The Personal Edit of Joseph Bass *Paris Fashion Week

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Joseph Bass Opens His Camera Roll From Paris Fashion Week

written LE MILE

For this edition of The Personal Edit, Joseph Bass opens his camera roll from Paris Fashion Week, sharing the week as he experienced it between shows, collections and the city itself. His pictures take us from Concept Korea and Kenzo to Sandro and a private visit with Dior, before Paris takes over with vintage stores, late-night rides and after-parties.

The Barcelona- and Paris-based model and content creator moves naturally through the fashion world, with his camera roll showing a more personal side of Paris Fashion Week. Between appointments, there is still time for vintage stores, tourist moments and simply enjoying the city. From Casablanca after dark to a French breakfast the morning after, Bass shares the Paris that happened around the official schedule.

A tourist selfie with a view at the Sandro after-party

Waiting for the Bonbom show for Concept Korea to begin

Paris <3

Uber rides hits different in Paris

Red lights at CASABLANCA after party

Wearing new KENZO collection

weekly outfits

quick check to the SANDRO new collection

A tour of the city’s best vintage stores

A little bit of aesthetics was a must

French breakfast

Discovering the story behind the name, a private tour with Dior

Casablanca after party

The best tour around the city with Uber

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all images
(c) Joseph Bass

The Personal Edit of Paula Viana *Copenhagen Fashion Week

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Paula Viana Opens HER Camera Roll From Copenhagen Fashion Week

written LE MILE

For this edition of The Personal Edit, Paula Viana, aka @thebackstagetalks, opens her camera roll from Copenhagen Fashion Week, where days of shows, showroom visits and changing looks were mixed with friends, unexpected pauses and a little time away from the schedule.

As the voice behind The Backstage Talks, Viana has built her career around fashion communication, bringing an informed but accessible perspective to an industry she knows from the inside. More recently, she founded Spain Gallery, extending that work into a platform dedicated to connecting and promoting Spanish fashion and its creative community internationally. In Copenhagen, however, the commentary stays on her phone. From Collina Strada and showroom appointments to the outfits she wore, the people she spent the week with and the rainbow that sent her home, Viana shares the version of Fashion Week that existed around the shows.

Collina Strada Show

FW mood

Looks, looks and more looks.

Cool Kids in CPHFW

Levi´s House

Showroom visits every day

The FW where I´ve loved my looks the most (until next time).
Show Henri Viskov

Sharing is more

Heliot Emil party

That´s how Copenhagen said goodbye to us.

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(c) Paula Viana

The Personal Edit of Bass *Copenhagen Fashion Week

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Bass Opens His Camera Roll From Copenhagen Fashion Week

written LE MILE

For this edition of The Personal Edit, Bass shares his camera roll from Copenhagen Fashion Week, taking us from the wait outside René’s show and showroom appointments to Henrik Vibskov and Paolina Russo — with a little time to sit down somewhere in between.

The Senegalese-born, Spain-based model and creative has built a world around fashion that extends well beyond getting dressed. Through his own platforms and projects, including TroubleMag and Barcelona creative collective Winner Circle, Bass has made style part of a wider conversation around culture, identity and creative independence. His Copenhagen pictures keep things much simpler. What he wore, where he went, the shows he wanted to see and the moments when Fashion Week briefly stopped being about fashion at all. This is CPHFW as it happened on his phone.

Waiting for René’s show.

Photos outside René’s show.

Showroom time

A little rest (needed)

At the Henrik Vibskov show.

At the Paolina Russo show.

A little rest pt 2.

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all images
(c) Bass

Régina Demina Shares Her Camera Roll: During the Making of SCRT

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Régina Demina Opens Her Camera Roll During the Making of SCRT

written LE MILE

For this edition of The Personal Edit, Régina Demina shares a selection of personal images captured during the making of her EP SCRT. Recorded and developed between studio sessions, travels and moments away from the spotlight, the photographs offer a glimpse into the period that shaped her latest release.

Loup, my beloved friend and head of my label Hise, during the shooting of “Osaka Yama”. We edited and colour-graded it the night after. We did everything together during that period. I love her.

Based in Paris, Demina works across music, performance and visual art, building a sound that draws together pop, cloud rap, trap and witch house while reflecting influences from rave culture, suburban landscapes and her Eastern European roots. With SCRT, available to stream on Spotify, she approaches songwriting like a private diary, balancing intimacy with experimentation.

Shared directly from her camera roll and paired with her own captions, The Personal Edit follows the people, places and everyday moments surrounding the creation of SCRT, revealing the creative process through Demina's own perspective.

The original drawing I did in Japan last year, which I used for the cover of the SCRT EP. We reframed it and made it darker digitally with my friend Guillaume Hugon, Head of the creative agency Golgotha. We kept the original close-up for the alternative version of the EP, with slowed and sped-up versions.

The original version of another drawing of mine. I used the detail of the two faces kissing for the first single of the SCRT EP, “Oui ou Oui ou Non”, which I recorded with Vialice, whom I met at a rave in Paris. He lives in Chicago.

Vialice during his gig ans Paris

In a hotel room in Switzerland, during a film festival. I was acting in a film called Une chambre à elle by Lucie Martinez Garcia. During this trip, I rewrote the lyrics for “Cursed Words”, the last song on the EP. The song was not directly linked to the trip. The text was originally written three years ago, but I enjoy the space and bored time alone in hotels to write.

Me and Loup working on a song during a concert in a church Metz

On the way to the Hise studio in Montmagny, I had to bring my Focusrite in my handbag because the one at the studio had crashed. We had to finish the masters and some mixes that day.

Inside the Cathédrale de Metz. We shot the music video for “Osaka Yama” outside because I love churches, gothic things and Yung Lean.

A selfie to check my makeup before a showcase. I tried to recreate the makeup my friend Jennifer Lecorre often does for me. It’s cute, but her pencils are unmatched, and I missed her that day. The cute top is from my friend Harmony Coryn. I like being dolled up by my favourite people.

Loup and Jennifer in my building, searching for melodies for the unplugged versions of the EP. I’m happy Jenny was there that day because she gave me very cute glam, and we shot some reels for Instagram. She is like my sister now and was one of my first loves when I was a teenager. Today, she feels like family.

My nails freshly done and my favourite bag, thrifted in Japan, on the day of the EP release. I needed a small treat after all the hard work.

My favourite picture together with Loup. My booker Florence took it with a Polaroid.

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(c) Régina Demina

The Personal Edit of Callum Scott Howells: Behind the Scenes of Madfabulous

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Callum Scott Howells Opens His Camera Roll From the Making of Madfabulous

written LE MILE

For this edition of The Personal Edit, Callum Scott Howells shares a selection of personal images taken during the making of Madfabulous, in which he takes on the lead role of Henry Paget, the eccentric fifth Marquess of Anglesey whose extravagant life became the subject of one of Britain’s most remarkable true stories.

Known to many for his BAFTA-winning performance in It's a Sin, Howells spent months inhabiting a character whose life moved between aristocratic privilege, excess and self-invention. The images collected here sit alongside that process, capturing moments on set, between takes and during the production of a film that brings Paget’s singular world back into view. Shared directly from his camera roll and accompanied by his own captions, The Personal Edit offers a personal record of the journey behind Madfabulous, arriving as the film reaches cinemas June 5.

Meet the 5th Marquess of Anglesey and his big old ship folks

Extra curricular cast + crew trip to Zip World

Just your average, every day Victorian mother and son

“I placed this warm coat on the chair here next to me to save it for you Mr Everett”

“I’ll sit here thanks”

Nothing to see here apart from my slippers

On a serious note, Nadia Stacey is a genius and the GOAT fr

Tom holding Nadia’s Oscar (just to officially back up my above statement)

As Founder of the Ruby Stokes Fan Club, I’m delighted to inform you she’s the real deal

“First position please Mr Scott Howells”

Believe it or not, this was actually a job

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(c) Callum Scott Howells

Aurelien Muller Shares His Camera Roll: Inside Aurelien Muller’s First Cannes Film Festival

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Aurelien Muller Opens His Camera Roll From Cannes 2026

written LE MILE

For this edition of The Personal Edit, Aurelien Muller shares a glimpse into his personal camera roll from his first visit to the Cannes Film Festival. Moving between hotel moments on the Côte d’Azur, fittings, red carpets and late-night celebrations, the images document the rhythm and atmosphere surrounding one of cinema’s most visible annual gatherings.

Arriving in the sunny Riviera for my first ever Cannes Film Festival.

Known for his recent appearance in Emily in Paris, Muller approached Cannes through a mix of film, fashion and personal observation. Across the festival, he attended events hosted by brands including Chopard, Ray-Ban and HFC Parfums, while stepping onto the Cannes red carpet for the very first time. Shot on his phone and paired with his own captions, The Personal Edit follows the days from arrival to closing night through Muller’s perspective.

A moment of peace at Chatea de Theoule before the excitement begins!

Looking out for any finishing touches before I walk the Cannes red carpet for the first time.

Then come those special Côte d'Azur nights. This evening celebrating HFC parfums was unforgettable.

Talking all things HFC Parfums with this incredible team.

Another day of fittings, grooming, and a special night with Chopard ahead.

My view before heading into Chopard’s The Miracle Gala.

A memorable evening with great company.

What a pleasant surprise!

Back in the chair for a refresh ahead of a busy day at Cannes.

Celebrating Ray-Ban in an all-white ensemble.

The glasses.

A moment for the many outfits of Cannes!

One of the final outfits of the trip, for a very special closing night!

A special moment on the carpet with Daria Strokous for EE72’s celebration of Film and Fashion.

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(c) Aurelien Muller

Jacob Greenway Shares His Camera Roll: Prepared to Play Jude Bellingham in Dear England

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Jacob Greenway Opens His Camera Roll From Dear England

written LE MILE

For this edition of The Personal Edit, Jacob Greenway shares a glimpse into his personal camera roll during the making of Dear England, the BBC adaptation of James Graham’s acclaimed stage production about Gareth Southgate and the England national football team. In the series, Greenway steps into the role of Jude Bellingham, one of the defining young players of England’s current generation.

Read throughs are special because it’s the first time you see the script come to life. I was consumed with excitement, gratitude, and trying to look calmer than I actually felt.

Moving between training grounds, set moments and the atmosphere surrounding a production shaped by football culture and national expectation, Jacob´s photos document a period balancing performance, preparation and the intensity surrounding one of the country’s most closely watched stories. Alongside Joseph Fiennes as Gareth Southgate, the series revisits the emotional pressure, ambition and scrutiny surrounding modern English football. Shot on his phone and paired with his own captions, The Personal Edit offers a direct look into the experience from Greenway’s perspective.

The only photo i’ve got from a base. The amount of hours we spent playing football at base was breathtaking. Some of my fondest memories are from kicking ball with the lads.

My first day filming. Energy was high. Vibes were immaculate.

Pre-training scene in my trailer. We spent a lot of time in these kits over the shoot, but this specific kit was always the standout for me.

Wondering round the pitch trying to get an aesthetic pic when I probably should’ve been paying attention.

A quick break with Roman Kemp and The BBC One Show during my stunt rehearsal. I was lucky to have Tyson with me throughout the process - if I broke my leg best believe he’d step in as my stunt double - had a wig on standby!

Rented out Tottenham Hotspur’s, as you do.

To many people’s surprise this was my first time inside a football stadium.

Sir Paul Whittington watching one of the overhead kick takes - The expression on his face was priceless. It felt good pulling that off.

Action shot from the Switzerland penalties scene. I spent the best part of two weeks making sure my run up was identical to Jude’s - only to get to set and find out they were only shooting my feet. still had to deliver the whole performance though.

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(c) Jacob Greenway

Mulaa Shares Her Camera Roll: On Love Letter, Touring and Finding Her Voice

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Mulaa Joans Opens Her Camera Roll from Her First International Shows

written KLAAS HAMMER

For this edition of the Personal Edit, Mulaa Joans gives us a glimpse into what life is really like for a young rising artist. Between soundchecks, fan meet-ups, radio interviews, and visits to all kinds of venues, things never get boring. The singer has already caused quite a buzz on social media. She has more than 400,000 followers on TikTok, and her song “Love Letter” alone has been streamed millions of times, with over 50,000 posts created using her sound. To get to know her a little better, she answered a few questions for us.

My first international radio interview in Amsterdammm
photo / QMusic

Klaas Hammer
How did you first get into music, and which artists inspired you the most in your early days?

Mulaa Joans
I got into music because I think I was born with it. I always felt so inspired by and close to the songs my dad and I listened to. He used to play artists like Prince and Pink Floyd. But I really started singing because my mom used to sing to me every night before I went to sleep. It was something she loved to do, and girls love being like their mums. I wanted to be like her and sing. We still sing together to this day. It’s so cute.

What does a typical songwriting session look like for you, and what tends to inspire your songs the most?

I often write songs or melody ideas and concepts in my bedroom, or while sitting by my window, to YouTube beats. It was something I always used to do when I was little because I can’t play any instruments, but I really like that I still implement that in my songwriting today. I then usually take those ideas into sessions with the people I work with, and we make the song better. I’m inspired by literally everything. I think as I’m growing up, I’m learning how to speak about things that may have happened to me in the past, things that maybe I wasn’t ready to speak about when I was younger. But I’m also very inspired by film. I often write songs based on films or TV storylines.

Your music has been all over our feeds, with videos and edits with millions of views using your song “Love Letter.” Why do you think the track connects so strongly, and what is it about it that resonates with so many people?

I honestly think it’s because the lyrics are so blunt and honest, and often people are scared to say exactly how they feel. I’ve always been a very confrontational and blunt person, so I think it comes across in my songwriting. People relate to it because it’s something they feel they want to say to someone in their life, but don’t feel like they can. The song gives them an outlet for that.

Looking back so far, what has been the most memorable moment of your career?

I think the most memorable moment of my career has been my show in Amsterdam. I can’t even express to you how crazy it is that people in another country are singing the lyrics to my songs that aren’t even out yet. That is just actually mad. The fans were so nice, and I really loved getting to stay and chat with them.

Signing my setlists for a newfound fan!!

Claws out for my headline in Amsterdam! It was unbelievable, I loved every second

Visiting a venue I can only dream of playing in Brussels one dayyyy

Fan meet-up in Amsterdam! This blew my mind, and I can’t wait to come back

A moment for the Paris fit… This skirt I will be buried in

One of my fav shots from tour, taken by a very talented fan, @shotbyninte
photo / Ninte Hogeslag

Backstage pouts, ’cause it’s my go-to face 🤫

This was my first time seeing my name in lightssss… WTF

Smiley soundcheck with Kent on the keysss

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(c) Mulaa Joans

Eva Lys Shares Her Camera Roll: The Porsche Tennis Grand Prix

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Eva Lys Opens Her Camera Roll from the Porsche Tennis Grand Prix

written KLAAS HAMMER

For this edition of The Personal Edit, Eva Lys offers a glimpse into the rhythm of life on tour, sharing moments from her personal camera roll that capture what unfolds both on and off the court at the Porsche Tennis Grand Prix in Stuttgart.

Few sports demand as much travel as tennis. From Miami to Stuttgart, on to Rome and Madrid, before returning to Paris at the end of May for the clay-court highlight of the season, Roland Garros, the calendar rarely slows down. The young player gives us an inside look at what tournament life really entails: sponsor commitments, catching up with fellow players, training sessions, and the in-between moments that often mean spending long stretches of time in yet another hotel.

The Stuttgart tournament stands out each year, both for fans and players alike. Time and again, the organizers succeed in bringing the biggest names on tour to the region. For Eva, the season hasn’t had the easiest start, marked by injuries and a series of narrow losses. But tennis is a sport that always offers another opportunity, another match, another tournament — a chance to turn things around is never far away. Eva has already shown what she’s capable of, proving that with her powerful and versatile game, she can challenge even the top seeds. With her keen sense of style, she’s also one to watch beyond the court, set to bring a distinct presence both in her performance and in how she carries herself.

Shot on her phone and paired with her own captions, The Personal Edit stays close to the tennis circuit — game, set, match.

one of the sexiest center courts

media day with Porsche

forever young in the Porsche Museum

test driving the new car with my little sister

Coco and I at the players’ party

the beauty of a clay court

me and my crush

the view doesn’t get better than that

sitting in a car that was gifted to Ferdinand Porsche

my all-time favorite

the interior speaks for itself

late-night walk after the match to find some pasta at 11:30 pm

little test drive with friends

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(c) Eva Lys

The Personal Edit of Samuel Bottomley: From Dundee to the Barras

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Samuel Bottomley Opens His Camera Roll From California Schemin’

written LE MILE

For this edition of The Personal Edit, Samuel Bottomley shares a glimpse into his personal camera roll from the making of California Schemin'. Shot between Dundee, Glasgow and later festival stops, the images follow the intensity of a production built around performance, music and a tight-knit cast and crew.

Based on the true story of Scottish rap duo Silibil N’ Brains, the film moves between high-energy stage moments and the quieter reality of long shooting days, preparation and collaboration. Bottomley, who takes on one of the lead roles, documents that rhythm from within: first days on set, rehearsals, live crowd scenes, and the atmosphere shared with co-star Séamus McLean Ross and director James McAvoy. Shot on his phone and paired with his own captions, The Personal Edit stays close to the process — on set, on stage and in between.

This was the first day on set I think, definitely the first week up in Dundee and the first time I’d seen a proper directors chair with the directors name on it, so I had to get a pic. All the crew working hard in the background. It was such an exciting set to be on and all the crew really believed in the job too. I was working on a job in Scotland before this and, talking to some of the crew on that, it sounded like everyone up there was buzzing about the project.

Séamus McLean Ross outside the Barrowland. This was, for both of us, the most surreal and daunting time of our lives.

On stage at the Barras. As you can see, I’m so burnt out. Rapping in time while jumping around on stage and trying to give the biggest energy we could to hype up the audience was tough. However, being directed while being in front of 2000 people and having to perform “Superhero” is one of the coolest things I’ve ever done. Felt like a rockstar.

This was once we had finished and got all the shots we needed. James promised the crowd a big photo at the end and everyone had refrained from using their phones during the takes to keep it authentic to the period. We got this great picture to show for it.

This is me on the Easyrig. The DOP and I really got along, I had worked with his wife around a year or so before. I was being cheeky and asked if I could try it out in between a set up. I wasn’t expecting him to say yes and as you can see, I’m buzzing.

We walked into a room full of cardboard cut outs of ourselves. It’s mental just looking around seeing your face everywhere. Some of the stuff in there made great souvenirs to take home though, loads of CDs with our faces on, stickers, pens, hats, packets of Silibil n Brainz sweets. The set designers actually brought the cardboard cut outs to the wrap party and we took them around the next few pubs with us. On my way home I left one cut out of me lifting my skateboard up over my head like a weapon right outside my apartment and it stayed there for a few weeks after.

Séamus and I trying to get a cool pic of us from the monitor while the camera pointed at us.

Big pic. Kudos to all the incredibly talented and hard working crew, they brought it 100% everyday and I have so much respect for all of them. I’ve learned so much about film through just watching what they do and asking questions.

Lucy Halliday and James McAvoy leaving a breakfast spot in Toronto the day after our film premiered at the Toronto International Film Festival. So glad that I got this photo - these two just look so cool.

“Hey Lucy” what are the chances? Lucy put that jumper on after breakfast and it made my day.

Séamus and I after picking up a special mention award at Rome Film Festival for our performances in the film. It’s a massive honour to receive something like that and we were both so shocked, we didn’t expect it at all.

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(c) Samuel Bottomley

The Personal Edit of Krista Papista: During the Making of Euro Divas

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Krista Papista Opens Her Camera Roll During the Making of Euro Divas

written LE MILE

For this edition of The Personal Edit, Krista Papista shares fragments from her camera roll captured during the making of her recent album Euro Divas. Moving between a residency in the Czech Republic, travels across Asia, and the final stages in her Neukölln studio, her images trace a process moving across geographies, states of mind, and shifting identities.

Based between Berlin and Athens, Papista works across music, film, and performance, building a practice rooted in queer ritual, erotic mythology, and hybrid sound. Drawing from Cypriot, Greek, Middle Eastern, and Balkan influences, Euro Divas emerges as a layered world shaped by memory and transformation. Built from spontaneous snapshots and paired with her own reflections, The Personal Edit becomes a visual diary of creation — capturing the environments, bodies, and moments that fed into the album’s formation.

Journal of shows. Fusion festival, Art Explora, Schinkel Pavilion, Chauffer dans la Noirceur.

Stalagmites in the neighborhood, and a photo of my mums’s village Kythrea.

EURO DIVAS VINYLS ARE DONE AND SENT OVER TO ATHENS.

I started working on Euro Divas album in the Czech Republic. I did an art residency in the country side in the Czech Republic. The accommodation provided was in a monastery, I had the peace & privacy to devote myself to the album 100%. It was a sad little town, bordering Poland, some beautiful Baroque churches, I developed 40% of the album there. My track Heartmode was inspired by this fountain that I found on a wall in the monastery, they say you can only manifest what you want, when you are operating from Heartmode.

While traveling in Vietnam, I went in a Hare Krishna temple and found a photo of myself as baby goddess, I tried to get into it but I couldn’t. Vietnam was incredible.

BRIDGE IN FISH VILLAGE , EL NIDO PHILIPPINES.

The mandolin I played on Eurotrash.

I came back from traveling and finalized the production and mixing of my album in my studio in Neukölln. I was drinking about 3 bottles of Nature Energy a day, they don’t produce them anymore :/ why? Final stages of mixing took place in November, the whole of Berlin turns yellow and red.

WHERE I'M I.

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(c) Krista Papista

The Personal Edit of Henry Ashton: Between Westeros and London

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Henry Ashton Opens His Camera Roll From A Knight of the Seven Kingdoms

written LE MILE

For this edition of The Personal Edit, Henry Ashton opens his personal camera roll during the release of A Knight of the Seven Kingdoms. Stepping into the role of Daeron Targaryen, a greenseer navigating visions of past and future, Ashton enters the expanding world of Game of Thrones at a decisive narrative moment.

Between filming days, costume fittings, late-night script sessions and the anticipation surrounding the weekly episodes, his images document the atmosphere from within. Shortly after, he returns to screens in A Good Girl's Guide to Murder, marking another key chapter in his trajectory.

Built from spontaneous snapshots on his phone and paired with his own captions, The Personal Edit offers an intimate, behind-the-scenes glimpse into a rising actor’s world at the height of release momentum.

Unfortunately I never got to do any sword training on the project, due to Daeron being a pretty ineffectual knight. But, during a horse ridding lesson, I got to see Pete and C.C do their thing.

This is me getting a mould of one side of my face. Turns out getting your ear chopped off is quite an involved process.

We went through quite a few different looks for Daeron, mostly with shorter hair. But eventually Pippa Woods decided on this one. I thought the greasy, long, Kurt Cobain-esque hair was perfect for him.

Ser Steffon Fossoway, played by the incredible Edward Ashely, getting up close and personal with the dragon puppet.

Pete and his weights.

This photo of the amazing Finn Bennett makes me laugh. From the waist down he’s ready to ride into battle. But up top, he’s ready for party party in Berlin.

Shaun and Pete practising lines. I love this photo as it sums up their relationship on and off camera. Just two friends helping each other out.

Quite simply, the best wrap gift I have ever been given.

Ed and Finn deep in a very tense game of chess. I forget who won. Probably Ed. The man’s a menace.

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(c) Henry Ashton

The Personal Edit of Justus Riesner: Berlinale 2026

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Justus Riesner Opens His Camera Roll From Berlinale 2026

written + styled KLAAS HAMMER

For this edition of The Personal Edit, Justus Riesner shares a glimpse into his personal camera roll from the Berlinale 2026. In Germany’s capital, he moved between film premieres, Prime Video’s “A Night to Remember” event, agency meetings, and an afterparty with Charli XCX, collecting impressions along the way and crossing paths with colleagues as well as international stars.

Having trained at the USC School of Dramatic Arts in Los Angeles, he first gained wide recognition through the hit series Maxton Hall – The World Between Us. A devoted film lover, he enjoys not only watching movies but also debating them and he clearly thrives in his profession. Maxton Hall was just the beginning for Justus - let’s see what this year will bring for him.  Built from spontaneous snapshots on his phone and combined with his reflections, The Personal Edit becomes an intimate chronicle of the Berlinale — capturing fleeting encounters, quiet in-between moments, and the unmistakable atmosphere of the festival through his own lens.

fitted in mm6 margiela for my first event with prime video

posed on red carpets and flirted with the press

everything is accompanied by my talented friends

and lots of bling bling
/@benfelipe

klaas got me margielaaaasssss

bad for the body, good for the soul. berlin in february demands controversial ways to remain sane

cos meets jimmy choo

this week’s form of transport consists of uber XLs and mini vans
/with @benfelipe + @runa_goes_luna

where arthouse auteurs meet haute couture

attended „the moment“ after party with charli xcx and a special appearance by the one and only gaspar noé omggg

header image
seen by @hustlebush

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(c) Justus Riesner

The Personal Edit of Ewens Abid: Paris Fashion Week FW26

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Ewens Abid Opens His Camera Roll From Paris Fashion Week FW26

written LE MILE

For this edition of The Personal Edit, Ewens Abid opens his personal camera roll from Paris Fashion Week FW26. Moving between fashion shows, late-night gatherings and long walks through the city, Abid documents Paris as he experiences it: attentive, curious and instinctive.

Known for his roles in Andor and as Jonathan Harker in Dracula directed by Luc Besson, he shifts seamlessly between cinema and fashion culture, carrying the same sensitivity into both worlds.
Presented through images taken directly from his phone and paired with his own captions, The Personal Edit becomes a visual diary of fleeting moments, encounters and atmospheres that define Paris during Fashion Week — intimate, unfiltered and entirely his own.

When wandering through the streets of Paris and getting lost, the walk unexpectedly led to art and a small coincidence: Rue Léon. Léon: The Professional, starring one of my favourite actors, Jean Reno, directed by Luc Besson, whom I happened to work with not long ago on Dracula.

First event done, it was time to relax and enjoy a good old catch-up with friends, while admiring passers-by in their Paris Fashion Week best.

Madly in love with Paris’ café culture. Just know that when you order a coffee here, a single espresso lands on your table. Espresso. What else?

Let’s just say that one hit the spot just right.

The red carpet at a fashion event, like the TATRAS AW26 Paris Fashion Week presentation, carries its own kind of charge. You simply step into it.

I always like to go to the Basilique du Sacré-Cœur de Montmartre. The architecture, the view, the sense of calm — a perfect place after a busy day.

It wouldn’t feel like Fashion Week without a party or two. Cutting shapes with friends, soaking up the vibrant atmosphere of Paris by night.

The Magliano FW26 show was jaw-dropping. The excitement and suspense before it began gave way to a strong, elegant, dynamic performance — and within ten minutes, months of preparation, hard work, and chaotic commitment came to a close.

Coming home to a Shiba Inu, one-on-one. First, the side-eye of “Where have you been?”, then an hour of attitude, and finally a little “I’ll cuddle, but I’m still mad at you.”

I had the chance to meet photographer Cedric Terrell for a street shoot, and we had a blast. For me, the best part of any shoot is the casual conversation along the way. I find meeting new people fascinating — everyone has a different story to tell.

photo: Cedric Terrell

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(c) Ewens Abid

header image Cedric Terrell