reinterpreted it in your own way?

Great question. I see it as both. Having a child is merging your essence with someone else’s, creating something entirely new, never just recreating yourself. In that sense, I owe a lot of my creative practice, passion for art, and craft to my dad. That said, our artistic processes and inspirations are quite different, though there is most likely overlap in the way we both approach art on an internal level.

The theme of this issue is EPHEMERAL—the fleeting, raw brilliance of the present. How does the concept of impermanence manifest in your work, especially in a world where images and ideas are so quickly consumed?

I like to think of my work as surreal time capsules, each piece captures my inspirations from a specific time and place. I also draw a distinction between the physical object and the photo or video of it, seeing the act of capturing the object as the time capsule itself.

I am very inspired by the Tibetan Buddhist practice of creating sand mandalas. I like to be as invested in the process as in the final tableau, but not so much in the outcome once the work leaves my hands. I don’t mind spending hours on something that might be shared and then forgotten. In my experience, something doesn’t have to be framed or looked at every day to be real or valuable.

In your "Canapés" collection, you transformed everyday food items into wearable art. What challenges did you face in translating your photographic concepts into physical fashion pieces?

When creating Canapés, my intention was to explore both the design and production processes of wearable accessories, while considering functionality alongside aesthetics. One of the biggest challenges I faced was the balance between form and function. In my creative practice, I’ve always prioritized form, but I quickly realized that to make these pieces wearable and functional, I’d have to make certain compromises. I learned that when something is comfortable and practical, it enhances its overall appeal and becomes more beloved. In the end, the compromise doesn’t end up being a compromise at all.

Follow @gab_bois

What’s perhaps most striking about Bois is her ability to move fluidly across disciplines—without losing the thread of her conceptual vision. Entirely self-taught, a fact that underscores the raw, instinctual nature of her creativity. Bois’s work feels alive, as if it’s constantly evolving, driven by an insatiable curiosity and a passion for bringing ideas to life. This evolution is evident in her recent projects, which expand her practice into new territories. While experimenting with interactive elements, designing wearable objects, and exploring new media to push her artistic vision beyond the confines of the screen.

Le Mile’s EPHEMERAL issue explores themes of impermanence and raw creativity, Bois’ work feels particularly resonant. It’s a celebration of the fleeting brilliance of the present, a reminder that even the most ordinary objects can become extraordinary if we’re willing to see them in a new light. In this exploration of her practice, we delve into the inspirations that fuel her creativity, the evolving relationship between physical and digital creation, and how she navigates the impermanence of contemporary visual culture. But perhaps more importantly, we consider what her work asks of us. It’s not just about appreciating her art; it’s about questioning our own perceptions, about finding the surreal in the everyday, and about embracing the playful, curious spirit that drives her practice. Gab Bois doesn’t just create art—she creates moments of wonder, and in doing so, she reminds us that the world is far stranger and more beautiful than we often allow ourselves to see.

(c) Gab Bois

(c) Gab Bois

In 2020, you released a book with Anteism, and you’re now preparing to launch a new project with Baron Books. Both editions embrace a sense of play, from simulated phone cameras in your first book, inviting readers to take selfies within the gaze of the book itself, to the interactive sticker cover art in your upcoming release, directed by Max Siedentopf, which encourages direct participation with the artworks. How do you approach the design of these interactive elements, and what role does the concept of play hold in shaping your broader artistic vision and practice?

Play is truly at the heart of my practice and my studio’s vision. There’s always an element of surprise, because we’re creating things that don’t yet exist, and we can never fully predict how a work will be experienced in the real world. It is so exciting to see our vision come to life, fully formed by each decision made and each source of inspiration gathered along the way.

I see our studio as a playground, where we have the freedom to experiment and explore. We are so lucky that we don’t have to get bogged down by many constraints in our personal projects. We might still get hurt on the playground by making bad decisions, but we always learn and hop back into the swing of things.

When creating, do you think more about how your work will exist in its immediate context or how it might be archived and remembered in the Future?

Again, both. I’m always aware of how my work will exist in the present moment, but I’m also curious and excited about how it might be perceived, archived, and repurposed in the future.The future informs how I capture and display my works in the present: photographing an object in its best light, preserving it as a high quality image and as a physical object when possible. A photo can withstand time, even if the physical object deteriorates.

What's next for you? What are you excited to explore in 2025?

On a personal level, I’m really excited to dive deeper into creating video works and exploring storytelling as a vehicle for my ideas. For my studio, my team and I love experimenting with different mediums and forms of work, and our goal is to keep raising the bar for what we can achieve and what terrains we can move into. This year, we aim to continue pushing towards constructing a tangible presence of our work and vision, and we have lots of exciting products and projects rolling out this year that reflect this ambition.

“We might still get hurt on the playground by making bad decisions, but we always learn and hop back into the swing of things.”

Gab Bois speaks with Tagen Donovan
for LE MILE Ephemeral Edition - SS 2025 Nr. 38

Milena Smit - Interview

MILENA SMIT
*Between Frames

written + interview Alban E. Smajli

Milena Smit moves through cinema with an intuitive force. As an actor, she absorbs characters at their core, shaping them from within. A script carries an atmosphere that guides her, each role unfolding through presence and instinct.

Her first rehearsal with Pedro Almodóvar and Penélope Cruz marked a shift. The industry took notice. Without formal training, she learned on set, refining her craft through experience and deep collaboration.

Time on set is fluid, shaped by waiting, by intensity, by the energy of those around her. Beyond acting, new ambitions form—studies, personal growth, the idea of motherhood. Every role, every decision, every moment exists fully in its own space.

dress ISABEL SANCHÍS
jewelry YVES SAINT LAURENT
heels FERRAGAMO

Alban E. Smajli
When you take on a role, do you see it as an act of becoming—or of undoing?

Milena Smit
For me, the key is learning to work with the emotions of the characters while disconnecting from those that might trigger my own personal wounds. I used to rely on my own emotions and experiences, but it took a heavy toll on my mental health.

What does “Ephemeral” mean to you in an era that’s obsessed with capturing and archiving everything?

Being present, so those small moments don’t slip by unnoticed.

Do you think cinema is closer to memory or to dreaming?


I believe it’s a perfect blend of memory and dreams, with a touch of magic added.

Is there a single moment in your career so far that you wish you could bottle up and keep forever?

The first rehearsal I had with Pedro Almodóvar and Penélope Cruz in their office, back when I still didn’t know if I was going to play Ana in Parallel Mothers.

When the script is in your hands, what pulls you in first? Is it the story, the silence between the words, or the world it creates?


The aura of the script, the energy conveyed by the story and the character.

Your work feels like you’ve found beauty in imperfection. How much of that is you, and how much comes from surrendering to the process?

I try to approach everything I do from instinct and gut feelings. I don’t have much experience with technique, since my school has been the work itself and the people I’ve had the pleasure of collaborating with on various projects.

What’s more exciting to you, playing a character who feels like home or one that feels completely foreign?

I like the duality of both. I wouldn’t know which one to choose.

If your life were a film, what genre would it be today? Would tomorrow maybe be something else?


Right now, it would be a documentary about spirituality (laughs), but there have been moments of everything—drama, horror, romantic comedy…

What’s your relationship with time when you’re on set? Does it move too fast or too slow?

It depends on the day. On set, there’s always a lot of waiting, but I try to bring a book for those moments or enjoy the time with my colleagues. However, there are also days that are tough.

What excites you most about the worlds you’re bringing to life next?

Fulfilling other dreams, like continuing my studies, growing personally, becoming a mother someday, and living precious moments with my family.

total look DSQUARED2

dress HHABEY CLUB
shoes JIMMY CHOO

“I used to rely on my own emotions and experiences, but it took a heavy toll on my mental health.”

Milena Smit speaks with Alban E. Smajli
for LE MILE Issue 38 / Ephemeral Edition SS25

full look SAINT LAURENT

full look LOEWE
jewelry BULGARI

full look ARMANI
jewelry BULGARI

talent MILENA SMIT
photographer LEIRE CAVIA
set designer JOSEFINA MAIZA
stylist MANU MENDI
make up + hair REBECA TRILLO-FIGUEROA using YSL Beauty
photo assistants ALBERTO FERNANDEZ + NICOLE WAR + ELENA DIAZ
set assistan t DELFINA AYERZA
stylist assistants RAUL GONZALEZ + MARIA GADEZ

Thanks to CRAM TALENT

Elizabeth Dulau - Interview

ELIZABETH DULAU
*Transformation Characters Across Star Wars, Netflix & Stage

written + interview Alban E. Smajli

Actor Elizabeth Dulau is entering a season shaped by roles with weight—political, historical, emotional. As Kleya Marki in Andor, she returns to the Star Wars universe for its final chapter, joining Diego Luna and Stellan Skarsgård.

Her presence remains precise and charged with a quiet urgency. In House of Guinness, created by Steven Knight for Netflix, she plays Lady Henrietta. The story follows the Guinness family across Ireland and New York in the 19th century, navigating legacy and fracture after the death of Benjamin Guinness. Dulau also voices the Piebald Deer in Wicked, a brief but memorable role.

She has appeared in Maternal, All The Light We Cannot See, The Outlaws, and Gentleman Jack, building a body of work that feels grounded and deliberate. Each performance speaks in its own register. In this interview, Elizabeth shares thoughts on transformation, emotional access, and the quieter moments that shape a role.

dress SPORTMAX
earrings BONVO

Alban E. Smajli
You’re orbiting galaxies in Andor, slipping into corsets for House of Guinness, and voicing trembling deer in Wicked—what does it feel like to be a shapeshifter in a world constantly asking for identity?

Elizabeth Dulau
Yeah, this is an important discussion. I am a firm believer that actors should be allowed to transform into people far removed from themselves but there are boundaries that shouldn’t be crossed. There are some lanes that I very clearly do not belong in and that’s ok, that’s someone else’s lane. There’s still scope for shapeshifting within the lanes available to you.

I think it’s also important to acknowledge however, that a person’s identity can in many ways change throughout their life. This pressure to clearly define oneself is something that feels counterintuitive to me. As I’ve gotten older, I’ve realised actually being more of a shapeshifter in some respects feels natural to me and maybe that is part of my identity. It allows for growth and change and playing and to be honest that is why I’m drawn to being an actor. It allows me to really explore all the different sides of myself. To be honest, none of the roles I’ve played (yes, even the deer in Wicked) feel like someone other than myself. Every character feels like a singular thread of myself I pull on and enhance in order to transform.

The industry often feels like a theatre within a theatre. Where do you find the unscripted moments that still feel real?

I think these moments are found in the people you meet. Every now and then you’ll come across a real gem of a person with whom you can drop any professional guard and just be a messy human. I’ve certainly found that with Jacob James Beswick on Andor and Jennifer Macbeth on Maternal. People like them don’t come along often and I think it’s important to sit up and take notice when they do.

House of Guinness is soaked in legacy and loss. How do you personally move through stories drenched in history without getting stuck in the past?

When playing any character that is in a situation far removed from your own it’s important to remind yourself that your shared humanity connects you. Yes, do your research on the world in which they live, the etiquette, the politics, the faith systems but they are still a flawed person just like you. They will feel love, desire, rage, jealousy, grief and you can access their inner lives through your own experience of these things.

You’ve been part of massive universes (Star Wars) and deeply intimate dramas (Maternal). Which scale do you dream in?

My god I LOVE this question! I think my dreams range throughout many different scales. I am a big daydreamer and was often made to think it was a problem. I was constantly told to stop daydreaming and concentrate! But I realised while I was at drama school that my daydreaming is what helps me connect to my characters. I can happily spend hours dreaming up backstories for my characters to enrich their presence. I like to take the same approach to my own life too, dreaming up an ideal future for myself to then take steps towards it.

Fashion—do you see it as armour, as performance, or as rebellion? Or something more private?

I see it as all of the above. Fashion is one of the most accessible forms of self-expression and we’re always expressing ourselves with it whether we realise it or not. What we choose to cover ourselves with externally reflects something that’s going on internally. Maybe it’s a front, armour, a performance or a truly authentic expression of how we’re feeling in that moment. I love using fashion as a mode of creativity and character. When filming self-tapes for an audition, a really easy way to feel like that character might be throwing on a shirt or a pair of shoes that make you walk differently. In our everyday lives we can put on a different combination of pieces that make us feel like a subtly different version of ourselves and that feels so exciting to me.

dress + shoes SPORTMAX
earrings BONVO

coat SELF-PORTRAIT
tights FALKE
shoes ROGER VIVIER
belt + earrings FASHION ARCHIVE

“None of the roles I’ve played (yes, even the deer in Wicked) feel like someone other than myself.”

Elizabeth Dulau speaks with Alban E. Smajli
for LE MILE Digital SS25

How do you prepare for a role that requires emotional submersion—but still demands you show up, camera-ready, hair lit, line perfect?

All the camera-ready elements I don’t even think about. That’s someone else’s job. I let them look after that. As for the emotional submersion, there are a combination of factors at play. Good prep is always a winner. Again, I will often use daydreaming in the run up to a shoot to flesh out their life. I also use music a lot. Music accesses a part of our brains that logic simply can’t, so I create various playlists for each character and just before we shoot I’ll listen to a song that’s helpful. But the moment the director calls action I let go of all that prep and just focus on my scene partner, trying to change them and allowing myself to be changed by them. You have to trust that all your prep is there in the background without you having to hold on to it.

There’s a certain hush in your roles—quiet strength, subversion, layered tension. Where does that stillness come from?

I think this comes from a certain amount of internal conflict. I’m often drawn to characters whose outer projection is quite different to their inner lives. Kleya for example has a very cold and controlled exterior but I played her with the conviction that deep underneath all those external layers is someone who loves very deeply and holds a lot of hurt and rage. There’s something a little wild in her. I think this sense of stillness is born from the tension between those inner and outer lives. I’m suspended between the two.

Imagine a film directed by your future self—what genre would it be, and what would the costume department look like?

I’m very intrigued by sci-fi actually. I think it’s a really useful tool with which to ask questions about our world. And I have lots of questions! The costumes would probably be pretty elaborate. I’d need to get Michael Wilkinson on the team!

You’ve been part of a galaxy far, far away and now a dynasty built on stout. What story hasn’t been told yet, that you're dying to step inside?

I’m really inspired by filmmakers like Mark Ruffalo who use film as a form of activism, shining a light on important issues. Personally, I think there are more stories that need to be told about the climate crisis because there’s still so much apathy towards this issue.

The real change would only come about when government and major corporations commit to change but I believe we could bring about that change if we collectively put enough pressure on them. There’s so much potential for film and TV to create social movements, just look at Netflix’s Adolescence or ITV’s Mr Bates vs the Post Office. Both dramas created such a huge public response that the government took action and maybe there’s scope to do the same with the climate crisis.

talent ELIZABETH DULAU
photographer ANTONIO EUGENIO
stylist PRUE FISHER
hair ERIKA NEUMANN
male up PHOEBE HEARD
photographer assistant DANIEL EYNON

Special thanks to Grace Yeoman, PR Pinnacle

blazer ARMANI EXCHANGE
trouser ARMANI EXCHANGE
bra INTIMISSIMI
shoes MANOLO BLAHNIK
earrings FASHION ARCHIVE

coat THE FRANKIE SHOP
tights FALKE
earrings MISHO

shirt + shorts THE FRANKIE SHOP
tights FALKE
shoes MANOLO BLAHNIK
earrings MISHO
belt FASHION ARCHIVE

“Fashion is one of the most accessible forms of self-expression… What we choose to cover ourselves with externally reflects something that’s going on internally.”

Elizabeth Dulau speaks with Alban E. Smajli
for LE MILE Digital SS25

Franco Masini - Interview

FRANCO MASINI
*Between Cities, Scripts, and Style

written + interview ALBAN E. SMAJLI

Franco Masini moves with intent to generate monumentum. Actor, producer, reader of places, collector of moments—he expands his practice through curiosity and risk.

His latest project, a theatre production he’s independently bringing to life, marks a shift toward authorship. Ownership of process. Control of tone. A story he performs and constructs. Fashion is part of his language. He responds to designers like Adrian Appiolazza and Jonathan Anderson for their ability to distort form with precision. He keeps a close eye on Matias Carbone, an Argentinian voice now emerging across Europe. Masini assembles identities. and his wardrobe edits itself in real time.

watch FILM

full look MOSCHINO
tie FURSAC

blazer TRANSE PARIS
vest IGOR DIERYCK
jewelry ALT PARIS

Alban E. Smajli
Your career moves like a shifting lens—what’s in focus for you right now?

Franco Masini
I love the movement of my career. I think it’s really important to stay focused on new things and to have opportunities to learn and grow as an actor. My next step is to produce a new theatre show—I’ve already acquired the rights.

Which designers are speaking your language this season, and what are they saying?

There are many new designers doing amazing work. I really like Adrián Appiolaza and Jonathan Anderson—they’re very creative and always producing unique and thoughtful pieces. I also really like Matías Carbone from Argentina, who is expanding his brand into Europe.

If your wardrobe were a film, who’s directing?

My wardrobe has many different elements. I think it would need a very unique director. I enjoy changing styles, designers, and colours, and creating my own “Franco” style. I get bored easily—haha!

Art and fashion exist in dialogue. Where do you see the conversation heading?

Art and fashion are two things I really enjoy. I love how creators express their own perspectives through clothing.

Museums capture time, fashion rewrites it—what recent art exhibition has stayed with you?

I really liked ARCO in Madrid—a week of contemporary art, with so many creatives and amazing artists.

What does personal luxury look like for you beyond the obvious?

Personal luxury, for me, is in meaningful moments with the people I love—like visiting new places, discovering new countries, or sharing great food with friends. That’s the best.

What city makes you feel most like yourself?

I think Buenos Aires is the place—full of movement, art, cinema, friends, and always something to do. Madrid feels like my second home. It’s also incredible.

Morning ritual or midnight impulse—when do you feel most alive?

I feel most alive in the morning. I love waking up, going for a run near the river, and then having breakfast with a book. I really enjoy reading in the morning.

If you could archive a single look from your life, what would it be?

That’s hard to say because my life is in constant motion—and I love that. I’m always meeting new people, living in new places, exploring new cultures. I appreciate my job because it allows me to reach so many parts of the world.

What’s the last thing that truly surprised you?

The last thing that surprised me was meeting Adrien Brody at Paris Fashion Week. I really admire his work, and it was great to talk with him. We were seated in the same row. I’ve seen all of his movies.

full look JACQUEMUS
jewelry ALT PARIS

full look MOSCHINO
jewelry ALT PARIS

He begins his days by the river, running along the water as the city slowly wakes. What follows is quiet and deliberate: coffee, a book, the kind of solitude that aligns the mind before the rest of the world demands attention. Mornings carry a clarity that sets the pace for everything that comes after—travel, conversations, creative shifts, the layering of roles and identities. Buenos Aires flows through him with instinctive rhythm, while Madrid offers a different current, equally present in his internal map. Each place contributes to the structure he’s building—fluid, expansive, unfinished by design. His idea of luxury moves away from display and towards sensation. A shared plate with friends, the atmosphere of a new neighborhood, the texture of unfamiliar languages and streets—these are the moments that stay.

The value is in gathering feeling, in building a personal archive made of people, places, and presence. At Paris Fashion Week, he found himself seated next to Adrien Brody. A quiet dialogue unfolded—film, performance, process. Nothing staged. Just two people exchanging thoughts in a shared space, surrounded by movement but anchored in something still.
Franco Masini lives in progression. Style evolves, environments shift, energy recalibrates. What stays is the drive to create—not as an end point but as a state of being, a continuous act that shapes and reshapes itself in response to what enters, what unfolds, and what he chooses to carry forward.

full look ARTURO OBEGERO
shoes CAMPER
jewelry ALT PARIS
watch CARTIER

full look EVAN BENJAMIN
socks + shoes MOSCHINO

credits
photographer LOUIS TERAN
stylist SIMON NNDJOCK
talent FRANCO MASINI
set designer CLARA DE GOBERT via APICORP AGENCY
movement director ROBIN LABARRERE
hair PAUL GOMEZ
make up MANON CANA via BUREAU ALAGNA
nails MAHARA DIARTE-ZEROUALI
casting director MARVIN LATOURNALD with MODELS LANE
production TABATHA RUSSO at BUREAU ALAGNA
photographer assistant STEVEN BAILLIN

special thanks to Tatiana Dumabin

Dylan Llewellyn - Interview

DYLAN LLEWELLYN
*Brewing Moments

written + interview Sarah Arendts

Dylan Llewellyn moves through stories like an architect of feeling. Captured mid-conversation, coffee in hand, the setting mirrors the essence of his work—unfiltered, natural, alive in the moment.

Every role expands the space it occupies, stretching humor into unexpected depths and carving out moments that stay long after the scene ends. His presence on screen is charged—words, expressions, silences all calibrated for maximum impact.

jacket + shirt NANUSHKA

Comedy fuels his process. A living language of timing, movement, and instinct. The humor lands, not as an escape, but as an excavation of something real. Derry Girls, Big Boys, Beyond Paradise—each project a new rhythm, built with precision, delivered with an effortless pulse. Llewellyn works with momentum. The industry shifts, names rise and fall, but the resonance of his performances embeds itself deeper. Not tied to nostalgia, not chasing permanence. Just sharp storytelling, lived-in characters, and the kind of presence that doesn’t ask for space—it takes it.

knitwear SANDRO
blazer THE FRANKIE SHOP
jeans O.FILES
loafers DR MARTENS
socks FALKE
rings MAYA MAGAL

Sarah Arendts
What does comedy allow you to express that drama doesn’t?

Dylan Llewellyn
I think comedy lets you have more freedom with your performance. You can go from being extremely serious and deadpan, but still leaning into the humour, to being super silly and over the top. There’s a whole variety of comedic styles to explore and I think that’s the main difference.

You’ve inhabited roles that capture the awkwardness, rawness, and humor of coming of age. Can you think of a moment in your life that felt like it could be part of one of your shows?

I think we’ve all experienced that classic moment of getting ID'd when you're in your teens. I remember going to see a 15-rated movie in the cinema when I was around 17 years old. They wouldn’t let me in because I didn’t have my passport or ID on me, so I had to call my parents to come down with it. My older brother came in and asked the staff where I was… They said “Oh, he’s just waiting in the bar.” My brother goes, “Oh what, so you let him hang in the bar but not let him watch the 15-rated movie?” That was quite a funny classic story of growing up and being ID’d.

Fame doesn’t last forever. What’s the one thing you hope to leave behind in the industry?

What I hope to leave behind in the industry and my acting career is just a sense of joy in the roles I’ve played – from Derry Girls to Big Boys. Those comedic roles have been such a joy and so much fun to perform. I’ve also loved working with so many talented actors along the way. I hope it inspiresyounger generations to get into comedic acting and to carry on that torch. For me, The Inbetweeners inspired me growing up, especially during school days. I grew up watching them and thought I’d love to do something like that. Then Derry Girls came along, followed by Big Boys, so yeah, I hope I can do the same for another young actor or actress.


Jack’s journey in Big Boys is deeply personal yet universal. What’s the most surprising reaction you’ve received from fans?

I think what surprised me most about the response to Big Boys is just how many people relate to it. But at the same time, it’s not that surprising because all those subjects – grief, mental health struggles, friendship, family, and sexuality – are so relatable. A lot of people can connect with those topics. What really stands out to me is how much it’s hit home for so many, with people speaking out about how much those themes mean to them, especially the dynamic of friendships – specifically the dynamic of the gay and straight friendship between Jack and Danny.


You played Wally Nightingale in Pistol, a musician lost in punk history. Do you think he would be remembered differently if he were around today?

When it comes to Wally Nightingale, the character I played in Pistol, it’s a really sad story. He lived the rock and roll lifestyle but without the fame or the money that came with it. I think, and I hope, he’ll be remembered fondly as one of the roots for the Sex Pistols – someone who helped lay the foundation for what they became. I really want him to be credited and recognized as such.

Your characters are often outsiders finding their place. Do you see yourself in them?

Yeah, I think I bring a little of myself into all my characters. I lean into their characteristics more and just make them themselves – their own personalities, their own people. I’ve played a lot of vulnerable, awkward, coming-of-age characters who are finding themselves. But I’ve also played characters who are more confident, like Kelby Hartford [from Beyond Paradise]. I think Kelby is very confident in himself, and even Wally Nightingale from Pistol was pretty confident in his abilities.

Some roles stay with actors forever. Have any of your characters changed the way you see the world?

I think the character of James in Derry Girls has made me learn about Irish history and developed my appreciation for Irish people and how amazing they are. The character of Jack in Big Boys shows the incredible bravery of people discovering themselves, both with their sexuality and with grief, as well as their mental health. I think Wally Nightingale in Pistol made me see the world with more appreciation for music, for being kind of weird, and not caring about being normal. I think that was the whole message of Pistol, the show, and the Sex Pistols in general – it was all about letting your freak flag fly and being okay with not being normal. The whole punk revolution shows that, so yeah, I think I’ve learned a lot from these characters, their stories, and the show’s stories.

Both storytelling and life are temporary. Do you try to make things last, or do you embrace their short-lived nature?

I think I do try to make things last whenever I can but I also embrace the short-lived nature of things as well. I think you can enjoy both sides of it. That’s kind of me to a T – I’m definitely someone who’s glass half full but also half empty at the same time. I think you can see both sides of it and I feel likeit’s a healthy way to look at things – considering every perspective and mentality. Yeah, it’s a tough one, I think.

What’s a role you’d never take—and why?

Actually, there are lot of roles I am open to and really want to take a crack at. I mean, I'd love to play villain or a darker role, or just a role that’s completely different from what I’m usually cast in. I'm always up for the challenge and I’d love to explore those kinds of roles more and really get my acting teeth into them

“Comedy lands, not as an escape, but as an excavation of something real.”

Dylan Llewellyn speaks with Sarah Arendts
for LE MILE Nr. 38 - Spring/Summer 2025 Edition

coat NANUSHKA
shirt DOLCE & GABBANA
jeans O.FILES
ring MAYA MAGAL

credits
talent DYLAN LLEWELLYN
photographer ANTONIO EUGENIO
stylist MILLIE CULLUM
grooming CHARLIE CULLEN using @babylissprouk & @shakeupcosmetics
photographer assistant DANIEL EYNON
fashion assistant AMY HARFOOT
location Special thanks to Mae + Harvey, East London

Kris Marshall - Interview

KRIS MARSHALL
*Inside the Mind of DI Humphrey Goodman

written + interview Alban E. Smajli

Kris Marshall moves through roles like pages in a living archive. Each return to DI Humphrey Goodman is a recalibration, a quiet shift in tone, pace, inflection.

The detective doesn’t arrive fully formed; he extends through time, carried by instinct, built through decisions that remain invisible until they aren’t. Kris Marshall works with precision. He feeds the character small changes—gestures, rhythms, interior logic. In Beyond Paradise, nothing is static. Everything folds back into the work: his references, the sea, the energy of a long shoot, the movement of strangers who never knew they were being studied.

jumper + trousers RALPH LAUREN
socks FALKE
shoes SANDRO
sunglasses THE AVANTGUARD
jacket THE FRANKIE SHOP

He rarely speaks in absolutes. Scripts are approached like open systems. Scenes are lived, not performed. He notes structure, then lets it bend. The repetition of a character over seasons becomes an act of endurance, not rehearsal. Ideas are planted early and left to unfold over time.

Memory plays a role. So does observation. He remembers the weight of theatre nights, the long haul of production days, the silence that follows a line well delivered. Meals with Pacino in Italy exist in the same archive as his first stage rehearsals—held not for anecdote, but for texture.

In conversation, Marshall cuts through sentiment. He speaks clearly about work. The physical toll. The mental timing. The need to rest before the next scene. Acting, for him, is not escape—it is a study in repetition, and the possibility of nuance inside repetition.
This interview traces Marshall’s ongoing practice—returning to characters not to resolve them, but to remain in conversation with them. He shares what drives him on set, what surprises still occur, and what advice he carries forward. No grand epiphanies. Just a steady commitment to showing up, seeing clearly, and staying inside the craft.

suit + shirt RALPH LAUREN
tie SANDRO

“Every character I play is a part of me… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Alban E. Smajli
What keeps drawing you back to DI Humphrey Goodman? Is there still more of him to uncover, or do you just enjoy the ride?

Kris Marshall
Well, I’m not gonna lie and say that enjoying the ride isn’t a part of it, because both incarnations of him have lived by the sea, and I spend as much of my free time in it and on it as possible. Which is joyous. But there’d be no point if I didn’t feel there was more of his character to discover. As I get, shall we say, less young, it’s important to convey his changes as well, so there’s that, and I’m constantly throwing in new ideas and homages to my favourite detectives and other characters in TV and film that have influenced me.

From Love Actually to Beyond Paradise, your career spans rom-coms, crime dramas, and theatre. Where do you feel most at home?

Not working!.. No I’m kind of kidding. I came up through theatre, it’s all I did for the first 6 years, and even though after that I’d probably only do a play every 4 or 5 years, you can never replicate that kind of peril and immediacy on TV and film. But there’s something about building a character over a long shoot, and the fact no two days are the same, that I’ve always found beguiling.

Humphrey is a detective who sees the world differently. What’s a case you’d love to see him tackle in Beyond Paradise?

A corrupt politician. He’s renowned for being pretty open-minded, fair and kind, but he has a healthy disdain for and a delight in unpicking capricious and arrogant people who view him as strange and hopeless. It’s the Columbo/Marple gene, to lure antagonists to their doom!… Failing that, anything to do with surfing, for reasons mentioned above.


You’ve played both hopeless romantics and sharp-witted detectives. Which role is closer to the real Kris Marshall?

I would say both and neither. If that’s not too obtuse. I think Jack Nicholson said ‘Every character I play is a part of me’… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to. But also, they’re not me, because I study other people’s mannerisms and walks and use them as well. 


What do you think makes Beyond Paradise resonate so strongly with viewers?

Well, of course the location is beautiful, bucolic and colourful. But also, people love puzzle solving, so it’s somewhat interactive on that front. But the main reason is it’s not too dark and violent and doesn’t take itself too seriously, so it’s watchable across demographics. I’ve met people who say it means a lot to them as it’s something they can bond watching with their parents and children, which I think is delightful. 

You stepped back into Sanditon's Tom Parker and Beyond Paradise's Humphrey Goodman. How does revisiting a character change your perspective on them?

Filming is often arriving at a location you’ve never seen, and then getting the best takes within the allotted time, before you move on to another location you’ve never seen!… Whereas in theatre, you get to go back and slightly alter and hone your performance every night. So getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry. 


Theatre, film, TV—each demands a different energy. Do you approach acting differently on stage versus on screen?

I guess they all involve conserving energy. Filming is getting up at 5.30am, working until 7pm and then eating and getting enough rest to do that for anything up to 6 months. Theatre is all about building enough energy through the day for an evening performance, and then not getting too carried away with enjoying the nighttime after the show…Because the older I get the earlier I’m up!

Keeping in mind that you’ve worked with some of the most celebrated actors in the industry, what’s a moment that still sticks with you?

Working with Al Pacino on The Merchant of Venice. We were away on location in Italy and nearly every night after work he’d insist on us all having a sit-down meal in different restaurants. One night he even came clubbing with us younger actors, and seeing this absolute legend grooving to a heavy bass in a European nightclub was something I’ll never forget.

Have you ever been truly surprised by a plot twist in one of your own scripts?

Nothing that particularly springs to mind I have to say. Although I’ve had a fair few scripts through where you get to page 5 and it says ‘And then he dies’!… And you’re thinking, I’m actually quite insulted you thought I might want to play this role man…!!


If you could time-travel back in time, what advice would you give to your younger self?

That whatever it is you think is the right way to do it, is the right way to do it…
And stop smoking dude…

credits

talent KRIS MARSHALL
photographer DAVID REISS
stylist PRUE FISHER
grooming JOLANDA COETZER

full look RALPH LAUREN
socks FALKE
shoes SANDRO

---

also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

suit + shirt FURSAC
boots SANDRO

“Getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Neil Zhao - Interview

.aesthetic talk
NEIL ZHAO
*The Material Alchemy

written + interview TAGEN DONOVAN

Neil is a designer redefining contemporary fashion with his sharp, conceptual approach to materiality and form. His work transcends traditional boundaries, transforming overlooked objects into thought-provoking statements that blur the lines between fashion, sculpture, and cultural commentary.

By challenging convention, Neil invites audiences to reconsider the value and potential of everyday materials, sparking a deeper reflection on the intersection of utility and aesthetics. At the core of Zhao’s work is an exploration of permanence and ephemerality—how garments, trends, and even the industry itself exist in a state of constant flux. His designs embrace the tension between the fleeting and the enduring, questioning what it means to create in a world where change is the only constant. This philosophy is embodied in Zhao’s acclaimed Tyre Bag, a piece constructed from industrial material and repurposed into a high-fashion object, subverting expectations and revealing the beauty in the mundane. Across his collections, Neil employs techniques such as layering, deconstruction, and exaggerated repetition, crafting garments that mirror the transient nature of contemporary culture.

Bastien Dausse
seen by Cécile Prunet / (c) Cécile Prunet

As the fashion industry navigates an era of profound socio-political, and environmental shifts, Neil stands among a new generation of designers reshaping its trajectory. His work responds to the moment yet resists easy categorisation—offering a perspective that is as inquisitive as it is uncompromising. By pushing the boundaries of materiality, Neil not only captures the spirit of the times but also challenges the industry to rethink its assumptions about creativity, consumption, and sustainability. In this interview, we explore Neil’s creative process, his evolving relationship with fashion, and what it means to design in an era defined by constant change. Through his innovative vision and commitment to reimagining the ordinary, Neil offers a fresh perspective on the future of design.

“For me, lasting means never settling for what is safe or what already works. Reinvention is key.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

(c) Neil Zhao

(c) Neil Zhao

Tagen Donovan
Your use of the unexpected pushes the boundaries of what fashion can be. How do these choices speak to the theme of impermanence, and what do they reveal about the lifecycle and reinvention of everyday objects?

Neil Zhao
I'm captivated by the mundane and the present moment. My latest collection, showcased last November, reflects this fascination. Currently, as a second-year fashion design student, I'm fully immersing myself in this unique phase—observing my environment and drawing inspiration from it. This might be my only time as a fashion design student, and I aim to capture this transient experience.

Viewing fashion through an anthropological lens offers unique insights. How does this approach help you decode the cyclical nature of the industry?

At its core, fashion reflects human nature—people crave novelty, whether driven by seasonal trends or the pressures of capitalism. Yet, while fashion constantly reinvents itself, certain staples remain.

Blazers, jeans, and button-down shirts don’t disappear; instead, they evolve. Each cycle brings a fresh perspective—through cuts, fabrics, or styling—breathing new life into familiar silhouettes while maintaining their essential form.

With roots across Australia, China, and Norway, how has this multicultural backdrop shaped your perspective on cultural aesthetics?

I think my background has given me a sharper sensitivity to cultural nuances. Having lived in each of these countries for at least six years, I’ve become attuned to the subtle, often unspoken differences between them. It’s not just the obvious distinctions—like food, language, or greetings—but also the ways people from different places naturally respond to certain situations.

At the same time, I find it fascinating to observe the common threads that connect people across cultures. Despite their differences, there are shared instincts and behaviors that transcend borders, revealing an underlying universality in how we interact and relate to one another.

Your work is guided by conceptual underpinnings. In your 2023 RESET showcase at Central Saint Martins, you layered multiple jackets atop one another, creating a striking visual. How does this technique of superimposing reflect the transient meanings of contemporary fashion?

I’m fascinated by the fact that every time I walk into a mall, I see the same garments on the racks—again and again. There’s something compelling about that repetition, the way fashion continuously recreates the same pieces with only slight variations.

It’s intriguing how trends evolve, yet certain silhouettes, fabrics, and styles resurface in endless cycles, reinforcing the idea that fashion is in a constant state of reinvention rather than true transformation.

Your first presentation at Sarabande’s East London Space, If You Don’t Get It, It’s for You, reimagined pin cushions, buttons, and fabric swatches as garments. Could you elaborate on the symbolism behind this collection?

These are the tools of fashion—the things that all of us at my school share in common. Beyond that, we are very different. We come from different countries, subcultures, and ethnicities. We may dress differently, but we all share the same workspaces, hang out in the same smoking areas, go to the same bars, and talk to each other. This kind of community, where such a diverse group of people are brought together through a shared craft, is something you wouldn’t see anywhere else outside of a fashion school. And I find that really interesting.

Fashion often captures the spirit of its time. How does the zeitgeist inform your creative process, and how do you balance creating designs that feel relevant to the present while embracing their inevitable transience? In such a fast-paced industry, do you believe timelessness is still possible?

I’m deeply interested in what’s happening right now. However, it’s hard to pinpoint exactly how the zeitgeist influences my practice—it's difficult to recognise when you’re living through it. That’s what I find exciting about it. I want to look back at my work and see that it was truly reflective of its time.

As for timelessness, I don’t really believe in it—at least not at this point in my career. Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work. But who knows? Maybe one day I’ll want to create something timeless, too.

What does “lasting” mean to you in an industry defined by constant change?

For me, lasting means never settling for what is safe or what already works. Reinvention is key. I admire artists who completely depart from their previous work—sometimes it works, sometimes it doesn’t, but that’s what makes it interesting. The ability to take risks and keep evolving is what makes something truly lasting.

Lastly, what’s next for you? What are you excited to explore in 2025?

I want to reinvent myself—try something new. Of course, I’ll hold onto the things I love and stay true to myself, but I’m curious to see how I can use my sensibilities to create something that feels fresh and different.

Follow @kan_du_choke_meg_litt

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also read
.aesthetic talk STIJN KOKS *Fashion, Process, and the Power of Objects

(c) Neil Zhao

(c) Neil Zhao

“Sometimes, it feels like the concept of timelessness is used as an excuse to create uninspired work.”

Neil Zhao speaks with Tagen Donovan
for LE MILE .Digital - THE MATERIAL ALCHEMY

Spencer Carroll - Interview

.aesthetic talk
SPENCER CARROLL
*Chromatic Visions

written + interview TAGEN DONOVAN

Spencer Carroll is emerging as a distinctive voice in the fashion industry, capturing attention with a compelling blend of heritage and innovation.

A recent graduate of Central Saint Martins, Carroll’s work stands out for its seamless integration of traditional influences with modern, forward-thinking designs. Each garment not only showcases the designer’s technical skill but also reflects a unique ability to engage viewers through visual deception and a playful sense of nostalgia.

Alongside Carroll’s formative material experimentations, his early involvement with the sport of fencing played a crucial role in shaping his design ethos. The sport’s protective uniform introduced him to the concepts of structure and protection—elements that have become central themes in his design philosophy. This influence prompted a departure from conventional fashion boundaries, evolving each collection into complex constructions that challenge traditional perceptions of clothing. Carroll artfully balances vulnerability with strength, reflecting the protective and transformative aspects of fencing, which continue to permeate his practice, imbuing each piece with layers of meaning and complexity.

Spencer Carroll, atelier

“I tend to draw inspiration from my immediate surroundings. As for my philosophy, I believe it cannot be pinned down; it is an ever-evolving space.”

Spencer Carroll speak with Tagen Donovan
for LE MILE Issue N3. 37 - AGE OF CHANGE

Tagen Donovan
How would you describe your design philosophy?

Spencer Carroll
I tend to draw inspiration from my immediate surroundings. While maintaining a very optimistic outlook, which also informs my perspective. Altogether, these elements work together in guiding my exploration into contemporary and dynamic areas. And as a naturally curious person, I’m constantly observing and engaging with everything around me. As for my philosophy, I believe it cannot be pinned down; it is an ever-evolving space.

Can you walk through the process of developing your graduation collection from initial concept to final execution?

The concept was developed in response to specific art galleries and exhibitions. Viewing the works of Jeff Koons and John Chamberlain, and observing the craftsmanship required to create these metal structures, was truly inspirational. Further exhibitions showcased by Mika Rottenberg (’GRUPPENAUSSTELLUNG’ at Hauser & Wirth) and Senga Nengudi (DIA Foundation, Beacon) reinforced my connection to the colours, textures, and shapes that were evolving in my mind. It provided the visual confirmation that I needed to pursue the collection, merging art with fashion.
Once I had finalised my concept, I began designing the shapes. The initial stage of experimentation involved a long, playful period of absorbing all of the elements. In part, this approach led to a refinement process, ensuring that the collection was both wearable and desirable. Throughout the conceptualisation stage, it was key to keep the influence of art integrated, defining the shapes within the narrative.

Your collection aims to evoke a sense of playful nostalgia. How do you see this balance between past and present fitting into a broader narrative of cultural change and modern expression?

By drawing on nostalgia, it compels one to reflect and process ideas with a contemporary expression. Sometimes, you might not realise that you are referencing the past because you are working on it in the present; thus, all the modern elements naturally integrate into your narrative subconsciously.
Although the objects I create are physical, they often acquire a much larger presence in the digital realm. Similar to art, clothing is viewed through various media formats, and stories are shared on social media. Therefore, a digital presence is crucial to me as a designer. My collection translates well into the digital space, which is a modern expression that will continue to resonate.

What aspects of Koons' and Chamberlain's work resonated with you the most, and how did you reinterpret these elements to reflect the cultural metamorphosis we see in today's fashion landscape?

With both of these artists there is an alchemy at play. Chamberlain's sculptures, made from steel auto parts, turn something that was designed to be of use – that had a previous life – into powerful pieces of art. It is this transformation of auto parts into these beautifully and intricately constructed sculptures that is so compelling. The shape of his works influenced the silhouettes within my collection.
Koons’ work draws on pop iconography and advertising to create unique and highly desirable pieces of art. Seeing his colourful balloon sculptures in a bright white gallery, with all of the reflections of the gallery environment, was incredibly inspiring. They naturally felt fashionable to me, so it was an easy transition to incorporate their appeal into my collection. There is an optimism in Koon‘s work which I’ve always loved.

Drawing further inspiration from shiny objects, packaging, and digital brights found in newsagents and market stalls, how did you ensure that these everyday inspirations maintained a cohesive and elevated aesthetic in your collection?

These elements are very much a part of my childhood memory and provide an atmosphere that I wanted to incorporate into my collection. At first, I fully indulged in exploring these elements to an extreme via the methods of drawing and production of prototypes. As I began the process of gradually refining to a core essence, this latterly informed my final designs.
My initial experiments were not about clothing per se , but a more literal take on art and playfulness, using balloon shapes and forms wrapped around the body. I didn’t want that element to be filtered out. In essence, each outcome of the engineered prints were maintained with the refinement of the silhouettes.

The rigorous process of playfulness and experimentation gradually distilled into the final pieces, through colour and maintaining the integrity of the story.

In the spirit of radical creativity, how did you incorporate the idea of visual deception, seen in Koons' solid aluminium works, in your garments?

It was important to me to honour the visual deception evoked in Koons' work—the play of the illusion of metallic foil fabric giving the appearance of inflated parts – when the reality is that the fabric is not metallic and that the parts are not inflated. I liked the blend of the overall play on the theme of Koons' work into a fashion landscape.

Can you explain the techniques you used to create the illusion of inflated structures and metallic sheens, and how these methods represent a blend of innovation and traditional craftsmanship?

After I finalised the concept, I produced a high volume of photography to capture the light diffusion on the balloon's surface. Metallic balloons have a joyful appeal to me, and I knew the print needed to be strong. It took a lot of print and colour testing, alongside fabric selections to get the right finish. The digitally engineered prints involved copious experimentations and perfecting, in order to maintain the desired visual impact.

What were some of the biggest challenges you faced while creating this collection?

Maintaining the integrity and desire to fabricate them as if they are pieces of art was a constant focus for me in this collection. Also, blending this process with intricate garment detailing through precise pattern cutting was essential to the collection's success from its conception.

Each silhouette was carefully designed and draped. Ultimately, the real challenge was rooted within the engineering of the prints—ensuring believability through rigorous material trials, while integrating sculptural elements.

From your experience at CSM and your professional roles at AREA and Alexander Wang, what do you see as the biggest challenges for new designers entering the industry today?

CSM is an incredible environment to experiment – allowing space for challenging yourself and your perceived limitations. Similarly, my roles at AREA and Alexander Wang made sense of the reality of the industry. Fashion thrives on experimentation, and both brands encourage forward thinking and creative ideas. Overall, the challenges for new designers and production within the industry will be to embrace environmentally sound practices. I believe this may become apparent through the means of technology and innovation. Looking towards the future, I am confident that we will see change, as at the core of design is an intrinsic link to change.

Now that you’ve graduated, what’s next for you and your label?

My immediate plan is to work within the industry, perfect my craft, and learn the business. I am currently creating the 'Chromatic Inflation' made-to-order capsule collection. This made-to-order approach aligns perfectly with the brand’s ethos of creating truly dynamic garments and artworks. Looking more broadly to the future, I am also working towards exhibitions in London and New York. These exhibitions will continue my exploration of the materiality of fashion fabrication and contemporary art, allowing me to showcase my work to a broader audience. While continuing to develop new collections, each inspired by themes discovered by art and my immediate surroundings.

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also read
.aesthetic talk BASTIEN DAUSSE *Choreographing New Realities

Spencer Carroll, portraits

“By drawing on nostalgia, it compels one to reflect with a contemporary expression. A digital presence is crucial to me as a designer.”

Spencer Carroll speak with Tagen Donovan
for LE MILE Issue N3. 37 - AGE OF CHANGE

Visually inspired by the iconic inflated art of Jeff Koons and the welded metal sculptures of John Chamberlain, Carroll adeptly translates the gleaming, reflective qualities of these robust art forms into fashion. The paradoxes in these works—such as the illusion of inflated balloons in Koons’ solid aluminium sculptures—provide the conceptual foundation for Carroll’s latest collection. Each garment amplifies these contradictions, appearing both light and airy yet grounded in meticulous craftsmanship. This is achieved through Carroll’s innovative use of photographically engineered prints, which create the illusion of inflated structures within his garments. By combining high-resolution digital imagery with textile manipulation, he replicates the appearance of volumetric forms and metallic surfaces with remarkable precision.

Spencer Carroll stands out as a designer who deftly navigates the intersection of tradition and modernity, engaging profoundly with the ongoing dialogue between the past and the future. In an era marked by rapid transformation, Carroll’s approach to fashion is both a tribute to historical craftsmanship and a bold leap into contemporary innovation. His work, distinguished by a seamless blend of time-honoured techniques and forward-thinking principles, reflects the zeitgeist of an age characterised by significant cultural and technological shifts. Through his creations, Carroll not only mirrors current trends but also embeds his designs deeply in the narratives of change, defining a new chapter in the evolving story of fashion.

visuals (c) Spencer Carroll, 2024

Stijn Koks - Interview

.aesthetic talk
STIJN KOKS
*Fashion, Process, and the Power of Objects

written + interview SARAH ARENDTS

Stijn Koks builds worlds. Objects hold weight, fabric carries memory, silhouettes tell untold stories.

His work moves through instinct, shaped by process rather than control. Knights of Nostalgia extends this language—sci-fi headpieces, repurposed textures, the raw and the unreal. Film becomes a pulse, turning garments into atmospheres. Koks reworks discarded pieces, not to recycle, but to shift meaning. In this interview, he speaks about movement, material, and the tension between impulse and precision.

watch KNIGHTS OF NOSTALGIA

“It’s a childlike imagination. Playful, but with depth. Irony never outweighs sincerity.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

Sarah Arendts
Your designs feel like relics of a past that never existed—surreal and nostalgic. Is your work about rewriting childhood or weaponizing it?

Stijn Koks
Weaponizing it. Reclaiming its imagination, but with a mature edge. It's about tapping into the raw, unfiltered emotions of that time—when everything was heightened, strange, and full of possibility—and turning them into something more potent, even unsettling. Harnessing childhood elements is not just a sweet reminder of the past, but a tool for imagining the future.

"Knights of Nostalgia" feels like a playground for the imagination. What’s the first thing you built when the idea hit you, and what did you destroy along the way?

I started with sci-fi-inspired headpieces, repurposing old cowhides and jeans—blending raw with refined. The goal was to create something that felt both nostalgic and futuristic? ‘Vintage sci-fi’ might be the best way to put it. I relied heavily on intuition throughout this collection, which sometimes led me to ideas that will never see the light of day. Still, I already have a million things I’d do differently next time, but I wouldn’t have reached that realization without going through this first. Because the process was so instinctive, editing became a constant push and pull—stripping things until the collection as a whole felt right (for now).


Fashion is often called armor, but your pieces feel more like portals. Are you dressing people to escape or confront the world?

I’d say confront, I don’t think there is much happiness in escaping. If I could spark a little imagination, that’d be great. It’s about navigating the complexities of the world, not running from them. There’s strength in facing the chaos head-on, and wearing something that makes you feel invincible. These pieces are tools for transformation, not retreat—focusing on things we can engage with, rather than escape from.

Walter van Beirendonck and Henrik Vibskov are both titans of the absurd. What lessons from their studios have you carried into your own chaos?

Mainly, the pace. At that level, creativity isn’t just about ideas—it’s intertwined with the business side of fashion. In art school, there’s endless room for absurdity, but in the industry, that space shrinks. Yet, they both find a way to make it work regardless. What intrigues me is the constant tension between artistic integrity and commercial viability. If you lean too much into what sells, you risk diluting your authenticity.

They were careful to preserve that balance. It reminds me of that Henry Ford quote: “If I had asked people what they wanted, they would have said faster horses.” I have zero interest in cars but that quote is cool.

Which designer or brand feels like a kindred spirit to your vision?

It shifts all the time but currently I like ERL. They have a nice, nostalgic, playful feel.

Your work demands a kind of physical interaction—it’s loud and textured. Do you think fashion in the metaverse can ever match the tactility of the real?

No. I’m currently in the middle of creating a large installation for my upcoming show, working with wooden branches and metal elements—letting the process take the lead. It’s all about problem-solving in real time, finding ways to connect and shape different materials as I go. I start with a general idea, but the execution is always shaped by the process itself. The same applies to my garments—the concept evolves as I dive deeper into creation. Along the way, you discover better ways to bring an idea to life, and materials often behave in unexpected ways. That kind of tactility simply doesn’t translate to the digital world. Sure, it’s fun to customize your metaverse avatar, but isn’t it cooler to be the actual avatar in real life?

Recycling, repurposing, rebuilding—your process feels part alchemy, part storytelling. Do you see discarded objects as ghosts waiting to be reanimated?

Absolutely. That’s where the idea of readymades comes in—transforming everyday objects, often discarded or overlooked, into something more profound just by shifting their context. A broken chair or a chandelier, for example, both hold certain references and could become vessels for something new—or something funny and unexpected, triggering a fresh perspective. That said, not everything carries that kind of value. Some things are just trash.

The film for "Knights of Nostalgia" is pure fantasy, but it’s also a manifesto. How do you use moving images to expand the language of your line?

The film for Knights of Nostalgia is almost the soul of the collection—like a visual pulse that injects life into the narrative. Moving images allow me to create an atmosphere that transcends static imagery or theusual fashion show format. Through film, the viewer can engage with the collection on a deeper, more visceral level. Fashion is fundamentally storytelling, but film gives that story a fluidity—it’s where fantasy and reality blend, and I get to play with those boundaries. It’s the ideal medium to expand the collection’s universe, capturing not just the look, but the mood, the atmosphere, and the symbolism. The movement, the soundtrack, the pacing—all contribute to turn the collection from something you wear into something you feel. Shoutout to the team for bringing this attitude to life.

There’s something wildly anarchic about pulling childhood toys into adult wardrobes. Are you reclaiming innocence, or are you throwing it into the fire?

I could never part ways with my action figure collection. Showing them off feels right, almost like paying tribute to a part of myself that shaped who I am today. I don’t think you ever truly outgrow your toys; they’re woven into the foundation of who you’ve become. The toys you played with as a kid reveal a lot about your personality, your interests, your imagination. So, why not embrace that? Incorporating them into adult life feels less like clinging to innocence and more like honoring the things that made you, you.

How do you stop irony from swallowing sincerity?

I’m always trying to strike a balance between kitsch, a bit of wittiness, and a level of maturity. I’m not interested in childishness, but rather in a childlike sense of imagination—something playful without losing depth. Back in art school, I was constantly experimenting, mocking certain aesthetics while exaggerating others, trying to find that sweet spot. It’s a careful process of navigating irony without letting it overpower the sincerity I want to preserve. So, I’d say it’s a fine line that I continue to explore.

Since your silhouettes blur edges and identities, breaking free from binaries, does gender even exist in your design vocabulary?

So, if I’m a rabbit walking into a local giraffe store, and I find this knitted balaclava made for zebras—it has two holes for ears, two for eyes. I have four legs, so it suits me as an oversized Raf Simons sweater. I’m walking out of the store with the zebra balaclava. I guess, as a designer, all I’m doing is giving suggestions based on how I feel at the time. A particular casting doesn’t exclude any other wearers—someone else might pull off the look even better. I can only encourage that.

What’s the last fashion show or collection that stopped you in your tracks, and why did it feel so electric?

I’m afraid I’m stating the obvious, but Maison Margiela’s Artisanal 2024 show was absolutely mental. Storytelling at its finest, and truly beautiful.

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

STIJN KOKS
Portrait

“There’s no happiness in escape. Strength comes from facing the chaos head-on. They’re tools for transformation.”

Stijn Koks speaks with Sarah Arendts
for LE MILE .Digital

credits
director JEROEN KOOISTRA
creative director STIJN KOKS
production company UNDERSCORE
producer WILLEM BEELAERTS VAN BLOKLAND
D.O.P. BOYD BAKEMA
1st AC TOM SELBECK
steadicam JARON JOOSTEN
gaffer BORIS PETERS
bestboy LENNERT ROIJACKERS
edit STAN VRIEND
grading BOYD BAKEMA
music TOM BRUINS
music mastering TIJMEN VAN STEKELENBURG

models
CARLOS KOK + MEGAN IRUSTA CORNET + KRISTJÁN STEINN KRISTJÁNSSON + COOSJE FROENTJES
styling assistant SOPHIE KOKS
production assistant JADE KLOET
all lookbook images seen by JELLE KOITER

Carlo Lucidi - Interview

.aesthetic talk
Carlo Lucidi
*Artistic Narratives

written + interview Amanda Mortenson

Carlo Lucidi, renowned curator and artist, continues to bridge contemporary creativity with timeless narratives.

His latest project, Dipingo fiori per non farli morire (I paint flowers so they will not die), celebrates the 70th anniversary of Frida Kahlo’s passing through an extraordinary exhibition of contemporary jewelry.

Opened on November 30, 2024, at Sala Santa Rita in Rome, the showcase features over 300 pieces by 80 international artists. These works, crafted from diverse materials such as gold, ceramics, and recycled metals, reflect themes of resilience, identity, and feminine creativity—key elements of Kahlo’s enduring legacy.

crown
Hanna Katarina Alexandra

necklace
Mercedes Castro Corbat

Amanda Mortenson
Carlo, with “I Paint Flowers So They Will Not Die,” you've curated an all-female lineup of artists in tribute to Frida Kahlo. What drew you to explore femininity and resilience through the medium of contemporary jewelry?

Carlo Lucidi
That's an important question, and I like starting to talk about my project from this perspective. First, a premise about contemporary jewelry: it’s a highly current form of communication and expression, with dynamics all its own, both connected to and distinct from fashion and art. The fact that it’s such a unique phenomenon makes it less subject to market forces and trends, granting it an inherent freedom and openness to engage with the challenges present in both the art world and the world at large.

That said, my desire to promote it and convey its artistic and poetic essence has often come up against the difficulty of making it accessible, of sparking curiosity in potential collectors, art lovers, and the simply intrigued.

Frida Kahlo is an iconic artist, and this year, with the seventy-year anniversary of her passing, I felt a strong urge to delve into the process of narrating her story. Her reflections on impermanence, suffering, and community have always struck and fascinated me deeply. Given her inspirational role in today’s world, it felt necessary to honor her legacy by dedicating this exhibition to female voices. That’s why the open call was exclusively for women and non-binary artists. Of course, this was not without controversy, but life is made of difficult choices. In being misunderstood for these decisions, I felt, in some way, once again in tune with Frida Kahlo.

The pieces on display feel like vessels for stories beyond adornment—a raw, intimate language of survival and beauty. How do you think jewelry can capture these layers in ways traditional art forms might not?

The lack of a strong and structured market behind it is the real struggle of contemporary jewelry. It’s often seen by the visual arts world as a simple, inadequate attempt, by the fine jewelry market as a 'crude' use of rough techniques, and by the fashion world as a curious but ultimately minor accessory, something small and difficult to define commercially, and impossible to brand for the big names. Yet, this inadequacy is precisely contemporary jewelry’s greatest strength: a field where exploration happens without rules, free from trends, and as the result of genuine, personal research that doesn’t only exist on an expressive level. That’s true of all art forms. In contemporary jewelry, though, the research also considers wearability—whether it’s possible, practical, or even comfortable for everyday use. The act of creating a piece while imagining it as an artwork frames not just the object itself, but also the act of wearing it as part of the design. It invites the audience not just as observers, but as wearers, or at least as people who wonder what wearing it would feel like. Is it possible? Adequate? Comfortable? This specificity, when applied to themes as powerful as survival and beauty, draws the audience into the same questions raised during creation, placing them in a much more active role compared to most other art forms.

“Frida Kahlo is an iconic artist, and this year, with the seventy-year anniversary of her passing, I felt a strong urge to delve into the process of narrating her story.”

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

Carlo Lucidi
wearing brooch Anu Kirkinen

brooch
Anu Kirkinen

necklace
Slawa Tchorzewska

Frida Kahlo’s presence looms large in this exhibit. If she could walk through your gallery today, what do you hope she’d feel or recognize in these works?

Frida would see so many women asserting themselves in the art world, building communities, and facing the same questions she grappled with in her own work. She would see her face, her themes, her flowers, the monkeys, the birds, but most importantly, she would recognize through the eyes (or perhaps the hands) of the artists present what she achieved in her life: transforming her suffering into true wonder. I’d hope she would recognize herself in the interpretations these artists have made of her, but even if she didn’t, I would love to hear her dialogue with them. The exchange of human experience would be priceless.

The exhibition touches on the transformative power of art. In a world constantly changing, how do you see the role of contemporary jewelry evolving as a medium for cultural and personal expression?

I believe that personal and cultural expression is crucial, ethically and politically, especially when the world around us seems driven by forces of homogenization, simplifying rather than enriching. Contemporary jewelry, because of its heterogeneity, its transformative nature, and its ability to embody the artist’s expression on the wearer’s body, is a powerful way to resist without weapons. To show one’s individuality is always to enrich the other with questions and the possibility of exchange. In a world as fast-paced as ours, where first impressions seem to matter more than ever, the ability to make a statement through something worn on the body is simply brilliant.

“The act of creating a piece while imagining it as an artwork frames not just the object itself, but also the act of wearing it as part of the design.”

Carlo Lucidi speaks with Amanda Mortenson
LE MILE .Digital

"I Paint Flowers So They Will Not Die"
Location: Sala Santa Rita, Rome
Dates: November 30 – December 4, 2024
More info: culture.roma.it

Over 80 women and non-binary artists from around the world present more than 300 pieces of contemporary jewelry in homage to Frida Kahlo. Organized by the Associazione Metamorfosi and curated by Carlo Lucidi, the exhibition delves into themes of strength, resilience, and feminine identity. Each piece weaves personal expression with Kahlo's reflections on impermanence and renewal. Free admission.

Lester Kamen - Perspective

.aesthetic talk
The Rebirth of Lester Kamen
Finding Harmony in Chaos

written + interview Chidozie Obasi

Recent years found many artists rejecting “coolness” (a buzzword of the early noughties) for a more introspective approach.

Oxford-based Lester Kamen’s journey of early music pursuits could partially relate to such an example, which has seen him swapping pitches—from the court to the piano—with a somewhat freewheeling vein that’s currently searching its edge.

coat + jacket THE FRANKIE SHOP
shirt QL2
pants CHRISTIAN BOARO
loafers SANTONI

“I'm continuously exploring myself because I have feelings of being tangled, and maybe I don't express them well in words as I do with music, which is my comfort zone where I feel like I can thrive.”

Lester Kamen speaks with Chidozie Obasi

coat TOM FORD
jacket DIOR HOMME
shirt MEIMEIJ
short skirt QL2
long skirt MEIMEIJ
loafers SANTONI

jacket FERRAGAMO
shirt PAUL SMITH
pants + loafers ZEGNA

“I'm continuously exploring myself because I have feelings of being tangled, and maybe I don't express them well in words as I do with music, which is my comfort zone where I feel like I can thrive,” opines Kamen. “My mum's been a piano teacher since I was born, so for the whole time I've had a really deep music knowledge in my house. I've also had guitars, but one thing that my mum never did is force me into learning, or taking grades and all that.”

With early stints as a footballer, Kamen later withdrew from this practice as he was diagnosed with blood clots in his leg, meaning he has to take a particular drug that wouldn’t let him play football full time. “I can have a kick about with my friends, however I can't play fully, and when I was younger my whole life was about pursuing this sport—but I used to sing in my own time while playing guitar and piano just as a thing on the side; and after the doctor told me I couldn't play again, such a decision took a toll to me and I needed something where I can pour my heart into. It eventually happened step by step, and I felt like I started to lean on to music as a way of expressing myself because football was my outlet back in the day.”

Weirdly, it’s interesting how newcomers build up their own obstacles to pleasure. It’s exactly the reason why the scale and complexity of the music industry imply that those with the means to deeply understand and acknowledge the meaning of their artistic practice could lead the way on the long haul. Not only by expressing mere passion. Which pretty much epitomises the discernment between an artist and a singer.

“I feel that it's very important to have a body of work before you jump into things too much,” Kamen offers, who’s currently working on his first compendium of songs to present by the start of next year. “Because if one song does extremely well, and people are expecting a lot more but you don't have a body of work, you will find yourself having to press the breaks on everything whilst you have the pressure of writing something.”

Another reason why he’s taking it slowly, working to ensure he gets it right before pouring his songs out and into the wide world. “Well, I gave myself this period of time to create this body of work that once it's out, there'll be enough songs that are not just a few, but that feel like a whole body of work. And I did have to spend some time just not releasing anything and being quiet so that, again, the bigger the body of work, the more it feels like I'm prepared for what this music industry has in store.”

pants PAUL SMITH

Will his music be ready for his next act? “As I write more songs, I would like my words to be simpler and simpler in a way that I can say a lot with a little,” he offers. “Maybe I haven't said that, but again, when you're left to your own devices, you can write a song that can convey something in as little words as you want.”

All in all, his songs do not have a theme per se, and upon questioning, Kamen was reluctant to “philosophise” over his music practice, which I thought was a shame. In other words, let the lyricism speak for itself, which these could do plenty if honed rather rigorously.

total look MCQUEEN

total look LORO PIANA

“As I write more songs, I would like my words to be simpler and simpler in a way that I can say a lot with a little.”

Lester Kamen speaks with Chidozie Obasi

also read
.aesthetic talk CAELIAN DEL’MARE *On Identity, Rebellion, & Finding Home

jacket THE FRANKIE SHOP
sweater CANAKU
shirt GRIFONI
t-shirt DIOR HOMME
skirt THE FRANKIE SHOP
pants ZEGNA

TEAM CREDITS
seen COSIMO BUCCOLIERI via Studio Repossi
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
make up KIM GUTIERREZ via Studio Repossi
hair GAETANO PANE via Julian Watson Agency
talent LESTER KAMEN

photography assistant ANTONIO CROTTI
production assistant ANJA MENEGON
fashion assistants GINEVRA ELISA VITALI + GLORIA MOLTRASIO + VERONICA VAGHI



(c) LE MILE Magazine, Cosimo Buccolieri

Caelian del’Mare - Interview

.aesthetic talk
CAELIAN DEL’MARE
*On Identity, Rebellion, & Finding Home

written + interview Alban E. Smajli

Caelian del’Mare is a force shaped by the vibrant chaos of Kreuzberg, the vivid energy of Istanbul, and the cinematic pull of Los Angeles.

Rooted in his Berlin upbringing, the actor moves through life with an authenticity that feels as raw as the streets he calls home. His work is an exploration of identity, movement, and resilience—layers formed through early experiences that continue to fuel his creativity.
In this exclusive conversation with LE MILE Digital, del’Mare shares how Kreuzberg’s diversity shaped his worldview, how Istanbul’s markets ignited his determination, and how the rhythm of dance connects to the emotional depths of his roles. Whether reflecting on the transformative power of a name or imagining a character yet to be played, del’Mare embodies the energy of someone constantly in motion, constantly evolving.

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“Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

pants HOLZWEILER
jacket + bag FASHION ARCHIVE
shoes CAMPER

Alban E. Smajli
Berlin, Istanbul, Los Angeles—where does Caelian del’Mare feel most at home, or are you constantly searching for something beyond places?

Caelian del’Mare
Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me. So much love, but also so many contradictions—it’s rough around the edges. Many say that if you’re born here, you never truly leave, no matter where you go, and that’s true. I could move elsewhere, but I want my big breakthrough to come without even realizing it’s happening. I want to show my people that I have what it takes to be the next movie star.

When you step into the skin of a character, how much of Caelian stays outside?

There’s always something of me in every role, maybe just a nuance. My early, often tough experiences sparked my creativity and gave me a unique perspective on characters. As an actor, I am confident and serious but also relaxed enough to approach any role flexibly. My expressions give my performances a certain intensity that often resonates well with people. It feels like I bring parts of myself into every role while transforming into the character.

From short film to feature film—is it just a change in runtime, or does each format demand something entirely different from you as an actor?

Each format has its own rhythm. In a short film, you have to portray the character quickly and precisely, almost like a poem that touches directly. A feature film, on the other hand, gives you more time to unfold the character step by step and take the audience on a deeper journey. For me, that means each format requires a different approach.

You’ve trained in street and urban dance—do you find that rhythm and movement unexpectedly guide you in intense scenes?

Absolutely. Dance gave me a kind of language for rhythm and body movement that goes beyond words. Sometimes, it’s not the dialogue but the movements that bring the moment to life. The rhythm of the body can build tension. This connection to movement often gives me access to the emotions of the character.

Your name, Caelian del’Mare, has an almost mythical quality. Does it influence how people in the industry perceive you or the roles you’re drawn to?

I’m completely at peace with my identity and real name, and I don’t deny it in any way. But my stage name, Caelian del’Mare, represents a creative extension of myself. It allows me to show a different side of me and create something that stands apart from my everyday life. The name was born from my desire for change and hope for something new – it symbolizes a fresh start. It’s entirely possible that I’m perceived differently because of the stage name, as it establishes a distinct creative identity. Still, it remains a part of me, and it’s not about hiding or completely changing who I am but about presenting my art from a new perspective.

What is your creative rebellion? Is there a rule in filmmaking you’d like to break but haven’t had the chance to yet?

There are no rules. I’ve seen a lot in life, more than one might guess from the outside. There were times when I felt lost, unsure of who I truly was or where I belonged. Acting gives me the chance to step into roles that are far removed from the life I was born into. It’s as if I’m living out all the dreams I could never fulfill. I’m not just playing a character – I’m living everything I might never have experienced. Every role I play is a piece of me that I find and lose. It’s a journey that changes me more than I ever thought it would.

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“There’s always something of me in every role, maybe just a nuance. It feels like I bring parts of myself into every role while transforming into the character.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Was there ever a costume or look for a character on set that felt so close to your personal style you wanted to take it home?

Yes, absolutely! Once, I played a character who wore a worn leather jacket and black boots—it reminded me of Marlon Brando, a simple yet authentic look. The jacket felt like it had a story, and it just clicked with me. At the end of the shoot, the costume designer practically had to wrestle it out of my hands.

When you play someone complex, like Umut in Tek Yol, do you lose parts of yourself in the process?

With Umut, I played a very complex character, defined by intense emotions and contradictions. He is aggressive, doesn’t take anything lying down, and is full of energy, but at the same time, he is also emotional and a true charmer – the 36 Boys were my inspiration. From the very first moment, I had a vivid mental picture and genuine thoughts about him.

These thoughts allowed me to experience the character with all his depth and pain. My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.

Is there a story or character the world hasn’t seen yet that you’re eager to bring to life?

I’d love to play a character struggling with their inner self, someone who sees the world differently and is often misunderstood. Someone who lives for themselves despite all the obstacles in their way. I’m fascinated by how such people think and feel, and I’d love to portray that role as vividly as possible.

What’s next—are there any projects, collaborations, or creative directions you’re looking to explore?

There’s no official new film project at the moment, but plenty of exciting opportunities are on the horizon. A few open castings and collaborations are being discussed, and I’m excited to see where it all leads.

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shirt ASKET

production credits

talent CAELIAN DEL´MARE
seen JULIAN MELZER
styled KLAAS HAMMER
photo assistant IMKE HOYNDORF
production LIAM MONOT
post production lemilestudios

“My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Jorge López - Interview

.aesthetic talk
JÓRGE LÓPEZ
Hot Pursuit

interview Juan Marti

Madrid’s heat blazes like an open flame, pushing the city to its edge, and in the midst of it, Jórge López appears like a shot of cool relief. Known worldwide as one of Chile’s most electric talents, he’s captivated screens with an intensity that refuses to fade.

Jórge López defies the usual trajectory, choosing a path of substance over spectacle. In an exclusive interview and photoshoot with LE MILE Magazine, he reveals a moment of genuine connection—focused on new roles, personal pursuits, and a vision that’s both dynamic and unapologetically his own.

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“I know it's going to surprise you, now it's my turn to play the villain, an ambiguous man, with intentions that are difficult to understand.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen ANDREW JIM
styled SERGI PADIAL
producer JUAN MARTÍ
grooming SERGIO ÁLVAREZ
retoucher ISMAEL VILLAR
talent JORGE LOPEZ
production assistant VINI DORE
fashion assistant ANDREA ESTIRADO
artist (painted backdrops) LUCHO CAMPOS

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Juan Marti
What have you been up to these days?

Jórge López
I confess that I don't stop; I haven’t had time to be still since the summer started. I just got back from Mexico a few days ago after finishing a project. Now I’m in Madrid, dying from the heat.

Speaking of the film and your roles, which character have you been focusing on?

I know it’s going to surprise you—it’s my turn to play the villain, an ambiguous man with intentions that are difficult to understand. But it’s been a real gift because I returned to Disney with Tini, the Argentine star. We both return to that place that saw us grow, which has now become a platform for all kinds of audiences and produces a wide range of content. Our project is a real thriller that explores identity and how our environment influences us as we develop as people and individuals, as well as the situations we can get caught up in when we’re unclear about who we are or when we become someone we don’t want to be.

Where do you want to focus right now?

I’m giving myself a period of self-care. I’m trying to break away from the conventional idea of success and the endless work spiral. I love working, and I want to keep working, but I also want to live. I want my life project to be my main focus. In Chile, I’m remodeling my house, and here I just finished renovating my apartment. I want to accomplish personal goals, even jotting down ideas as they come to me. I’m also considering a trip to Angola.

What do you have coming up?

An adventure that, for now, has no end and that I plan to enjoy. I really want to explore that part of Africa and learn its dances, to connect with my body and my side as a dancer. I want to nurture myself, to travel alone. I love traveling solo; it’s an experience that forces you to be self-sufficient and resilient.

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“I'm trying to get away from the conventional concept of success that surrounds us and the endless spiral of work.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Omar Rudberg - Interview

.aesthetic talk
OMAR RUDBERG
Northern Star

written + interview Juan Marti

Passion can be a dangerous feeling in the heart of the wrong person. Such an emotion makes us do crazy things but also great deeds.

That has been the case with young singer and actor Omar Rudberg: The Swedish-Venezuelan singer and actor was born with the most radiant passion running through his veins and from minute one it was clear to him.

His desire to express himself through music dominated his world and in early childhood he started working hard on his musical technique. Making the audience dance, feel and enjoy with his voice was his light bulb in an adolescence where we all wondered who we wanted to be and where we wanted to go. Omar's talent eliminated any kind of doubt and from the beginning of his solo career, through the years as a member of the boy band FO&O, Omar has shined with his own light. Becoming one of the most recognized voices and faces in Sweden thanks to starring in the Netflix hit show Young Royals, Omar lives an artistic moment of maturity and reinvention, where he feels free and powerful to unleash his most honest passions. A well-deserved feat, then, for a promising star.

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necklace SWAROVSKI

“You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen NICOLA PAGANO
creative fashion director CHIDOZIE OBASI
fashion editor DENNIS CAPPABIANCA
head of production JESSICA LOVATO
contributing editor LEONARDO MARTINO
talent OMAR RUDBERG via NEXT MANAGEMENT

make up MATTIA ANDREOLI
hair DOMENICO PAPA
video editor ALEXANDRE JOUX
set designer ALESSIA SORESSI

fashion coordinator LEONARDO VANTAGGI
fashion assistants LAURA GIROLAMI, JULIA ANTONIN, NICOLÒ PIOMBINO, IRENE MOTTO-ROS
production assistant ANJA MENEGON

LE MILE Magazine’s 37th issue, AGE OF CHANGE, is sold out in print but still available as a Digital Download.

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cardigan ALEXANDER MCQUEEN
trousers LEONARDO VALENTINI
boots DSQUARED2

Juan Marti
Omar, it is a pleasure to talk to you. I would like to start talking about changes. This year has been very important for you and I would like to know how you face the new chapters in your life. What feelings do moments of change awaken in you?

Omar Rudberg
This year is one of the most exciting and important years of my career. I really get to release my new music for the international market and it’s very exciting. I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.

Do you consider yourself someone who is not afraid of risks or are you a more cautious person who prefers to think twice?

That really depends on my mood. Sometimes I wake up and I’ll think multiple times to do things right, and sometimes I don’t. I’ve learned from taking risks and I’ve gained from them. I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.

When it comes to making an important decision, do you prefer to go it alone or do you like to seek advice from someone you trust?

I definitely seek advice from my real ones. I trust the ones that are close to me, and I know they’ll always tell me their honest opinions. Seeking advice is never a bad thing. And sometimes it can even change the way you see things and suddenly, everything is so much more clear.

Musically, 2024 has meant your expansion as a singer to a much wider audience. Have you felt pressure or nerves when facing this new challenge?

I think that I’m my worst enemy when it comes to pressure. I put a lot of pressure on myself sometimes and that has been something that I’ve had to work on.

I like that one of the first singles of this new stage is Bye Bye. It is clear that you are saying goodbye to a stage, but beyond that, what other things are you saying goodbye to with that song?

Actually, the first single of this new era was Red Light. But yeah, I’m basically saying Bye Bye to bad habits, bad relations and bad energy. I feel free and I’m doing what I love and what I want to do and nothing or no one will stop me!

coat JIL SANDER by Lucie and Luke Meier
trousers THE FRANKIE SHOP

watch making of film

“I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

total look DIESEL

shirt THE FRANKIE SHOP
skirts MOSCHINO
earrings LAG WORLD
necklace SWAROVSKI

also read
.aesthetic talk Nemo *Fame, Freedom, and the Art of Doing Nothing

Last February was your first solo concert. You did it in Stockholm in front of thousands and thousands of people. How did you experience that concert? Do you have any special memories?

That day was one of the most amazing days of my life. I felt so much joy, love and energy. I still can’t believe to this day that it all happened. I’m so thankful for every single human being that came to the show. It was an honor to be able to give them a bomb ass show!

Sweden is the country where you grew up but you were born in Venezuela, how do you keep your roots alive with this beautiful country?

My roots are just in me. I’ve always seen myself as a Venezolano. My mom and my family are number one to me. I eat Venezuelan/Latin American food everyday, listen to the music everyday, and I speak my Venezuelan Spanish everyday. I can’t wait to go back and visit my home country. Venezuela Libre. ¡Hasta el final!

As a big fan of crime novels that I am and you being from Stockholm I would like to ask you if you are also a fan of that genre that is so acclaimed in Sweden, any recommendations?

If you like crime tv shows, then I’d see Snabba Cash on Netflix. It’s not a novel but it’s a really good Swedish show.

I have to congratulate you because I really liked your debut in Karusell, I'm a big slasher fan. How did you prepare for the role, are you a fan of horror movies?

Thank you! I do like horror movies. For me it’s a fun experience watching a horror movie with friends or family. Since Karusell only was my second project to film, it was important for me to feel like I was playing a new character far from Simon in Young Royals. Dante is pretty much the opposite of what Simon was so it was kind of easy for me to find who Dante was.

Karusell confronts its protagonists with the pending accounts of what happened in their adolescence, what were you like when you were in high school?

I never went to high school. I was busy touring Scandinavia and the US with my band at the time. In school I was a loud and crazy kid with my friends. But I was also very shy and insecure at times.

This year the Netflix series you starred in, Young Royals, one of their biggest hits came to an end. What lessons have you been able to learn from that incredible experience?

You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did. I’m glad I did—even if it meant skipping mathematics in high school.

I'm sure the years you spent filming Young Royals were incredible, can you tell me about any moments you hold dear to your heart?

The whole casting process to me is something I’ll always remember. It was a very weird and special time in my life before the casting started. But when Young Royals came into my life it changed me.

I would like to end the interview talking about new beginnings, what can we expect from the new…

You can expect a lot of great new music and live shows!! Because I’m releasing new music very soon and I’m going on tour! Also, 2025 is going to be NEXT level.

“I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024