SS26 Menswear - TRACES OF MILHAN with Milhan Bouzidi

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TRACES OF MILHAN
*Milhan Bouzidi

written CHIDOZIE OBASI

Ease and function are something of a paradox. Whether you choose to merge them or divide styles that have little in common, something that gains a roomier edge or a structured undertone across a variety of textures, their matter-of-fact aesthetic can appear effortless –see Glenn Martens’s insouciant, high-rise,neutral-toned pants for instance – however, the flipside is that for all their textural effortlessness, these sort of pieces require significantly more upkeep than others.

Milhan wears total look by VALENTINO

Milhan wears shirt and blazer by LORO PIANA and pants by PAUL SMITH

Yet, even as someone who can’t leave the house in airy separates without returning with a slightly smudged hemline or a back-pocket smudge, I will always think they’re worth it. Quite simply, they deliver something different to classic cuts, which is why 24/7 wearers of fuss-free staples will always have a wealth of pairs in their wardrobe rotation. I own many, and they serve different purposes, as you can probably tell by their vital stats, but, crucially, both deliver polish in a mode that’s easy and undone. Below, check LE MILE’S edit of essentials, to take you through the transitional months. You’re welcome.

Milhan wears shorts by CALVIN KLEIN and DSQUARED2, pants by QUARTO ATTO and shoes by BEPOSITIVE

Milhan wears jacket by RANDOM IDENTITIES by Stefano Pilati, vest by LABO.ART, cardigan by SON OF A TAILOR, shirt by LOUIS VUITTON and pants by DIESEL

Milhan wears cardigan by BRIONI, shirts and tie by CANALI, pants by LOUIS VUITTON and belt by PAUL SMITH

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator EDWARD PUSCA
make up KIM GUTIERREZ via STUDIO REPOSSI
hair FUJIWARA TAKAHASHI
model MILHAN BOUZIDI via GUYS MGMT
photography assistant ANTONIO CROTTI
fashion assistants DAIANA EDOSA + ALICE PELATI + LUDOVICA IEMMOLO + ALESSIA GUALTIERI

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credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - Matteo Miccini on Ballet, Discipline and Mental Resilience

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How Matteo Miccini Navigates The Physical And Mental Weight Of Ballet

written CHIDOZIE OBASI

Florence-born, Stuttgart-hailed dancer Matteo Miccini has nourished a penchant for the arts from early on, and built a subtly intimate trove through his grandfather, Eugenio, who was an Italian artist and writer. “Watching him dedicate himself to his creative work and seeing how seriously he treated both inspiration and discipline left a very strong impression on me and has greatly influenced my decision to become a ballet dancer,” he says. It’s definitely been a time of growth for Miccini, both artistically and personally. “I’ve had the opportunity to revisit certain roles with a new sense of maturity, while also challenging myself with new repertoire,” he says. Below, the dancer unpacks early stints, peak moments and personal expectations. You’re welcome.

Matteo wears top by LEVI’S, shirt by THOM BROWNE, pants by QUARTO ATTO and shoes by PREMIATA

Matteo wears total look THOM BROWNE

Chidozie Obasi
What’s your earliest memory of dance?

Matteo Miccini
My earliest memory of dance is watching the musical Notre-Dame de Paris, with music by Riccardo Cocciante, together with my sister and my father. I remember thinking it must be an amazing feeling to stand on stage. After that experience, I remember watching a dance class that my sister took part in, going home and telling my family that I wanted to do that as well. I became curious about dance and started wondering what it would be like if I were to do it myself.

When did you realise that you wanted to make this craft a professional career?

I remember everything going quite fast, honestly. Around the age of eleven, I stopped doing gymnastics and started ballet. I was very lucky to find a teacher who discovered my potential and talent from the very first moment, and who pushed me into training. That guidance was very important, as it gave me direction and helped me understand that I should take this path very seriously. Two years later, I was already in Stuttgart at the John Cranko School, training to become a professional ballet dancer.

Matteo wears a total look by MIU MIU 


What would you say have been the best moments of your path thus far?

Discovering new roles and experiencing a wide variety of productions has been incredibly rewarding, especially as each one brings its own challenges and way of thinking. Being able to travel and perform in many different countries has also been an exciting part of my journey.

Has your mental health always been stable throughout your path as a dancer, or have you had moments of doubt or times when you felt like quitting?

Dealing with self-doubt, fatigue, and pain has definitely been part of the more challenging aspects of my path. With time and experience, you learn to understand your body, to know your limits, but also to accept that you will go through unpleasant moments. The body, with a good mindset, is often much stronger and more resilient than you initially think.

Is there anything you’d do differently in your path? And do you feel like you’re where you wanted to be?

I don’t think I would change much, but perhaps I would have tried to enjoy the present moments a bit more, without constantly thinking ahead or about what comes next. Over time, I’ve realized how important it is to fully appreciate what you are experiencing in that particular moment, especially in a career like ours where everything moves quite fast. There have certainly been moments of doubt and questioning. The mental and physical pressure that comes with this profession can be exhausting, but I have always managed to remain dedicated and committed to my career.

Matteo wears a blazer by ZEGNA, pants by ISABEL MARANT, a belt by LOUIS VUITTON and shoes by PREMIATA

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator EDWARD PUSCA
fashion coordination assistant SOFIA FARINA
make up KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair FUJIWARA TAKAHASHI via MKS MILANO
talent MATTEO MICCINI
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + LUIZA ANGELOVA + ANGELINA PERSIANI + ISABELLA RUIZ

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Womenswear - Rigour & Romance with Roos Abels

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Roos Abels on Rigour & Romance, Prada Beginnings and Creative Freedom

written CHIDOZIE OBASI

Truth be told, fashion found Roos Abels before she fully understood what it was. “I got scouted in the supermarket in my hometown when I was around thirteen,” she tells LE MILE. “Then I went to Milan for the first time with my Dad to meet my mother agency, Brave models, and that’s when it all began for me.” Abels walked the Prada show a year later, and at the time she didn’t realise how big of a deal it was. “When I was about to enter the runway, Miuccia tapped me on my shoulder and gave me the kindest little smile; from that moment, my career took off.” Below, the model opens up about the importance of expression, pinch-me moments and future hopes. You’re welcome.

Roos wears a total look by VALENTINO

Chidozie Obasi
Do you feel that the relation between fashion, expression and art has grown over the years?

Roos Abels
Absolutely! I think the lines between fashion, expression, and art have become increasingly fluid. Fashion today feels less confined to trends and more connected to personal narrative and cultural dialogue. People are using style as a medium to communicate who they are, what they believe in, and how they want to be seen. At the same time, creatives across photography, music, film, and design are collaborating more than ever, which has made fashion feel more immersive and emotionally driven. I think audiences now connect with authenticity over perfection, and that shift has allowed fashion to become more expressive and artistic in a very human way.

Unpack the emotions you felt during the shoot (related to what you wore).

I loved everything about it. I really got to be different personalities while shooting this story. That’s also what I love about modeling, that I get to be this character with every outfit I put on. I had different kinds of Hair and Makeup with every outfit which made it even more fun. Creating an editorial with a whole team is always so cool especially if you’re all on one line and the vision comes to life.

Roos wears dresses by EXTREME CASHMERE and MICHAEL KORS, shirt by LOUIS VUITTON, shoes by MICHEL PIZA and hat by VIVETTA

Could you unpack a pinch-me moment in your career?

As I've been doing this for twelve years now, I must say I feel incredibly lucky to be doing this for so long and experience all these amazing moments. One of my all time favorite moments was at the Chanel headquarters in Paris for the upcoming Couture show that was coming up, and I had my fitting with the whole team and Karl ofcourse There was this insanely beautiful mint green dress hanging on the rail and it turned out to be for me!! I tried it on and instantly felt like it was meant for me, when I walked into the room with Karl and his team they all started clapping for me in my dress and it just felt like such surreal moment.

What are you most hopeful for in the creative industry and beyond?

I’m hopeful for a creative industry that continues moving toward authenticity, inclusivity, and individuality. I think people are craving work that feels real — stories, imagery, and ideas that reflect genuine human experiences rather than unattainable perfection.Beyond the industry, I hope we continue creating spaces where people feel empowered to express themselves freely and creatively without fear of being boxed in. Creativity has the power to connect people across cultures, perspectives, and experiences, and I think that’s something incredibly valuable right now.

Final thoughts and reflections

I’ve learned that individuality is everything. The more honest you are creatively, the more lasting the work becomes. I’m just grateful to keep evolving and creating. Stay true to yourself and being kind to others is the true key!

Roos wears shirts by ISABELLE BLANCHE and MANGO SELECTION, shorts, belt and shoes by VIVETTA, and tie and watch from ARCHIVE

Roos wears a total look by PRADA

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director CHIDOZIE OBASI
fashion EDWARD PUSCA
head of production JESSICA LOVATO
make up KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair DAMIANO SEMINARA via STUDIO REPOSSI
model ROOS ABELS via BRAVE MODELS
photography assistant ANTONIO CROTTI
fashion assistants SOFIA FARINA + DAIANA EDOSA + ALICE PELATI + LUDOVICA IEMMOLO

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - Pushing Through The Lens with NOAH SAPON

.digital

Pushing Through The Lens with Noah Sapon

written CHIDOZIE OBASI

Rising creative Noah Sapon became captivated by filmography the moment he acquired his first camera for his ninth birthday. But I cannot help but wonder: what has happened since then? “I’ve lived almost every day with one on me,” he enthuses, the moment we settle into our conversation.

Noah wears blazer by VALENTINO, shirt by CELINE, pants by PAUL SMITH, shoes by CHURCH’S and tie by FERRAGAMO

“I grew up as a big history nerd, and spent a lot of time outdoors,” he says, explaining how he spends lots of time in nature, where he draws the majority of his creative understanding and drive from. “As I’ve matured into a better understanding of myself and what I want to explore as an artist, these have been my biggest driving forces for my practice, while understanding the spiritual effect these elements have on society,” he explains. “I moved around a lot growing up and attended multiple schools, and I think this is where my adaptive nature was born.”

Sapon loves switching environments; throughout his life, he moved from the South of England’s countryside to a small mountain town in Spain, and then to a larger coastal one; since then, he’s been all over the world. Film has always been the director of his life. “No matter what it is, I see it through a lens,” he explains. “I studied film as one of my college A levels when I moved back to the UK in 2016, assuming I’d continue on to it at school or undertake a film degree of some sorts, but I hated it,” he says. Throughout the course, Sapon felt a feeling of unease and otherness from the tutors, and wasn’t allowed to experiment with a wealth of mediums. “Everything was so rigid, so it forced me to reconsider,” he says. At the time, Sapon had just been scouted as a model, and he was starting to experience the fashion industry from the other side of the camera. “I already had an interest in fashion, but I didn’t really understand how any of it worked,” he says. Below, Sapon unpacks early stints, pinch-me moments and future hopes with LE MILE’s Fashion Market Director. You’re welcome.

Noah wears a total look by VALENTINO

Chidozie Obasi
When did you begin to venture into the creative sphere, and what was the moment that made you realise you wanted to pursue this professionally?

Noah Sapon
I was scouted as a model when I was seventeen. I did one show and then signed to SUPA in London, which helped me a lot. Charlie, the founder, was always really supportive of my filmmaking, and he used to book out models to do video tests with; when I was casting, I would always tell the team that I was also a videographer and that if they wanted to book me for that instead they could. I always brought a small camera with me everywhere I went, even on set. I remember having a shoot with the late Brian Griffin for Wallpaper Magazine, and shot a behind the scene film while on set as a model. That’s how it started for me, as I’d get booked to be on both sides of the camera, but I always felt so awkward in front of the lens, and so at-home behind it. Things quite quickly progressed, and by 2019 I was shooting a few small videos a month for magazines, artists and musicians. As soon as it overtook my modelling career financially, I was able to properly dedicate myself to it. Then Covid hit, and I was pretty isolated from London, in the countryside with my family. That was when the natural world became a bigger theme in my approach. I shot an eight spread editorial series with my younger brother, Jethro, for Boys By Girls, about it being the truest constant for humans, and we worked together on another couple of films at home during that time. It wasn’t really until covid fully ended in 2022 that I felt that my career started. Before 2022 I was really just understanding how the industry worked, but then as travel opened up again that’s when things really changed, and I really felt like wow this is actually going to be my life now. I said in an interview when I was sixteen that my five-year plan was to ‘travel the world freely and work with people that inspire me,’ and it really happened.

Could you unpack why you transitioned from modeling to film?

Modelling was never for me. I never worked that much as a model, and I didn’t understand the industry well enough to set goals or intentions. I like organisation and order,and even though my life is quite chaotic, I know what’s going on. I never felt like I knew how to have any control of my own life as a model, and I actually think that is kind of part of the job. I’m so grateful that I got to do it though: I worked with some of my favourite magazines and brands, and it was my first proper, albeit naive, peek into the fashion industry. Film has been my dream for as long as I can remember. When I was really young (after wanting to be a cowboy, knight or pirate), I used to say I wanted to be an architect, and that was the first job I for some reason thought was for me. I liked the idea of creativity with a real-world objective, and something that can be ‘correct’. After that, I wanted to make films, so it was always where I wanted to transition to no matter what.

Noah wears pants and shorts by DOLCE&GABBANA and hat by LORO PIANA

Noah wears a total look by LORO PIANA

Biggest pinch-me moments?

I’ve had a lot of pinch me moments, really luckily very often. I don’t know what would be the biggest. I think the best ones are when I’m in the process of shooting something that really feels like a big checkpoint on track to where I want to be. This is one, as we’ve known each other since 2019! Quite full circle, and it was so much fun on set.

What downturns have you encountered during your path?

I’m really a very optimistic person. I don’t really register moments as ‘downturns’, I like to process these moments quite quickly and learn the lessons. However, I suppose my biggest downturns happen just when I feel conflicted about how to do well, and when an experience might go against what I believe in. But being a curious person, I always want to learn from the experience.

What’s next for you?

Well, what’s next is very exciting. 2026 has been such a great year so far. I’m equally focused on my documentaries as my fashion work which is awesome. I have two docs currently in the editing phases, one with me and one with an editor. I’ve got a few covers coming out with some really epic talent. I don’t like to overshare plans and goals, but I’m also in the process of working with an amazing friend and philanthropist, Mauro Monarris, on a lot of beautiful charity work. I turned 26 this year, and intentionality has become key. The next few years will involve a lot of large-scale positive impact on the world, be it through my personal work, or work I align with, and this makes me really happy. I’m feeling really grateful.

Noah wears overshirt by PAUL SMITH, sweater by AVANT-TOI, shirt by JACOB COHËN, pants by CANALI and RANDOM IDENTITIES by Stefano Pilati and shoes by AQVA ALTA

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator EDWARD PUSCA
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair FUJIWARA TAKAHASHI
model NOAH SAPON
photography assistant ANTONIO CROTTI
fashion assistants DAIANA EDOSA + ALICE PELATI + LUDOVICA IEMMOLO + ALESSIA GUALTIERI

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - THE QUIET POWER of Mergim Shabani

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The Quiet Power Of Mërgim Shabani

written CHIDOZIE OBASI

Kosovo-born, Vienna-hailed talent Mërgim Shabani kicked off his creative path that didn’t follow the customary trajectory in this realm. “I was very focused on sports and football growing up, but maybe because I’m left-handed and played football with my left foot, I had to learn early on how to adapt — and approach things in a more creative way,” he says.

Mërgim wears blazer, pants and belt by LOUIS VUITTON, shirts by CARUSO and ZEGNA and shoes by CHURCH’S

At the same time, Shabani was in touch with fashion from a young age, especially with Prada. “My uncle, who owned a variety of Prada shoes, had a strong influence on me,” he recalls, the moment we begin to settle in our conversation. “It was probably my first experience with something that felt more premium and intentional compared to other clothing, and it stayed with me,” he adds. Below, LE MILE grabs five with Shabani; unpacking all things influence, mental health and future hopes. You’re welcome.

Mërgim wears a total look by GUCCI

Mërgim wears a total look by PRADA

Chidozie Obasi
In an age permeated by saturation and social downturns, the word ‘influence’ - and its wealth of denotations - acquires a huge relevance and, in turn, prominence nowadays. How do you use your platforms and position to inform what’s going on in the world, and how/where do you see the future of socials heading to?

Mergim Shabani
We are all dependent on platforms today, but that also means they are an opportunity — and for me, that opportunity is a gift. There were people who inspired me and made it possible for me to even have a platform and a certain level of influence. The more I appreciate that, the more I want to be my most authentic self. I believe that when you are truly yourself, you can step away from competition more easily. When it comes to informing others, I don’t see myself in a position to lecture people about the complex state of the world. There’s a phrase I believe in: you can’t fix your home and you’re trying to fix the world. For me, that means doing the inner work first — becoming someone who contributes positively to their own community and tribe, instead of speaking on situations you don’t really have influence over.

Could you unpack what the most complex moments of your job are, and how you grapple with your mental health - particularly in a sea of numbers dictated by tractions?

I think the most complex moments are the ones where you have to constantly develop new skill sets and reach new levels, because you always want to become better.
Through that process, I learned an important lesson for my mental health: I never question myself as a human — my character or my value — but I do question my skills in a tough, honest way. That distinction is important. It allows me to improve without losing stability. I can be critical of my work, but still stay grounded in who I am.

Mërgim wears a jacket and top by CELINE and pants by RANDOM IDENTITIES by Stefano Pilati

Mërgim wears a tank top by LOUIS VUITTON, a hat by PAUL SMITH and jewellery by LAG WORLD

Mërgim wears a jacket by ISABEL MARANT, tank top by EXTREME CASHMERE, shirt by CANALI, pants by QUARTO ATTO, hat by LORO PIANA and tie by POLO RALPH LAUREN

What are you focusing on right now?

There are a few things I can speak about, and others I still prefer to keep quiet for now.
I have a store called Odë in Vienna with a partner, and we are now moving into online sales and worldwide shipping. It’s not just a fashion store or a boutique — it’s a space where people can experience our taste and perspective. I’m also developing Tempo Wellness Club, which is my own sports and movement brand. It will include a lot of my routines, workouts, and overall philosophy. Alongside that, I’m working on other product-based projects that I’m personally very connected to. I’m not ready to speak on them yet, but they will be visible soon.

What’s next for you? Any future hopes?

I’m constantly developing new skills and perspectives, so I see this as a phase where I’m stepping into a new level. At the same time, I see myself as a lifelong student of life. I want to stay productive, continue building, and provide for my people — my tribe — but also create moments where I can step back and appreciate the life I’ve built with those around me.
Hope is something that has a strong meaning to me. You can see it in a person’s eyes when it’s still there, and it’s something worth protecting. My hope for the future is to become a version of myself that gives more than he takes.

Mërgim wears shorts and hat by LORO PIANA

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion EDWARD PUSCA
make up KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair FUJIWARA TAKAHASHI via MKS MILANO
talent MËRGIM SHABANI via NEXT MILAN
photography assistant ANTONIO CROTTI
fashion assistants SOFIA FARINA + SIMONA VERNAZZA + LUIZA ANGELOVA + ANGELINA PERSIANI + ISABELLA RUIZ

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - IVAN, UNFILTERED with Ivan Ugrin

.digital

IVAN, UNFILTERED
*with Ivan Ugrin

written CHIDOZIE OBASI

Croatian-born, Amsterdam-hailed multidisciplinary artist Ivan Ugrin spent the last decade finding and shaping his stride. “I’ve been a professional contemporary dancer for fifteen years, with stints as a movement director and a model,” he tells LE MILE’s Fashion Market Director, Chidozie Obasi, the moment they meet in Spring, during a sun-soaked day in Milan ahead.

Ivan wears a total look by DIOR

The past year was a rough one for everyone around him, himself included. “It was a year of monumental changes, but also a year of big personal growth,” he shares, adding how he feels very proud of how far he’s come. “I changed my creative field, going from the contemporary dance world into a more fashion-driven realm,” he says. “My modeling career kicked off, and I honestly feel very grateful and blessed to be where I am right now,” he adds. Below, we grabbed five with Ugrin to unpack influences, career feats and future hopes.

Ivan wears a sweater by MICHAEL KORS and underwear by ISABEL MARANT

Chidozie Obasi
Who’s been your biggest influence while growing up?

Ivan Ugrin
Growing up, I was a very goofy kid that would play out scenes from Jim Carrey movies, especially Ace Ventura, as I really admired him. To this day, I still quote a lot of the jokes and physical humor.

Could you unpack your biggest career feats so far?

I don't really look at my career as one big feat after the other. But rather, I take pride in a lot of small, but equally meaningful events, like every time I premiere a piece. Or when my mom came to see me perform for the first time when I was twenty five years old (and then secondly when I was thirty three (she only saw me on stage twice). I’m also thrilled when a person who attends the show comes to me after it, telling me how the performance impacted them. I’m also elated when I catch a glance of a friend in the audience that I had no clue he was going to be there that night. In the past, I performed a lot for kids, and putting up a show for them made me fall in love with performing even more. I performed this kids’ play titled TETRIS by Erik Kaiel in a Palestinian refugee camp in Jordan. It was one of the most beautiful and heartwarming experiences of my career; the kind of experience that reminds you of the power of art.

And touching on the complex moments and, in turn, rejections, how have they shaped your persona?

No one likes rejections, but no one knows rejections better than performing artists. I personally have been rejected a lot of times. So much so that I have not passed a single audition in my career. I don’t do well under that kind of pressure, and I feel in the audition setting I’m unable to show my full potential. For all the jobs I’ve undertaken, I was either recommended by my peers or I personally wrote to choreographers directly, expressing my desire to work with them. So I’d say that these situations have impacted me a lot as a young dancer. I had to deal with most of them on my own, understanding I should not take every rejection to heart. Some things are just a matter of timing and luck.

Ivan wears a total look by PRADA

Ivan wears a sweater by ISABEL MARANT, shirt by LOUIS VUITTON, shorts by LESSICO FAMILIARE and shoes by CHURCH’S

Where did you study, and how has your path in dance been?

When I was eighteen, I moved to Zagreb to study Veterinary medicine. That same year I started dancing Jazz twice a week at TALA Dance Center in Zagreb. I didn't know much about dance at that time apart from how it felt in my body and how it made me feel. Dancing felt good, it felt right: It felt like I finally found my passion. Those hours spent in the studio made me feel free without any worry. I was told by my teachers that I was talented, but it was hard for me to understand that at the time. All I knew is that I wanted to be as good as I can be and I wanted to dance. I enrolled at Amsterdam School of The Arts, at the Modern Theater Dance department. I skipped a year, so I finished 4 years of education in three years, landing a graduation in 2013. After that moment, I worked mainly as a freelancer, most noticeably with Arno Schuitemaker and Connor Schumacher. I was part of a ICK/Emio Greco Pieter Scholten company in 2016 for a year, while they were artistic directors of Ballet National de Marseilles.

You’re also taking ballet classes, correct?

Yes, I still take ballet classes a bunch of times a week. During the week, as my daily practice I mix Yoga, Ballet and weight training at the gym. Nothing prepares you for dancing like classical training.

What projects are you working on?

This is a good opportunity to say that I am free and ready to work on new projects as I’m about to perform the last shows in the Netherlands, in beautiful pieces I am part of.

What’s next for you?

The next thing for me is to start new exciting dance projects in Europe. And together with my amazing agent Jane, we are focusing on my career as a model and movement director within the fashion space.

Ivan wears a blazer by FENDI, shirt by SANDRO, shorts by PHYSIQUE DU ROLE and shoes by CHURCH's

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photography ANDREA CENETIEMPO
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up EDOARDO DE FALCO via WM MANAGEMENT
hair FUJIWARA TAKAHASHI via MKS MILANO
talent IVAN UGRIN via DEJAPRIS AGENCY
fashion assistants VALENTINA INVERARDI + VINCENZO VITELLO + SEBASTIAN RAFAEL

credits
all Images (c) LE MILE
and Andrea Cenetiempo

SS26 Menswear - Summer Edit of Timeless Classics with Fabio D’Addona

.digital

CLEAN SLATE
*with Fabio D’Addona

written CHIDOZIE OBASI

Like all codified fashion trends that reach the point of parody – a cycle that seems to happen with increasingly ferocious pace these days – “quiet luxury” found itself in the proverbial bin over the years along with the Y2K fashion, gorpcore and office sirens.

Fabio wears a shirt by GIORGIO ARMANI, pants by QUARTO ATTO and tie by LORO PIANA

Yet, there’s something about the tenets of the stealth wealth movement that still seems to resonate with a grand and overstimulated shopping public, in a way that’s allowed it to transcend the usual lifecycle of your average fashion “core”. In fact, only this week, trends and 'fits across the world reported that “summer” apparel isn't just a matter of peacocking braggadocio at an all-time high; rather, it's about maintaining the margin between “minimalism" and “chic” with a subtly subversive feel.

Fabio wears a cardigan by LEVI’S, shirt by POLO RALPH LAUREN and shorts by THE NOUR

Fabio wears a total look by LORO PIANA

Your wardrobe will naturally shift throughout the year, but Summer is the season when the weather dictates your clothing choices the most. For your breezy capsule wardrobe, you'll want a concise edit of classic pieces to make getting ready every day so much easier. It can sometimes feel like a challenge to remain stylish throughout Summer, but these three pairings will keep you snazzy and comfortable, in style. You're welcome.

Fabio wears a total look by LORO PIANA

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photography ANDREA CENETIEMPO
fashion market director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up EDOARDO DE FALCO via WM MANAGEMENT
hair FUJIWARA TAKAHASHI via MKS MILANO
model FABIO D’ADDONA
fashion assistants VALENTINA INVERARDI + VINCENZO VITELLO + SEBASTIAN RAFAEL

credits
all Images (c) LE MILE
and Andrea Cenetiempo

SS26 Menswear - STITCHES OF FREEDOM with Michelangelo Vizzini

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STITCHES OF FREEDOM
*with Michelangelo Vizzini

written CHIDOZIE OBASI

Michelangelo Vizzini’s first dabs within the creative sphere took place from an early age, when music—in the first instance—became a pivotal tool for expression and freedom. “Over time I found acting as another equally powerful language,” he confesses, as we settle into our conversation.

Michelangelo wears a total look by MIU MIU

“I see myself as someone constantly exploring; I love nature, staying with my family and chocolate,” he exclaims, his face filled with excitement. “Growing up, I’ve been influenced by a mix of music and cinema: Musicals were probably the strongest presence early on, as they shaped my sensitivity.” Vizzini has always been deeply inspired by artists who were able to be honest and vulnerable in their work: namely Daniel Caesar, whose music carries a deeply raw and emotional truth in its lyricism.

Michelangelo wears a total look by CELINE

“In general, I’m drawn to people who create from a genuine place, regardless of the medium,” he says. “Creativity has always been part of my life,” he opines, adding how, “Music came first and very naturally, while acting came late, but it didn’t feel like a shift, but more of an expansion.” LE MILE’s Fashion Director caught up with the rising creative force, unpacking everything from career feats to future hopes. You’re welcome.

Michelangelo wears a blazer by GIORGIO ARMANI, a sweater by SON OF A TAILOR, shirts by MOSCHINO and MICHAEL KORS, shorts by POLO RALPH LAUREN, shoes by CHURCH’S, and a belt by CELINE

Chidozie Obasi
When was the pivotal moment you realised you wanted to pursue the creative path as a full time profession?

Michelangelo Vizzini
I think I’ve always known, in a way. This path requires courage, and I never really had a plan B. I could spend hours singing or studying musicals without ever feeling tired, and that feeling made it clear to me that this was what I wanted to do with my life.

Leaning on to the crucial moment that changed your path forever: could you unpack it with us?

I think the crucial moment was when I decided to put music slightly aside for a while and focus more on cinema. It wasn’t an easy choice, because music has always been a big part of me, but I felt the need to explore acting more deeply.

At a time when the social and cultural phenomena are wreaked by havoc at an increasingly ferocious pace, how do you navigate the system and stay afloat?

I try to stay grounded and connected to what feels real. It’s easy to get distracted by noise, but I think it’s important to come back to the work, to the process, and to your own voice. For me, it’s about focusing on authenticity rather than external validation.

Could you unpack your most ‘complex’, dare I say, moment of your journey?

The most complex moments are often the ones where you doubt yourself. There are times when things feel uncertain, when you question your path. But I’ve learned that those moments are also necessary, they push you to grow, to redefine who you are, both as an artist and as a person.

Michelangelo wears jeans by HED MAYNER, shorts by ESSENTIEL ANTWERP, and shoes by BEPOSITIVE

And now, talk to us about Love Me, Love Me: how did it all happen? And what did you expect when you first read the script?

I immediately connected with the emotional core of Love Me, Love Me. It asked me to be completely honest, especially in portraying love and vulnerability. I wanted to respect the character while making him real for me, focusing on personal connections. It was also a key experience that taught me to trust the process and stay present.

You’re also quite passionate about fashion: is that something you've learned to embrace over time, and what's your relationship with it?

Fashion is something I’ve grown into over time. At first, it was more instinctive, but now I see it as another form of expression. It’s a way to communicate something without words, an extension of identity and mood.

What's next for you, and where are you hoping to take your career in time to come?

I want to continue exploring characters, stories that are intimate but also challenging. I’m interested in roles that push me out of my comfort zone and allow me to grow. At the same time, I’ll keep developing my music, because it’s such a personal space for me. I don’t want to limit myself. I just want to keep evolving and searching for something real.

Any final reflections?

If there’s one thing I’ve learned, it’s the importance of staying open, open to change, to doubt, to growth. This path is unpredictable, but that’s also what makes it meaningful. In the end, it’s all about being honest with yourself and with what you want to express. Anyway, life will guide me, and wherever I end up, I’ll trust the process.

Michelangelo wears shirts by SON OF A TAILOR and POLO RALPH LAUREN, pants by MOSCHINO, and jewellery by LAG WORLD

photography ANDREA CENETIEMPO
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up AMERICO TURTORO via MKS MILANO
hair FUJIWARA TAKAHASHI via MKS MILANO
talent MICHELANGELO VIZZINI
fashion assistants SOFIA FARINA + LUIZA ANGELOVA + SEBASTIAN SCHIAVO

credits
all Images (c) LE MILE
and Andrea Cenetiempo

SS26 Menswear - FUNCTION AND FINESSE with Umberto Villahermosa

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FUNCTION AND FINESSE
*with Umberto Villahermosa

written CHIDOZIE OBASI

For Italian talent Umberto Villahermosa, a lifestyle pundit whose affection with outdoor sports and art goes back in time, the past year has marked a transition in his path. “I started a clothing brand and I’m learning how to manage my time around working as a model, while building a solid base,” he says, cosily, as we begin to settle into our conversation.

Umberto wears a blazer and shirt by DOLCE&GABBANA, pants by QUARTO ATTO, and shoes by CANALI

Umberto wears a blazer and shirt by DOLCE&GABBANA

“It’s been a big challenge, but I’m willing to take it, and it brought a new fire of longing within me.” Since childhood, he’s always been a very creatively-driven kid, and aged fifteen he began building his own surfboards. “It’s only really when I moved over to Milano to study Economics that I understood I was drawn more towards creative disciplines like painting, photography and design,” he confesses. “I’ve always lived with the mentality of making something myself rather than buying it,” he adds. Umberto kicked off his modeling career because of his grandmother, who worked for the Italian house Fendi when she was younger. “She told me that I could work well as a model,” he says, “and took me, just like a scouter, to who’s still my current mother agency.”

Umberto wears a blazer and shirt by DOLCE&GABBANA

He wasn’t considering that becoming reality at first, but as he began to work he realised that it was interesting and unique, and that he much preferred honing such practice than working as a finance professional or in a corporate office as his life was originally meant to be. “The uprise of socials during those years also gave me a further opportunity to express myself and release a vision of who I was under my own lens, and that was such a lovely medley of accumulated experiences and sources of inspiration that once again drove me more towards the realm of creativity,” he says. “At the time, I was also motivated by the love I gained on social media, which could also be a slippery slope for obvious mental health reasons,” he reflects. As for the rest? Well, there’s more to the story, which you’ll probably read here first. You’re welcome.

Umberto wears a coat by ACT N1, a shirt by CANAKU, pants by THE NOUR, shoes by JIMMY CHOO, and an archive tie

Chidozie Obasi
Could you unpack your biggest career feats?

Umberto Villahermosa
During the past twelve years of my career, I’d say some of my proudest jobs are my first lookbook shoots for brands such as Versace, Dolce&Gabbana but also shows during fashion week, for example my first ever shows such as MSGM or Philipp Plein. I'm talking about those beginning jobs because I still remember the enthusiasm levels to this day.

How about the complex moments you’ve had?

I would refer as complex moments the fact that modelling, such as a lot of other creative jobs, is not a super stable career, there’s lots of ups and downs and those downturns can be understandably harsh if you don’t have a solid mindset that comes with understanding the idea that you cannot have control over every single facet of your path.

As a model and talent with such a broad experience and portfolio, how did you manage to stay afloat amid the system’s downturns?

I highly believe in professionality and humanity as fundamental values, no matter what the work environment is. You can have your face on all the magazine covers and on the biggest brand campaigns, but if you show up at work late and you treat others badly because you think you are superior, I would personally not hire you to represent my brand. I think I have always respected that and it definitely helped to keep me afloat.

Umberto wears a total look by LORO PIANA

Moving onto your brand, could you expand on it and specify how you are hoping to scale it further?

During my climbing years, I noticed I couldn’t find a comfortable pair of pants to practice such activity outdoors and that would protect my knees and shins from scratches that you would get from hitting granite rock. Therefore, I started climbing with karate pants that were very comfortable in terms of flexibility, but that wouldn’t protect enough from scratches. I decided to make my own climbing because I like to experiment with patterns and create destructured designs that are now the most sold, and that’s how Sasso People was born. I also give the opportunity to customers to have a custom sizing for maximum comfort, and I’m committed to having the closest possible to zero waste repurposing the fabric scraps into accessories and climbing bags. I transformed my living room into my studio, and I currently make everything by hand. It’s doable but I’m at maximum capacity. The big challenge will be to expand with production outsourcing, but in a way that I can maintain the same level of craftsmanship and low environmental impact because these, together with building a healthy and inclusive community, are the main values of the brand.

What’s next for you?

I will surely continue working as a model, keep developing the brand and find solutions to get to a broader public and grow the community. On a more personal level, I promised myself to work on my mental health and take care of myself a little more.

Umberto wears a blazer by CARUSO

Umberto wears a blazer by CARUSO and pants by THE LATEST

Umberto wears an overshirt by PAUL SMITH, a shirt and pants by LABO.ART, and shoes by CHURCH’S

Umberto wears a tank top by MICHAEL KORS, pants by DOLCE&GABBANA, and jewellery by LAG WORLD

Umberto wears a blazer by HED MAYNER, pants by THE LATEST, a hat by DOLCE&GABBANA, and jewellery by LAG WORLD and EUPHORIA NEW

Umberto wears a shirt by GRIFONI and pants by PHYSIQUE DU ROLE and MEIMEIJ

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up CHIARA GUIZZETTI via THE GREEN APPLE ITALIA
hair FUJIWARA TAKAHASHI via MKS MILANO
model UMBERTO VILLAHERMOSA via INDEPENDENT MGMT
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + ANGELINA PERSIANI + SOFIA FARINA + CHARISSE ORDINARIA + LUIZA ANGELOVA + CHIARA DE BONIS

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Womenswear - DANCING TIDES with Franceska Nuredini

.digital

DANCING TIDES
*with Franceska Nuredini

written CHIDOZIE OBASI

Franceska Nuredini’s encounter with dance somewhat began as a joke. “As a child, I’d tried various sports, but my mother soon realised that dancing came naturally to me: I loved it and I also had a natural aptitude for it; I was very flexible,” she says. One day, Nuredini’s mother took her along for a trial lesson. “From that moment on, I literally immersed myself in my dance school: it became my whole world for seven years, years of intense study which, almost naturally, turned that passion into my career.”

Franceska wears a coat by DEAD COUTURE ICONS, a shirt by GRIFONI, skirts by MEIMEIJ and YALI, shoes by APEPAZZA, a hat by DOLCE&GABBANA, and jewellery by LAG WORLD

Combining dance and fashion becomes an innovative way of telling a story, and in this shoot, Nuredini felt at her best to convey such feelings. “Yes, I think this connection between these art forms has grown significantly,” she reflects. “Today, even in fashion, there is an ever-increasing need for expression and movement: the body is no longer merely a backdrop for the garment, but a narrative tool that brings life and meaning to what is worn.”

Nuredini sees herself as someone who works through my body and my image, but for her the creative process leading up to the final result is also fundamental. “I worked in a very comfortable and stimulating environment. The music also played an important role: it changed along with the outfits I was wearing and, as a result, my interpretation and the way I moved changed too,” she says. “Over the past seven years of work, I’ve had quite a few memorable experiences. Among the most significant was the last tour I undertook with the artist Elodie,” she freely admits. “It was an extremely fulfilling experience, both artistically and personally. On stage, I felt free to truly be myself, something that isn’t always a given in my line of work.”

On hopes, she speaks with unguarded honesty. “I sincerely hope that expression, in all its forms, continues to grow ever more,” she concludes. “Beauty and art should never stop evolving and transforming. And, of course, I hope to continue being a part of it myself.”

Franceska wears a dress by MAX ZARA STERCK and a skirt by DRUMOHR

Franceska wears a top by MICHAEL KORS, pants by DOLCE&GABBANA, shorts by MANUEL RITZ, and shoes by CASADEI

Franceska wears a top by DRUMOHR and a skirt and scarf by AVANT-TOI

Franceska wears a total look by MOSCHINO

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair AMERICO TURTORO via MKS MILANO
talent FRANCESKA NUREDINNI via SOLO STUDIO MILANO
talent manager STEFANO MANCLOSSI
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + ANGELINA PERSIANI + SOFIA FARINA + CHARISSE ORDINARIA + LUIZA ANGELOVA + CHIARA DE BONIS

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - SUBTLE BLOOM with James Yates

.digital

SUBTLE BOOM
*with James Yates

written CHIDOZIE OBASI

If you’re stuck wearing soft knits for lack of a better option across the minimalism spectrum – a cycle that’s doomed to repeat itself ad infinitum because nothing else quite measures up to a tried-and-tested subtle option – consider tailoring paired with shirts an equally comfortable alternative. Warm, fuss-free and willing to be paired with any essentials from Gant, Armani to Canali (as shown in the below edit), this multi-tasking staple will almost certainly edge ahead when it comes to registering as smart. Structure was present in abundance during Fashion Month, which saw several show-goers pair weighty styles with scarves, longline coats and basics.

James wears a total look by Gant

Would the same outfits have looked good with skinny options? Possibly. But there was something about the way the volumes fell, wrapping ever-so-slightly over the body but looking quite impeccable at first sight, that made those pairings look effortless. As for the shape? Roomy, which still appears to be the most popular, but, like any item in a transitional wardrobe, that’s only the entry point. From neutral-toned blazers, which look supremely chic with a breezy shirt, to wide-legged trousers, which go well with jackets, there’s a whole spectrum to acquaint yourself with this Spring. Scroll on for some of the best styles, edited by LE MILE’s Fashion Market Director. You’re welcome.

James wears blazer DRUMOHR, shirt and tie CANALI, shorts POLO RALPH LAUREN, shoes Gant

James wears a total look by Gant

James wears jacket CANALI, blazer POLO RALPH LAUREN, shirt DOLCE&GABBANA, pants QUARTO ATTO

James wears a total look by Gant

James wears sweatshirt HED MAYNER, shirt POLO RALPH LAUREN, pants EMPORIO ARMANI, shoes BEPOSITIVE

James wears a total look by Gant

James wears a total look by Gant with shoes AQVA ALTA

James wears blazer RANDOM IDENTITIES by Stefano Pilati, shorts PHYSIQUE DU ROLE, jeans MOSCHINO

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURD JEVSKI via STUDIO REPOSSI
hair DAVIDE NUCARA
model JAMES YATES via SPECIAL MANAGEMENT
photography assistant ANTONIO CROTTI
fashion assistants VALENTINA INVERARDI + SOFIA FARINA + VINCENZO VITELLO + LUIZA ANGELOVA + SEBASTIAN RAFAEL + CHIARA DE BONIS

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Womenswear - REBEL SOUL with Brydie Cleveringa

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REBEL SOUL
*with Brydie Cleveringa

written CHIDOZIE OBASI

The hallmarks of painstaking tailoring include, but are not limited to a slimline silhouette, soft volumes and, usually, the addition of contrast accents found in sartorial textures. Designer brands were the initial catalysts for this trend, but it has since been fuelled by iterations from premium wear giants and high-street counterparts, too.

Brydie wears a total look by MCQUEEN

Emerging designers are also faithful adopters, and released their iterations throughout years of innovation. True to form, tailoring is very much in-keeping with the pared-back identity luxury has become known for, and pairs well with the puddling hemlines of the cosy separates seen across mainline collections. (The model’s shots on this story, styled by LE MILE’s very own Fashion Market Director, exemplify the multiple styling possibilities of these offerings.) Proof that they’ve been a hit? Wear-anywhere tailoring is available in several styles, as well as classic cuts that stand the test of a lifetime. As is the case with any cult high-street product, many Italians have welcomed these staples into their everyday wardrobes. I’ve seen them on the Tube, in pub gardens – and now that they’re included in the designer’s seasonal proposals, I expect they’ll become even more popular in no time.

Brydie wears blazers and pants by DOLCE&GABBANA, shirt by TAGLIATORE

Brydie wears a total look by FERRAGAMO

Brydie wears a total look by VALENTINO

Brydie wears blazer and white shirt by MICHAEL KORS, striped shirt by ARTHUR ARBESSER, skirt by MEIMEIJ, shoes by APEPAZZA

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair AMERICO TURTORO via MKS MILANO
model BRYDIE CLEVERINGA via D MANAGEMENT GROUP
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + ANGELINA PERSIANI + SOFIA FARINA + CHARISSE ORDINARIA + LUIZA ANGELOVA + CHIARA DE BONIS

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - WILD COMPOSURE with Luca Cobelli

.digital

WILD COMPOSURE
*with Luca Cobelli

written CHIDOZIE OBASI

Every Spring, I find myself reaching instinctively for one of the best breezy separates that has carried me through countless cold mornings, commutes, late-night dinners and far-fetched trips. No matter how many trends cycles come and go, a body-hugging essential is a mid-season constant. That’s why when investing in one, you need to think carefully about what to look for, what to avoid and the wear-anywhere styles worth considering.

Luca wears a total look by MIU MIU

Luxury brands like MIU MIU, Paul Smith and Michael Kors have practically built their reputations on expertly crafted wardrobes, but there are plenty of more affordable and brilliantly made options on the high street, too. Brands such as BePositive, Avant-Toi and Canaku now offer exceptional quality in the daily wardrobe department without breaking the bank. Also worth noting: Fit is key. A gently oversized cut allows room for billowing shirts underneath and gives a more relaxed feel, while a slimmer or more tailored number offers polish for eveningwear, but isn’t the best for layering underneath on the coldest of days. Aim for a staple that skims the body without swamping it, and make sure the sleeves are the right length – small alterations at your local tailor can make an enormous difference. You’re welcome.

Luca wears a shirt by HED MAYNER, pants by ACT N.1 and shoes by PREMIATA

Luca wears a polo sweater by AVANT-TOI, a shirt by ALESSANDRO GHERARDI, pants by QUARTO ATTO, shorts by CALVIN KLEIN, shoes by CHURCH’S and a tie by THE FRANKIE SHOP

Luca wears a sweater and shirt by MICHAEL KORS, pants by PAUL SMITH and shoes by BEPOSITIVE

Luca wears shirts by PAUL SMITH and LABO.ART, and pants by CANAKU

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up CHIARA GUIZZETTI via THE GREEN APPLE ITALIA
hair FUJIWARA TAKAHASHI via MKS MILANO
model LUCA COBELLI via I LOVE MODELS MANAGEMENT
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + ANGELINA PERSIANI + SOFIA FARINA + CHARISSE ORDINARIA + LUIZA ANGELOVA + CHIARA DE BONIS

credits
all Images (c) LE MILE
and Cosimo Buccolieri

SS26 Menswear - DANCING TIDES with Simone Emili

.digital
DANCING TIDES
*with Simone Emili

written CHIDOZIE OBASI

Simone Emili’s first approach to dance was quite unusual, and came almost by chance. “I was about ten years old, a very hyperactive kid, and I felt the need to practice a sport, but I couldn’t really find one that I saw myself in,” he tells LE MILE’s Fashion Director, Chidozie Obasi. “There was one thing, however, that came naturally to me: in every sport I tried, in moments of rest, I always ended up dancing.”

Simone wears a vest by FEDERICO CINA and pants by ISSEY MIYAKE MEN

Simone wears a cardigan by FIVEFOURFIVE, a tank top by SANDRO, a skirt by ACT N1, and pants by SETCHU

From then on, he never stopped: at first, it was simply a hobby, something that spontaneously became a part of his daily routine. Then, during adolescence, he began to understand that it could become much more. “I completely changed my mindset and approach: dance became a tool for transforming my body, my mind, and, ultimately, the person I am today.”

Emili believes that today, the relationship between fashion, expression, and dance is at its peak. “There’s an increasingly perceptible mutual contamination between these worlds, which now communicate naturally and continuously,” he reflects. “It’s as if they were a single form of expression: one doesn’t exclude the other, but rather complements it. Where there’s fashion, there’s also movement; and movement, ultimately, is the very essence of dance. Fashion, in my opinion, is a form of dance: it communicates through the body, lines, and attitude. Likewise, dance embodies an aesthetic, a sense of style and expression that deeply resonates with the language of fashion.”

The emotions Emili felt during the shoot were bountiful, but what struck him most was the stark contrast between them. “Wearing six different looks, I felt like I was experiencing six distinct emotional states,” he says. “Each outfit transported me to a different atmosphere, almost a new environment, capable of evoking specific sensations: from harmony to elegance, even a kind of anger,” he explains. “All these emotions then became part of my performance in front of the camera. It was precisely this emotional journey that allowed me to face a long and intense day with energy and awareness. My goal was to create a contrast between the looks: not just an outfit change, but a transformation of my entire personality time after time.”

Simone wears a cardigan by FIVEFOURFIVE, a shirt by CANAKU, shorts by HED MAYNER, and shoes by AQVA ALTA

Simone wears a cardigan by TOMMY HILFIGER, a shirt by BOSS, pants by MOSCHINO, shoes by SEBAGO, and jewellery by N21

Simone wears a sweater by MORDECAI, a shirt by MANUEL RITZ, pants by ACT N1, and shoes by BEPOSITIVE

Simone wears a total look by MOSCHINO

Simone wears a cardigan by TOMMY HILFIGER, a shirt by BOSS, pants by MOSCHINO, shoes by SEBAGO, and jewellery by N21

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
makeup assistant ANGELA CAMMALLERI
hair AMERICO TURTORO via MKS MILANO
model SIMONE EMILI
photography assistant ANTONIO CROTTI
fashion assistants ANGELINA PERSIANI + CHARISSE ORDINARIA + SIMONA VERNAZZA + SOFIA FARINA + VALENTINA INVERARDI + VINCENZO VITELLO + THEA OLOFSSON ROWCLIFFE

credits
all Images (c) LE MILE
and Cosimo Buccolieri

WHITE Milano Fashion Week - Designers & Brands

.digital
Inside the Creative Pulse of WHITE Milano

written ALBAN E. SMAJLI

During Milan Fashion Week, the city develops a particular rhythm that anyone who has spent time there during those days immediately recognizes. Buyers move between appointments, designers present new collections, editors cross the city from showrooms to presentations, and conversations about fabrics, silhouettes, and ideas stretch late into the evening. In the Tortona district, one of the places where this movement gathers most visibly is WHITE Milano, a trade fair that has gradually become a regular stop in the fashion week calendar, bringing together a wide range of independent labels, designers, and contemporary brands in one shared space.

Viktoria wears a polo shirt by WOC paired with a skirt by MISENITHE

Walking through the halls means encountering very different design approaches within a few steps. Precise tailoring appears next to expressive knitwear, minimal silhouettes meet bold textures, and new labels stand alongside designers who have shaped their language over decades. It is this mix that makes the experience of moving through the fair feel less like a traditional trade environment and more like a condensed snapshot of the current fashion landscape.

Designers including Henrik Vibskov, Camper, Batakovic, Madalina Caminschi, Palo/Santo, Merryl Tielman, Misenithe, Lucille Thievr, Mii Collection, or Annette Görtz appear throughout this story, each representing a different perspective on contemporary design and together reflecting the diversity of ideas, silhouettes, and approaches that surface across the city during those days when Milan briefly turns into one large conversation about fashion.

Viktoria wears a shirt and skirt by MISENITHE

Viktoria wears a jacket by BATAKOVIC with a tank top by MISENITHE

iktoria wears a coat by BATAKOVIC and tights by CALZEDONIA

Viktoria wears a blazer and pants by LUCILLE THIEVRE with and shoes by CAMPER

Viktoria wears a blazer and skirt by MADALINA CAMINSCHI with a shirt by PALO/SANTO, a tie by BATAKOVIC, and a bag by MERRYL TIELMAN

Viktoria wears a tank top and blouse by GURDON&GURDON

Viktoria wears a total look by ANNETTE GÖRTZ

Viktoria wears a total look by MII COLLLECTION

Viktoria wears a dress by HENRIK VIBSKOV with pants by PALO/SANTO

credits
all Images (c) LE MILE
and Matteo D’Agostino

seen MATTEO D’AGOSTINO
fashion director CHIDOZIE OBASI
head of production JESSICA LOVATO
styled EDWARD PUSCA
model VIKTORIA LULKO via LUV MGMT
make up & hair GIULIA MATARAZZO via STUDIO REPOSSI
fashion assistants MARTINA MANENTI + SEBASTIAN RAFAEL

SS26 Menswear - SOFT PROJECTION with Matteo Guerrieri

.digital
SOFT PROJECTION
*with Matteo Guerrieri

written CHIDOZIE OBASI

Wear-anywhere separates are something of a paradox. Whether you choose breezy numbers or a style that stretches, something in neutral shades or a more tempered hue, their practical aesthetic can appear effortless – see Matteo Guerrieri’s proposal for the taking – however, the flipside is that for all their daily effortlessness, they require significantly more upkeep than their structured counterparts.

Matteo wears a blazer by CANALI, a bomber and scarf by ETRO, a shirt by BOSS, pants by RANDOM IDENTITIES by Stefano Pilati, and shoes by CHURCH’S

Quite simply, they deliver something different to classic true staples, which is why 24/7 wearers of soft tailoring will always have an ample range in their rotation. I own many: blazers, sweats and cardigans styles from both the high street and premium houses, which have a subtle aesthetic that teams nicely over sneakers or formal footwear. They serve different purposes, as you can probably tell by their shapes, but, crucially, both deliver polish in a mode that’s easy and undone.

They could pretty much be styled with any toppers, from a chunky knit by day to a long-sleeved cotton offering by night. (I also love a shirt-meet-sweat moment, although that might be too much for a night out.) My only note would be to score on the low-effort proposals, as the key is not overdoing it. Minimal layers, a quiet necktie and comfortable shoes – a lived-in Church’s loafer or a funky trainer, such as BEPOSITIVE – are the way to go. All that is left to do now is finding your staple of choice, and you’ll become the embodiment of Spring in no time. You’re welcome.

Matteo wears a polo sweater by FERRAGAMO, a knit T shirt by AGNONA, pants by FIVEFOURFIVE, and shoes by FERRAGAMO

Matteo wears a total look by VALENTINO

Matteo wears a total look by DIOR HOMME

Matteo wears a tank top by ISABEL MARANT, a vest by LUCA LARENZA, a shirt by LABO.ART, pants by ZEGNA, and shoes by CHURCH’S

Matteo wears a cardigan by EXTREME CASHMERE, a shirt by MORDECAI, pants by INSTITUTION, shorts by LUCA LARENZA, and shoes by BEPOSITIVE

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURD JEVSKI via STUDIO REPOSSI
makeup assistant ANGELA CAMMALLERI
hair AMERICO TURTORO via MKS MILANO
model MATTEO GUERRIERI via MASC AGENCY
photography assistant ANTONIO CROTTI
fashion assistants ANGELINA PERSIANI + CHARISSE ORDINARIA + SIMONA VERNAZZA + SOFIA FARINA + VALENTINA INVERARDI + VINCENZO VITELLO + THEA OLOFSSON ROWCLIFFE

credits
all Images (c) LE MILE
and Cosimo Buccolieri

FW25 Womenswear - Shape Shifter with Mariana Goncalves

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SHAPE SHIFTER
*with Mariana Goncalves

written CHIDOZIE OBASI

Everything feels darker in the winter. Not only do the nights draw in earlier, but the inclination to wear muted tones over vibrant offerings is more prevalent in colder months. As far as separates are concerned, neutral washes tend to dominate this time of year; replacing summer-leaning textures and bright finishes for fabrications in charcoal and black. But it’s not all doom and gloom: a muted palette can look striking against the backdrop of the low sun on a bright fall day, plus they’re more practical for the transitioning periods. Wearing a dark trouser hides any dirt or sogginess that might inevitably gather at the hemlines should you be faced with impromptu downpour or hail—you don’t have to worry about dark pieces as much as lighter shades.

Mariana wears a blazer by DEAD COUTURE ICONS ANARCHIVE, a shirt by TOMMY HILFIGER, a bra by DOLCE&GABBANA, pants by RANDOM IDENTITIES by Stefano Pilati, shoes by FRAU, bags by TOD’S and a hat by STETSON

Mariana wears a dress by TORY BURCH, pants by QUARTOATTO, hats by MONTEGALLO, LORO PIANA and ARCHIVE, and jewellery by VOODOO JEWELS

Baggy silhouettes appear especially good when rendered in a sharp hue: key in Tory Burch’s body-hugging volumes, Brioni’s duty-heavy skirts, Max Mara’s wear-anywhere toppers, QuartoAtto’s fuss-free practicality, or Ferragamo’s airy staples. The constant yearn for versatility has made way for several styles, with seams that fit close to the body but feel light to the touch. So whether you invest in a high-street iteration (see Labo.Art, Frau and Gant), a more premium piece (courtesy of Tod’s and McQueen) or choose our preferred option, exploring the many pieces out there, know that timelessness and versatility are two investments that you will not regret making. Just ask the old man on the tube, and head below for LE MILE’s best offerings to master your transitional style. You’re welcome.

Mariana wears a jacket by DAVII, a top by MAX MARA, pants by DOLCE&GABBANA, a hat by TRIPPAT, jewellery by SWAROVSKI, a belt by GANT and tights by WOLFORD

Mariana wears a cardigan by TORY BURCH, a shirt by LOUIS VUITTON, shorts by RANDOM IDENTITIES by Stefano Pilati, pants by MORDECAI and glasses by CALVIN KLEIN JEANS

Mariana wears a coat by GIOVANNI GEROSA, a sweater by GAS JEANS, a shirt by TOMMY HILFIGER, a skirt by BRIONI, tights by CALZEDONIA and boots by GIUSEPPE ZANOTTI

Mariana wears a jumpsuit, shirt and shoes by MCQUEEN, and tights by CALZEDONIA

Mariana wears a blazer by MICHAEL KORS, a shirt and skirt by FERRAGAMO, a shirt by LABO.ART, shoes by A.BOCCA, a scarf by BRIONI and tights by CALZEDONIA

Mariana wears a cardigan by GANT, sweaters by TOMMY HILFIGER and MRZ, a maxi skirt by MAX MARA and a skirt by TORY BURCH

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + EDWARD PUSCA
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair DAVIDE NUCARA
model MARIANA GONCALVES via ELITE MILAN + ELITE MODEL WORLD
photography assistant ANTONIO CROTTI
production assistant LORIS VOTTERO
fashion assistants JÁZMIN TÖRÖK + ANGELINA PERSIANI + ALESSANDRO GIANESIN + CHARISSE ORDINARIA + PAULINA LUISE GRUNWALD + VALENTINA INVERARDI

credits
all Images (c) LE MILE
and Cosimo Buccolieri

FW25 Beauty - Offline Fragments

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Offline Fragments

Luxury fragrance as a quiet statement. From niche perfumery to iconic houses, Offline Fragments presents our fragrance recommendations through a tactile, visual lens.  

Scents become objects, moods, and atmospheres: dark oud drifting into mineral air, ripe cherry polished to excess, nocturnal florals, cultivated gardens, amplified sensuality. Each composition is shown stripped of noise, grounded in materiality, texture, and presence. An editorial view of perfume beyond trend and season, defined by restraint, intimacy, and memory.

FALL INTO STARS + SILENCE THE SEA by STRANGELOVE NYC
Dark oud meets mineral salt and amber smoke, suspended between celestial depth and oceanic calm.

micro bag MIU MIU
sunglasses LOEWE

scent LOST CHERRY by TOM FORD
Lush cherry, almond, and liquor notes unfold into a glossy, sensual gourmand with a dark edge.

scent CERAIUOLO by V CANTO
Warm woods, spices, and resinous amber evoke Italian heritage through a rich, baroque intensity.

shirt ISABEL MARANT
lipstick BYREDO
jewelery KIKI DIETERLE

scent THE MOON by FRÉDÉRIC MALLE
Opulent oud and rose expand into a nocturnal composition of depth, power, and controlled excess.

pump BOTTEGA VENETA

scent DÉJÀ MINUIT by BOTTEGA VENETA
Velvet florals and dark woods create a sensual midnight aura, elegant, intimate, and tactile.

pump CHLOÉ
bracelet ISABEL MARANT

scent HORTUS by GIARDINO BENESSERE
Green botanicals and aromatic woods form a cultivated, garden-like scent rooted in nature.

ballet pumps MM6/MAISON MARGIELA

scent KIRKÈ OVERDOSE by TIZIANA TERENZI
Explosive fruits and musks amplify the original into a bold, addictive statement fragrance.

hand bag THE ATTICO

skincare DOUBLE SERUM by CLARINS
Dual-phase skincare icon combining plant science and lipid balance for visible renewal and glow.

hand bag KHAITE

credits
all Images (c) LE MILE
and Maciek Miloch

seen MACIEK MILOCH
set design CARLOTTA PHELAN
fashion styled LIL BULGAC
photo assistant + hand printing GUILLEM LÓPEZ NICOLAU

FW25 Womenswear - Winter Breath by Chris Saulnier

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WINTER BREATH IN NEW YORK

Winter arrives without ceremony and breath becomes visible, movement slows, and the city begins to speak in smaller gestures. Streets empty, light softens, and New York settles into a different rhythm. A figure moves through this landscape, pausing, observing, carrying the weight of the season in posture. The cold presses close, sharpening senses and drawing attention to details often overlooked, the hush between buildings, the drag of fabric, the sound of wind against concrete.

Maria wears a dress by OOTO, a coat by Mola Walker, and a bag by Radica Studio

Nothing insists on being explained, instead, the city holds space for reflection, for quiet persistence, for the intimacy that winter creates. Winter Breath stays with that feeling, letting atmosphere guide the narrative and allowing the season to leave its mark slowly, deliberately, and without urgency.

Maria wears a trench coat and striped shirt by Wàngda, a bag by Behno, pants by Pence, and shoes by Femme Liberee

Maria wears a coat by Wàngda, a top with tie by Mola Walker, a skirt by Pier Antonio Gaspari, and shoes by Femme Liberee

Maria wears a green skirt and knit fur top by Pier Antonio Gaspari, a coat by Wàngda, and a bag by KALIEDDIE

photography + direction CHRIS SAULNIER
styling EDGAR LÓPEZ DÁVILA
stylist assistant CITLALI VILLANUEVA
model MJ MARTE
director of photography KENNY SULE
photography assistant JISHNU CHOWDHURY
hair styling HIDE SUZUKI
make up ANNA KURIHARA
producer KAITLIN BANAFSHEHA
color grading MAXIME VEIGNEAU

credits
all Images and film (c) LE MILE and Chris Saulnier

FW25 Menswear - Truly, Softly, Preppy with Simone Pollastri

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TRULY, SOFTLY, PREPPY
*with Simone Pollastri

written CHIDOZIE OBASI

For youngsters, in a society where the tides of change are evolving with increasingly ferocious pace, it’s a painful time to tell stories about the arts. For some, these are times shaped by transitions, informed by choices and decisions that helped define the state of our world—with a gumption to envision the future not as a destination, but as a point of greater clarity and a personal journey. For Milan-hailed creative Simone Pollastri, this year epitomised such an example: a time where he closed chapters, both professionally and personally, that no longer aligned with his vision or direction.

Simone wears a long-sleeved top by DSQUARED2, pants by SETCHU, shoes by ZEGNA, and jewellery by SWAROVSKI

Simone wears a jacket and pants by TAN, and shirts by MOSCHINO and ALESSANDRO GHERARDI

“I tend to set ambitious goals and see change as a necessary part of growth, rather than something to resist,” he tells me, with no peacocking braggadocio on display. “Both positive and challenging experiences contributed to a more focused mindset and a stronger sense of direction. Today, I feel more grounded and confident in the path I’m taking, aware that this phase is simply another step forward, not a final outcome.” His practice moves across a wealth of fields, all driven by the same approach to storytelling and aesthetics. “I’m naturally curious, drawn to movement, change and new challenges, and I try to channel my passions—namely, travel, sport and creativity—into a cohesive way of working and living,” he reflects. Pollastri works as a filmmaker and creative director through his production house, FilmVisual, where he develops visual campaigns and digital productions for fashion and sports brands.

“Alongside this, I recently co-founded TAN, an independent brand that represents a more personal extension of my creative vision,” he adds. “For me, creation is less about fitting into categorised roles and more about building a language that feels honest, dynamic and constantly evolving,” heconcludes, his face filled with excitement. But there’s more to the story, which you’ll probably read here first. You’re welcome.

Simone wears a brown sweater by ZEGNA, a black sweater by RANDOM IDENTITIES by Stefano Pilati, a shirt by TOM FORD, pants by DSQUARED2, shoes by CHURCH’S, and jewellery by LAG WORLD

Simone wears a jacket by THE FRANKIE SHOP, a shirt by MICHAEL KORS, pants by DIESEL, shoes by BEPOSITIVE, and a tie by TOM FORD

Chidozie Obasi
Taking a trip back memory lane: what’s your earliest approach with the creative field and with fashion, in particular?

Simone Pollastri
My earliest approach to creativity didn’t begin with fashion, but with images. At eighteen, I discovered photography and video almost by chance, and immediately felt drawn to the idea of using visuals as a personal language. What fascinated me wasn’t just the technical aspect, but the possibility of communicating what I had to say at that specific moment in my life through images, movement and storytelling. Over time, I started to realise how closely that process was tied to my own growth: how my perception of what felt beautiful or meaningful evolved alongside me. Fashion entered my path later, through visual work and collaborations, but always filtered through this lens. I never approached it as a system to belong to, but as a space where I could apply a subjective, evolving sense of aesthetics. That relationship with images remains the foundation of everything I do today.

You’re also a fond travel aficionado: how did such longing come about, and how has it blossomed over time?

I don’t think there was a precise moment when my desire to travel began: it has always felt like something inherent. Growing up, I often felt the need to look beyond my immediate surroundings. Travel represents the possibility to observe, understand and experience what exists outside of one’s own bubble. Over time, this curiosity became a driving force and naturally intertwined with my work.

Beside the fixtures of the fashion and travel realms, you’ve also dabbled into the world of film and motion storytelling...

Film and motion storytelling were never a separate ambition for me. Rather than stemming from a single moment, they emerged as a natural evolution of how I wanted to communicate ideas. Over time, I realised that still images alone weren’t enough: I was drawn to rhythm, sequencing and atmosphere. Motion allowed me to build narratives, not just visuals.

Today, film is less a discipline and more a framework, and that is precisely why I chose to found and work through my production house, FilmVisual. It’s the language I naturally return to when I want to translate a vision into something tangible.

As you’ve travelled and experienced many sides of the world, what values and lessons have you gained?

Travel has played a fundamental role in shaping both my personal and creative growth. I often see travel as a process of accumulation rather than escape. You leave with a blank page, and along the way it fills with impressions and perspectives. The most valuable lesson travel has taught me is inclusion; the ability to question your own point of view and remain open to complexities.

Simone wears a cardigan by NN.07, a sweater by EXTREME CASHMERE, a shirt by TOMMY HILFIGER, shorts by MOSCHINO, pants by CELINE, and jewellery by LAG WORLD

Could you unpack your biggest pinch-me moment from your professional journey, thus far?

My biggest pinch-me moment wasn’t tied to a milestone client, but to an experience that made me fully realise the path I had chosen. It happened during a work trip to Alaska, where travel, extreme sport and visual storytelling converged. That moment made it clear to me that, had I followed a more conventional route, many of those experiences wouldn’t have been possible. It reminded me of the importance of listening to myself and trusting the direction I had chosen.

How do you envision the future of influence and of the digital world at large?

I believe the shift within this industry has already happened. Today, influence is less about reach and more about relevance. Projects like TAN and FilmVisual are built on credibility, continuity and long-term vision. In a saturated digital environment, value and authenticity are what endure.

Leaning on your newly-founded brand venture, how did it all come about?

TAN was born from a clear and shared decision: the desire to stop expressing our creativity solely through other brands and start building a world of our own. Together with close friends, we felt the need to create something that genuinely reflected who we are: our relationship with the sea, sport, movement and travel. From the beginning, TAN was never conceived as a conventional fashion project. It’s a lifestyle-driven platform where the product exists within a broader context of experiences, community and storytelling. TAN is, and will remain, an independent Italian brand developed by friends, rooted in our lifestyle and designed to evolve without losing its identity.

Is there a wish to scale it and expand its base to international markets?

Our priority is to build a tangible relationship with people and allow them to experience our world firsthand. International expansion is welcome, but not chased. If a vision is authentic and well-rooted, it naturally travels. Rather than pursuing rapid growth, we’re focused on building something that lasts.

Any other exciting projects in the pipeline?

At this stage, my focus doesn’t lie in unveiling new projects, but on consolidating what already exists. The priority is to continue building TAN with intention, allowing it to grow into a solid and independent reality. Alongside its digital evolution, we’re interested in making the project more tangible. In the future, we’d love to open a physical space; not conceived as a traditional store, but as a creative hub. A place that can act as a meeting point for our community, where we can host events, music, gatherings and collaborative moments, and where the brand can be experienced beyond the product itself. Similarly, I want to keep developing FilmVisual. These two realities complement each other and represent the space where I feel most aligned. Looking ahead, my ambition is to grow both projects with patience, clarity and consistency, while expanding TAN organically, creating spaces and experiences that allow people to genuinely connect with our vision.

Simone wears a blazer and pants by HED MAYNER, a shirt by ZEGNA, and shoes by CHURCH’S

Simone wears a jacket by THE FRANKIE SHOP, a shirt by MICHAEL KORS, pants by DIESEL, shoes by ZEGNA, and a tie by TOM FORD

photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordination ALBERTO MICHISANTI + EDWARD PUSCA
make up KIM GUTIERREZ via STUDIO REPOSSI using FENTY BEAUTY and for skincare THE ORDINARY
hair DAVIDE NUCARA
model SIMONE POLLASTRI via WANNABE MGMTP
photography assistant ANTONIO CROTTI
production assistant LORIS VOTTERO
fashion assistants ALESSANDRO GIANESIN + SIMONA VERNAZZA + ANGELINA PERSIANI + CHARISSE ORDINARIA + DINA LABADI + MATILDE DALLA PIAZZA + MARIANA RAPOSO

credits
all Images (c) LE MILE
and Cosimo Buccolieri