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.

total look JUUN.J

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.

total look DIESEL
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.

total look JUUN.J Archive

“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

Sam Salter - Interview

.aesthetic talk
SAM SALTER
Soft Power

written + interview Chidozie Obasi

31-year-old Sam Salter is damn good at making wraps and cookies. His top picks? “Chicken fajitas, oh my Lord, I love them! I'm honestly obsessed with chicken and beef wraps at the moment,” he shares. “I also like an Asian-style sweet potato mash with fish, like salmon; I have a very sweet tooth.”

But it isn’t his proclivity for a double dose of carbs that landed the London-based dancer his fearless gumption and a great path in the making; that was all down to his impressive creative chops.

coat FLORENCE BLACK 1954
sweater DIOR MEN
shirt PENCE 1979
pants DOLCE & GABBANA
necklace LAG World
loafers CHURCH’S

blazer FERRAGAMO
gilet FENDI
shirt HARMONT & BLAINE
pants LABO.ART

“I'd say I'm a living and breathing artist, and my path has been like an umbrella made of different avenues that I've been pursuing over the last three-to-four years.”

Sam Salter speaks with Chidozie Obasi
for LE MILE .Digital

jacket ZEGNA
blazer TELA
t-shirt CHB CHRISTIAN BOARO
pants FERRAGAMO
necklace SWAROVSKI

“I’ve been dancing since I was the age of eight, and I always wanted a life of variety,” he opines, the moment we begin to settle into our conversation. “I always wanted to push my boundaries in my career, and I never thought I would be in the position that I'm in now with what I've accomplished—coupled with the things that happened in my life—but it all came with a lot of hard work. I'd say I'm a living and breathing artist, and my path has been like an umbrella made of different avenues that I've been pursuing over the last three-to-four years.”

The first moment that Salter realised dance was the key element needed to kickstart his creative career was very early on. “I was eight years of age, and it was an amazing moment that I remember my mum asking If I wanted to go try a dance class,” he says. “It just felt like the most incredible moment where something clicked in my body and brain. And I mean, don't get me wrong, I was probably terrible. But I just remember absolutely loving it.” Before that, Salter was a really competitive horse rider. “I would horse ride every single day after school. I loved it. And I was good at it too, like I was a really strong candidate.”

Salter wasn’t a kid that grew up watching dance on television or across the media. “However, there was a programme in America called So You Think You Can Dance, which I remember when I started getting into dancing. And watching American dancers felt great, because they’re incredible,” he says. “Funnily enough, in recent years I've connected with them online.”

Salter trained at the Sylvia Young Theatre School in London and the Delay Theatre Arts in Surrey, projecting into roles across the spheres of musical and ballet—namely, Mary Poppins, Wicked, Swan Lake, The Nutcracker—that marked few turning points from an early stage. “I suppose there were two,” he reflects. “The first one was when I was at Sylvia Young, and my peers in my year never thought of me as very talented. But I worked my absolute arse off and I just remember being obsessed with it,” he says. “Then there was this one class where I got picked out to do a solo: all my friends were like, ‘Oh my god, Sam, you're like a really good dancer!’ It just happened, and I remember everyone came up to me, which made it a really special moment.”

jacket TOD’S
shirt DUSAN
polo TOMMY HILFIGER courtesy of ZALANDO
pants TOD’S
shoes SEBAGO

total look LOEWE

“I'm a very proud out gay man, and I will always fight for the community and believe that we should be treated just like everyone else.”

Sam Salter speaks with Chidozie Obasi
for LE MILE .Digital

blazer TAGLIATORE
shirt TOMMY HILFIGER

shirt + tie TOM FORD
tank top CHB CHRISTIAN BOARO
pants JIL SANDER by Lucie + Luke Meier

Moving on to deeper territory, Salter has spoken openly about the struggles with mental health, which led to phases of addiction. Years on, he feels he’s on a good path and on a good ground, both emotionally and physically speaking. “I feel amazing right now in terms of my sobriety, and I feel like I'm in a really great flow with it: I've been in and out of sobriety for a long time,” he opines, with unguarded honesty. “And what I can say is that whenever I'm sober, I feel my ultimate best in so many ways; truth be told, my personal life hasn’t been great in the last few months. I felt a bit flat, uninspired, and lost because I hold my career to a really high level. I'm a workhorse.”

Salter has hustled hard with his goals between dance and social media, trying to build branding and working with luxury households. “It took years of trying to get this. So when things are quiet for me in terms of work, I feel my mental health dips.” But what is really special for Salter right now is his sobriety. “Even though I feel like I'm having a little bit of a life dip, which happens, I'm still thriving overall because I am clean and sober and I'm not getting myself into any sort of trouble.”

As we walk through the emotional depths of his inner self, I cannot help but wonder where these complex phases of his life stemmed from. “I think addiction stems from a lot of stuff like growing up and not feeling quite good enough, as I was a very shy kid and I always wanted to feel more confident. And we all know that certain substances can make you feel more confident. So they were hand in hand for me; I was finally this confident, attractive in a way guy. And I’m actually naturally quite a shy person and insecure. I have insecurities.”

Salter’s been in therapy for years, trying to untangle these emotional complexities. “I think if people looked at me online they would have a different perception of me. I would work on no sleep and it was dangerous for my body. I was doing these crazy shows, you know, with no sleep. But I don't think that the entertainment industry really was the catalyst into all of this kind of stuff.”

On the entertainment industry’s hardships, he speaks openly. “I've definitely worked on jobs where I haven't been the happiest because of egos,” he admits. “I remember I once got booked on a tour to be the leading man, and I found out through a show fan that I'd been cut. I don't know why they ended up getting rid of me, but that was like a tough pill to swallow. And that was something that I found quite challenging. Like this is, it was just done in all the wrong ways.”

shirt PRADA

blazer TAGLIATORE
cardigan CANALI
tank top DIESEL
shirt TOMMY HILFIGER
shoes CHURCH’S

However, his reckless pursuit of optimism took Salter to new heights, bringing forth a major deal that sparked an equally major moment. “One of my favourite jobs I've ever done was the Wonka dance buddy,” he says. “I looked after Timothee Chalamet on Wonka: I'd help him rehearse the role, I would dance his double, step in, give him notes on dancing and so on. That was super special because I love being on set. Films are so exciting, and I'm a big fan of his work.”

Salter also made his acting debut, a short film titled I Need You To See Me: in this project, he plays a substitute dance teacher navigating a complex and intense relationship with his mentee. “It was like a two man scene happening in a dance studio,” he recalls. “It was really intense and a lot of work, but it was an incredible experience.” The director reached out to him a few times and Salter ignored him at first. “I always wanted to try it, but I was a little too scared and I thought there were things in my way and I had a lot of worry and fear about it.”

Navigating the dynamics of LGBTQ+ storytelling is key for Salter. “I'm part of it, so I always advocate to push for it,” he asserts. “I'm a very proud out gay man, and I will always fight for the community and believe that we should be treated just like everyone else.”

Soulful and vibrant in equal measure, Salter spills further doses of joyful optimism and hope as we draw our conversation to a close. “I plan to continue training, and I want to keep doing my castings for acting as I’d like to keep pushing my boundaries,” he concludes. “I'm really proud of the work I've achieved so far, and I want to keep pushing as much as I can, whether that's as an actor or a choreographer or a dancer or all of them. I just want to be giving it my everything.”

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 ALEXANDER MARKART via BLEND MANAGEMENT
talent SAM SALTER

photography assistant ANTONIO CROTTI
fashion assistants LUCA MICELI + LORIS VOTTERO + CLOE RUBINATO + ALICE CANNITO + ANNA REGAZZONI + JORDAN MAX BAGLIONI

Kyshan Wilson - Interview

.aesthetic talk
KYSHAN WILSON
The Multifaceted Prism of

written + interview Chidozie Obasi

When it comes to a grounded star quality, many can only dream of having the determination, skill and poise possessed by Kyshan Claire Wilson.

After her noteworthy appearance in the acclaimed fiction Mare Fuori, the rising talent has made herself between the allusive streets of East London and Naples. But, while a domination of one of the world’s most coveted industries would be a career-high for some, it’s not what the multi-faceted actress plans on seeking for just yet: from moments of doubt to gushes of thrill, the actress began to exceed her own expectations and transcend career boundaries on her own terms, cementing her as a rising star worthy of the name.

total look LOUIS VUITTON

TEAM CREDITS

seen NICOLÒ PARSENZIANI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
grooming CRISTINA CROSARA via THE GREEN APPLE ITALIA
set design IRENE COVERI
video VALENTINA GILARDONI

digital EDOARDO MONTACCINI
talent KYSHAN WILSON via WHYNOT MODELS
light assistant GIUSEPPE PALAZZOLO
production assistant ANJA MENEGON
fashion assistants ISABELLA PETROCCHI + LILLY PADILLA + VALENTINA VURCHIO

blazer ACN N1
shirt GRIFONI
top + shorts SANDRO
pants ALBERTA FERRETTI
bracelets DOLCE & GABBANA
loafers CHURCH’S

“I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

total look LORO PIANA

total look PRADA

watch film

filmed VALENTINA GILARDONI

film assistant LUCA ZITO

“Both professionally and personally, I've been on sets that have inspired me a lot artistically,” she says, the moment we begin to settle into our conversation. “I've been around people that have made me more driven, but I've always been ambitious.” However, in an industry where saturation is increasingly commonplace, there are moments able to hit one’s stride with troubled force. “There are times when you get less auditions, and that ambition doesn't go away, but it can drift in and out. This year, I've met people that have really lit that fire in me again, so I'm really grateful.”

Wilson’s first memory of film has been the experience of viewing an eclectic array of products both on TV and in cinema. “I've always loved being able to live someone else's life, whether that be for an hour or three,” she reminisces. “I've always loved the kind of escape from reality, which can sound bleak, but it was always that for me.”

Wilson recalls having this dream that didn't feel tangible while growing up, not being part of the industry’s nepotism and without connections. “It almost felt that it wasn't the path set out for me,” she explains. As a kid, she forced everyone in her family to watch hour-long shows, which helped her to unleash her inner potential. “The first time I realised that this could be a career was with Mare Fuori, when I started the auditioning process which kind of came out of nowhere,” she opines. “It was this surreal, emotional moment where all of little Ky's dreams were coming true.”

As a woman of great poise, Wilson credits her mother as a main source of inspiration throughout her life. “She was and still is a single mum, and the strength she had to move us into a different country all on her own while always providing on her own has definitely been the biggest element that makes her a role model,” she says, explaining how “she'd be surprised to hear this.” Wilson deems her entire family an anchor. “They’re not afraid to tell me when I'm doing too much or how privileged I am to be in my position at times, and I think that's very important to have people that stabilise you.”

jacket FENDI
shirt BLAZE MILANO
skirt FERRAGAMO
necklace ILENIA CORTI

blazer PHILOSOPHY di LORENZO SERAFINI
pants MARK KENLY DOMINO TAN
socks PAUL SMITH
shoes DR MARTENS

“I want to be a Bond girl! Maybe if I put it into the universe, it will come to fruition.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

coat PAUL SMITH
sweater AVANT TOI
shirt AVIU
skirts VIVETTA
jewels DOLCE & GABBANA

coat + tights JIL SANDER by LUCIE & LUKE MEIER
top FERRAGAMO
skirt AVIU
shoes DOLCE & GABBANA

When speaking on her role in the fiction Mare Fuori, Wilson—named Kubra in the series—speaks frankly about the impact and the relevance her role had in relation to the broader context of the script, which portrayed her as the daughter of a troubled prostitute harassed by male toxicity. “I find this really interesting because my thoughts on Kubra specifically, in Mare Fuori, aren't maybe what you would expect, because the fiction is recounting the story of a group of teenagers in a juvenile prison,” she says. “So I think given that context, for me as an actress, it felt less frustrating and jarring because all of our characters have done terrible things to end up in a juvenile prison.”

Most of the characters came from hard, tough backgrounds, and it’s exactly the reason why her role “didn't feel like the classic stereotypical black actor cliche, where there’s a tendency to cast only poc in degrading roles.” She didn’t feel it was as harsh as other roles in the film industry at large. “There are roles I've played where I’ve definitely felt more pigeonholed, but I think given the context (again, of a prison), I didn't really expect anything less than that.” Wilson took that as a challenge and made Kubra a profound and complicated character that wasn't defined solely by those stereotypical black traits. “I tried to make the best out of it and make her as layered as possible to show the intelligent and funny and human and vulnerable side to her, not just the angry black woman kind of cliche.”

Leaning on representation and the importance of inclusion, in an industry that often exacerbates the state of it at the expense of white privilege, she speaks with unguarded honesty. “I think there's a desperate need to work on representation, especially in Italy, and to be clear I talk about Italian cinema and TV because that's my experience,” she says. “When I talk about more representation, I talk about working on representation. It means not only we don't want roles that are defined by the way white people perceive Blackness, but I also refer to the process of recycling roles intended and written originally for white people, already played by white people, and given to black people as a token.” Wilson deems these attempts “lazy,” and she’d rather see people “invest time, money, invest effort and writers into creating and curating our own stories; stories that take into consideration the black experience, without making it a cliche.” Additionally, Wilson thinks that “sometimes it’s done well and is cool, but most the time feels cheap”

So I cannot help but wonder: how does an actress with such depth and sensitive line of thought perceive otherness and colourism? “I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed,” she freely admits. “I have softer hair and European features, and I'm not going to deny that I believe that has had a positive impact on my career.”

total look SPORTMAX

dress VERSACE

Moving on to softer ground, I ask about the roles she’s cherished the most. “I love Aura in Those About to Die,” she says. “I think there's a lot to play around with, and I think if we get the opportunity to proceed with another series there would be a lot to dive into within her psyche. I love her strength, not in the classic way we see strong characters - but a strength that lies within her vulnerability.” The series explores an unveiled side of Rome: the dirty business of entertaining the masses through blood and sport. “She’s vulnerable, as she's sold into slavery but she's still the rock for her sibling and her mother, and her maternal figure leans on her a lot,” she says. “I love the parallels of strength and vulnerability, particularly when those two things can co-exist because I don't like flat characters and no one wants to see.”

And, if that wasn’t enough, between ensuring that her passion for acting never fades and that her diary is never empty, Wilson is well engaged in the fashion scene. “Fashion is art and it’s expression, and I love any form of art and expression,” she opines. “I'm a very creative person and I'm drawn to cinema, fashion, paintings and any art.

So I love any opportunity I get to be a part of this world: we work very hard with both my fashion modelling agency, WhyNot, and my cinematic agency, Karasciò, to intertwine all projects and make sure that I have the opportunity to be at events, but also so that doesn't get in the way of sets. And they're very good at accommodating each other and me and making it all work.”

What does she hope for the years to come? “To still be doing what I love, which is acting,” she says, her head nodding with excitement. “I also hope to be living in another city, as I love moving around, and I definitely want to slowly emerge into the international world of cinema and TV.”

We’re way past our allotted interview time, and as the end-of-year holidays are fast approaching it’s apt to muse over Wilson’s new year resolutions. “I want to be a Bond girl!” she wildly chuckles, as we wrap up our conversation. “Maybe if I put it into the universe, it will come to fruition. But on a serious note, I just hope to keep doing things to make me fall more in love with my craft, becoming better at it.” And, just like Wilson, I very much hope the same.