A Conversation with Duncan Yair on Fashion and Everything Else

.digital

Duncan Yair Talks Influences, Gratitude and Fashion’s Feel-Good Spirit

written + interview CHIDOZIE OBASI

Spanish model Duncan Yair has been a firm and impassioned fashion aficionado from the early days. “I was just 14 when I got scouted for the first time,” he shares, with sheer excitement. “I've always been obsessed with fashion since a really young age, as I wanted to study fashion design, art or something related to such fields in a foreign country, but I never saw myself as a model.”

One day, as he was walking back from school, his friend’s mother saw him and told his comrade that he could have a potential modeling career. “It turns out she was a model agent back in the day in their hometown, Amsterdam,” he admits, adding, “and that encouraged me to apply to some agencies; luckily, I was scouted.” Yair deems his passion for art’s multifaceted lens is what keeps him going, while trying to grasp his inner identity on a deeper level and being able to keep varying his practice through multiple projects. “I’m so excited to keep trying new things other than modeling, which at the end of the day is what my young self wanted before becoming a model,” he shares. Below, he unpacks all-things creativity, mental health and far beyond with LE MILE’S Fashion Market Director. You’re welcome.

Duncan wears total look by MOSCHINO and shoes by AQVA ALTA

Duncan wears total look by MOSCHINO

Chidozie Obasi
Could you unpack how your foray into the creative and fashion sphere came to fruition?

Duncan Yair
I was just 14 years old when I got scouted for the first time. I've always been obsessed with fashion since a really young age. I wanted to study fashion design or art or something related to design and art in a foreign country. But I never saw myself as a model. One day I was walking back from school and my friend’s mom saw me and told my friend that I could be a model. It turns out she was a model agent back in the day in their hometown (Amsterdam). And that encouraged me to apply to some agencies. And I got lucky and got scouted.

Who influenced you the most while growing up?

I got lucky to grow up in different parts of Spain during my childhood and that always inspired me so much the different people from the south, the east and the center of Spain. And the way of living, also I grew up with a lot of music around me and football. I feel like young rockstar -like footballers always caught my eye and attention. With their style and way of living. Plus musicians and actors such as Antonio Banderas or Penelope Cruz. I feel like the context of my upbringing it’s what influenced me the most. I feel like I’ve always been attracted to the foreign, to travelling and to different people and cultures. I always wanted to explore and experience.

What have been your biggest pinch-me moments, and any particular thing that you could say shaped your path?

My biggest pinch me moment was my international runaway debut for Jacquemus. I was so young and excited I knew while walking that I would remember that forever. And that my life would change from that moment.

Diving into deeper territory: how do you tackle mental health, rejections and the system's downturns on a broader scale?

Mental health in the modeling industry is such a huge part of the process. Just the fact of being a male model makes it so much easier because we don’t have the amount of pressure that a female model has, it can’t even compare. Other than that, the loneliness you can go through as a model is so intense there’s weeks where you’re just alone traveling around the world without talking or hanging out with people. You learn to really appreciate your friends and the moments with them and the people you meet along the way. I don’t think rejection in modeling should be a factor to be ashamed of or sad about as a model. Sometimes you’re just not the right match for a collection or not in the plans or the vision of some designers and casting directors, it’s just better to show up and hope for the best, but don’t take it too personal if you do get rejected, everything is cyclical and there’s not much you can do about it other than have a good attitude and nice personality. I’m so happy with my career so far and I think it’s really good to be appreciative of what you have achieved and accomplished as a model. I still love the art of this. And I always will. Also I’m so happy I get to do sideprojects such as styling and I get involved in so many areas of art such as music, cinema and performance. I love it all and I think my passion for all the art forms is what keeps me going and going to understand myself more deeply and be able to keep showing myself through these lenses and projects. I’m so excited to keep trying new things and open to learn and explore other things other than modeling which at the end of the day is what my young self wanted before becoming a model. And it makes me feel so good, but modeling is my job and I’m so proud to be a model too.very personality type you can think of. That's an arena I wanted to be operating in.

Duncan wears jacket by AGNONA and shirt by DIOR

Duncan wears cardigan and pants by N21, sweater by TOMMY HILFIGER, and tie by CELINE

Duncan wears jacket by AGNONA, shirt by DIOR, pants by LOUIS VUITTON, shoes by MOSCHINO, and tie by IM MEN

Duncan wears jacket by SANDRO, shirt by ON ME, and pants by TAGLIATORE

Duncan wears coat by DRUMOHR, blazer by CARUSO, and pants by MORDECAI

Duncan wears coat by DRUMOHR and a blazer by CARUSO

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
contributing fashion editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator FILIPPO CANCELLIER
make up DIANA DJURDJEVSKI via STUDIO REPOSSI using MARE SKINCARE
hair FABIO CICERALE via ETOILE MANAGEMENT
model DUNCAN YAIR via WHY NOT MODELS
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + CHIARA DE BONIS + LOUIS VEDERE + ISADORA COSSARI + IOLANDA BANDINI + CAROL GARLANDO + TIYA CHEHAB

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Aaron Shandel - Fashion, Ferragamo and Life Beyond Modelling

.cover story

Past Imperfect with Aaron Shandel

written + interview CHIDOZIE OBASI

The first time you come across Aaron Shandel’s coquettish, feel-good demeanour, you might swear this rising force was born decades before his time. So here’s the thing: A cinematic reel starts to play in your mind, where far beneath a striking stare lies a profoundly human and soulful presence. Born in Cape Town and now hailed in London, Shandel grew up skateboarding and surfing, having a very outdoorsy and active childhood.

“I’ve been in London for the past three years with some of my closest friends, and I’m loving life here,” he shares, as we settle into conversation. Alongside modelling, a profession that led him to work with some of the world’s leading brands, he’s currently building Yerb: a sparkling yerba maté drink that’s made in the UK. And if introspection and persistence are the goal, his fearless candour and unflinching gumption might just be the ticket. “I want to build things that outlast me,” says Shandel. “Companies with purpose at the core, projects that improve people’s lives in ways they can feel, whether that’s what they drink, how they gather, or the opportunities they’re given. And the long-term dream is to build enough that I can give back properly to the community in South Africa. That’s home, and I’d love for my work here to eventually open doors for people there.” As for the rest? You’ll probably read it here first. You’re welcome.

Aaron wears a total look by VALENTINO

Aaron wears a coat by BOSS, shirts by BURBERRY and DOLCE&GABBANA, pants by IM MEN, shoes by CHURCH’S and ties by CARUSO

Chidozie Obasi
First things first: could you kindly introduce yourself to us?

Aaron Shandel
Hello, I’m Aaron, born and raised in Cape Town. I grew up skateboarding and surfing, a very outdoorsy and active childhood. I’ve been in London for the past three years, living with some of my closest friends, and I’m loving life here. Alongside modelling I’m building Yerb with a friend: a sparkling yerba maté drink we make here in the UK. I can’t surf in London, sadly, so I run and play football to stay sane.

When did you first get acquainted with the fashion and creative industries?

When I was fifteen, I was surfing a wave in Cape Town called Sollies, and I noticed a man staring at me in the water. I asked him if everything was okay, and he said, ‘You have a really interesting look. Have you ever thought about modelling in Europe?’ I said definitely not. Then he started pointing out my ears, my nose, all the features I was actually insecure about, and telling me they’d be really good for the runway. Honestly, I thought it was a scam. I finished my surf, didn’t see him again, and went on with my life. Then two weeks later I spotted him in the water again, and I thought, okay I´ll give it a shot, I got his number, and it went from there. His name was Oliver Sutton, a photographer living between Cape Town & London. He became my first mother agent and got me signed internationally.

And when did you realise that you wanted to pursue this professionally?

When I was sixteen, I got the chance to go to London and Milan for fashion week. I travelled alone, which was so exciting. I was still in school, hadn’t travelled in years, and this was my first time solo travelling. I got handed a tube map and had no idea how to use public transport. I ended up doing a few shows that first season, and my mindset was: as long as I can make a thousand rand, which is around forty pounds, and get to travel, I would take this opportunity and run. Nowadays I find modelling an incredible way to see the world, and something to do alongside building a business, which has always been my real dream.

How has the past year been for you?

The past year has been incredible. I’ve had the privilege of walking in womenswear fashion week, in September last year and February this year, for Ferragamo, which felt like a déjà-vu moment: Ferragamo was my very first show in Milan at sixteen, and a decade later I’m back on their runway. Besides that, it’s been a balancing act between university, modelling and building Yerb. Whenever I’m not on a modelling job, I’m out doing in-person Yerb sales and events to grow the brand. I also recently started a run club with friends called Taste, where the after-party social is the main event.

Aaron wears a total look by DIOR

Aaron wears a blazer by MFPEN, a T-shirt by THE FRANKIE SHOP, shirts and ties by CELINE, pants by STUDIO NICHOLSON and shoes by GIUSEPPE ZANOTTI

Looking back, was there anything that made you proud of your journey?

Looking back, I'm most proud of an eighteen year old me just giving it a crack. I finished school and moved straight to London, then New York, alone. Figuring out flats, castings, money. I met and lived with people from all over the world, and slowly learnt I could handle myself anywhere.

And speaking of downturns/moments of doubt or when you were low in spirit, how would you go about tackling them?

I’ve had plenty of these periods throughout my journey, and I’ve learnt the most going through them. I think the best way to tackle hard times is to get the fundamentals in order: eat well, exercise every day, organise the space around you, and give yourself time. I’ve also found that having a greater purpose for your days really helps, something you care about and are working towards. It makes everything easier because you know you’re on the right path. That could be anything from studying to work to volunteering.

From major campaigns, high-end runways to fashion’s most covetable fixtures, you’ve climbed the industry’s ladder in a way that could spark pangs of envy amid your peers. How does that feel? And were there moments that affected your mental health, in a way?

It's pretty surreal when I stop and think about it. Some of the brands I've worked with, I grew up seeing as untouchable, so to be in those rooms feels like a genuine privilege. And it's taught me so much: watching world-class creatives trust their vision completely and execute it with that level of attention to detail has inspired me more than any course ever could. As for envy, honestly, I've never really felt it around me. Early on I was living in model apartments with other guys, and we all genuinely wanted each other to win. Most of us fell into this randomly, and in an industry where you control so little of your destiny, resenting someone else's success is pointless. When one of us booked something big, we celebrated it.

The hardest stretch mentally was when I tried modelling full time. No base, living out of a suitcase, and slowly realising that modelling isn't actually a full-time job. That year taught me a lot, mainly that I needed to build something of my own alongside it.

Aaron wears a total look by MIU MIU

Aaron wears a total look by TOM FORD

What’s your take on inclusivity in fashion, currently?

Oh, not really.

It’s genuinely better than it was. But Models.com recently ran a data piece on casting, and the majority of castings are still overwhelmingly white. My worry is that inclusivity gets treated like a trend. It surges when there’s pressure, then quietly reverts when the moment passes.

How have you dealt with rejection, over the years?

I try never to take it personally. You’re rarely being rejected as a person; you’re just not the fit for that brief on that day. And funnily enough, some of my best jobs came from rejections. A no is often just a not-now.

And tell me: who’s been your biggest mentor, thus far?

Honestly, my parents. My dad for the way he carries himself. He's endlessly optimistic, humble, and all-in on everything he does. And my mom, we're incredibly close. No matter where I am in the world, I can feel her support. They never questioned the unconventional path I chose. They just backed me.

What do you find pleasure in, outside of modelling?

Surfing, above everything, is my greatest pleasure. In London I stay active, running and football, because I’m better in every part of life after training. And music: festivals especially. I love electronic music and find those spaces extremely inspiring, creatively.

Do you have any major aspirations for your future?

I want to build things that outlast me. That's the honest answer. Right now that's a drinks brand, but it's less about the product and more about building something people genuinely feel, whether that's what's in their hand or the community around it. And the bigger dream is to give back to the community in South Africa. I love my home, and I'd love to get to a point where what I'm building here lets me do that properly.

Any hopes? Final thoughts/reflections?

This is my first real cover after a decade in the industry, and I won’t pretend it doesn’t feel surreal. There’s still a part of me that can’t quite believe it’s happening. Ten years in, and moments like this still feel like the first day. I’m so thankful to Chidozie and the LE MILE team for making the whole experience as warm and memorable as it’s been.

The magazine’s theme is: Déjà-Vu. Have you had any over recent years or so?

Yes, through people, strangely. Since moving countries I keep meeting people who feel instantly familiar, like a friend from home recast in a new city. Same humour, same energy, raised in a totally different world. The first few times it’s eerie; after a while it becomes comforting. It’s made the world feel small in the best way, like wherever you go, your people are already there. You just haven’t met them yet.

Aaron wears a total look by GUCCI

Aaron wears a total look by LORO PIANA

Aaron wears a blazer by CELINE, a jacket by TOD’S, a tank top by ISABEL MARANT, pants by EMPORIO ARMANI and shorts by VLISCO

Aaron wears a total look by PRADA

Aaron wears a blazer by EMPORIO ARMANI, cardigans by VERSACE and ACNE STUDIOS, a shirt by DSQUARED2, pants by MOSCHINO and jewellery by LAG WORLD

Aaron wears a coat by CELINE, a vest by CARUSO, a shirt by MOSCHINO and pants by QUARTO ATTO

Aaron wears a blazer by CANALI, a vest by DOLCE&GABBANA, a shirt by MSGM, pants by DIESEL and shoes by PREMIATA

Aaron wears a cardigan by MISSONI, a sweater by AVANT-TOI, a shirt by UNKNOWN ARTISAN and pants by SETCHU

Aaron wears a blazer by CELINE, a polo shirt by SON OF A TAILOR, a shirt by WOOD WOOD, shorts by PHYSIQUE DU ROLE, shoes by CHURCH’S and a tie by CARUSO

Aaron wears a total look by DRIES VAN NOTEN

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model AARON SHANDEL via WILHELMINA MODELS
photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + styling CHIDOZIE OBASI
head of production JESSICA LOVATO
contributing fashion editor EDWARD PUȘCA
fashion coordinators ALBERTO MICHISANTI + FILIPPO CANCELLIER
make up JO SANNA via THE GREEN APPLE ITALIA using MAC COSMETICS + MAC COSMETICS ITALIA
hair FUJIWARA TAKAHASHI via MKS MILANO
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + DAIANA EDOSA + SALMA JABRY + VALENTINA GENEROSO + ILARIA GABRA + NNEKA ENWEONWU
special thanks to CASAORNELLA MILANO

credits
all Images (c) LE MILE
and Cosimo Buccolieri

The Art of Being Riccardo Simonetti

.cover story

The Making of Riccardo Simonetti

written + interview ALBAN E. SMAJLI

For more than a decade, Florian Ferino has helped shape the image through which Riccardo Simonetti is seen. Their collaboration began with Lindsay Lohan-inspired beach waves and gradually became a shared visual language. By now, Ferino can read a facial expression in the mirror before a word is said, Simonetti can sit down without explaining every detail, and the measure of a successful look has become surprisingly simple: “If he starts taking selfies, I’ve done everything right.” Over time, the hair itself has become an archive of experiments, references and changing preferences.

That history also reflects the space Simonetti had to create for beauty within his own career. Early on, twenty minutes in a makeup chair was considered enough because he was a man, even though his hair alone could take ninety. He and Ferino simply started before everybody else. Today, his role as a face of Kérastase makes that shift visible. For Simonetti, making Ferino part of the story also means acknowledging authorship that usually remains behind the name in front of the camera. “I owe a lot of my success in the beauty industry to the people who help me look the way I do — so they should get their flowers too.” This time, the credit is visible.

Riccardo wears a jacket by COS, a shirt and pants by SEIDENSTICKER STUDIO, an earring by CELIA VON BARCHEWITZ and gloves by ROECKL. Florian wears a jacket and shirt by COS and pants by SANDRO.

Riccardo wears a jacket by COS, a shirt and pants by SEIDENSTICKER STUDIO, an earring by CELIA VON BARCHEWITZ and gloves by ROECKL.

Alban E. Smajli
Do you remember the first look where you realised you were developing a shared hair aesthetic?

Florian Ferino
For me, that moment was at our very first shoot. Riccardo said he wanted loose beach waves like Lindsay Lohan, and I did them the way I had them in my head. From his reaction, I immediately realised that I had done exactly what he had imagined. He said to me, “Perfect, that’s exactly how I wanted it. You’re the first person who has managed to get my hair like this.” Over time, you also develop a shared language. Today, I know exactly what he means before he has even said it. And that’s where a shared aesthetic develops for me.

Riccardo Simonetti
I don’t think it was even such an extreme look. It was more about fine-tuning the look I already had. My signature hairstyle is beach waves, and the moment Florian styled them, something just clicked. Suddenly my hair always looked the way I wanted it to. Other people noticed it too, and more and more people started telling me that I was their hair inspiration and complimenting the hairstyles Florian had created.

By now, can you tell that Riccardo feels comfortable with a look before he even says anything?

FF
I can see it in the little things – his facial expression, the way he looks at himself in the mirror. When someone feels comfortable with their hair, their whole body language changes immediately. And with Riccardo, I know pretty well by now: if he starts taking selfies, I’ve done everything right. (laughs)

And Riccardo, when did you reach the point where you could sit down in Florian’s chair without having to explain what you wanted first?

RS
I think that happened relatively quickly, because Florian knew how I wanted my hair before I did. Of course, we still talk things through, especially when we want to try something new, but particularly in the beginning he taught me how my hair falls best.

Long hair carries years of its own growth with it. Do you ever think of Riccardo’s hair as an archive of the time you’ve spent working together?

FF
Absolutely. When I see old pictures, I immediately remember which event or shoot they were from. The hair really is like a little journey through the last ten years, and some of those looks have now become hair references for other looks.

RS
I definitely think about it whenever Florian says we need to cut my ends. That’s always a little challenge for me, but after more than a decade in which nobody else has cut my hair, there’s definitely a lot of trust there.

Chronologiste Night Serum by KÉRASTASE
Regenerating overnight hair serum with Longevity Complex for strength, smoothness and shine.

Florian wears a suit by EMPORIO ARMANI and a shirt by FALKE.

Florian, is there an earlier hairstyle of Riccardo’s that you could still recreate completely from memory?

FF
Probably all of them. The looks from the early years in particular are still very present in my mind because we experimented a lot back then, and Riccardo has developed so much visually. Some hairstyles I can still picture very clearly because I practised them several times on a mannequin head. It’s like riding a bike – you don’t forget it.

Has working together for so many years changed the way you both think about hair, and particularly the role of haircare for men?

FF
Definitely. Haircare is often underestimated, especially when it comes to men. But hair is just as much a part of someone’s look and personality as clothing or makeup. And especially with long hair, you can immediately see whether it’s healthy and well cared for. With Riccardo, we’ve learned over the years that good styling only really works when the hair has the perfect foundation – when it’s cared for and the ends are properly cut.

RS
I think we also grew with the platform that came from the increasing attention our work received. Suddenly there were all these people waiting to see what look we would do next, and that definitely motivated us. Especially in the beginning, I hardly wore any makeup because somehow it never really fit into the way things were organised. We had to create that space for ourselves first, and that started with planning enough time for hair and makeup on set.

Because I’m a man, I used to be given a maximum of 20 minutes in the makeup chair. My hair alone takes at least an hour and a half to style. So for Florian and me, that meant starting work before work, so that nobody else had to wait for us once the actual job started. The privilege of being able to bring my own hair and makeup artist is also something I had to earn over time. Especially in the beginning, that was by no means a given for a man.

The fact that today, as a man, I get to be the face of a brand like Kérastase is a personal milestone. It shows people that inspiration can come from anywhere – women can take inspiration from men and men from women. Especially in the beauty industry, gender is a performance, and I think it should rely less on stereotypes.

You have a very recognisable look by now. How do you stop that recognisability from turning into routine?

FF
By not holding on too tightly to what has already worked. I think it’s important that a look still feels like him, but also tells something new. Even his signature look – those beautiful, glossy waves – has changed with the times over the years. Sometimes there’s more volume, sometimes less, sometimes the hair is wavier and sometimes straighter. It always has that recognisable quality, but it never looks exactly the same.

RS
Even if the overall look stays relatively similar, we’re constantly changing small details. Florian might make the wave a little smoother. Root volume was incredibly important to me in the beginning, whereas now I prefer less volume. We evolve with the times. And what I love is that Florian never gets tired of working on his skill set, even if that means teaching himself something completely new.

Riccardo wears a total look by NOWRUBI.

Glaze Drops by KÉRASTASE
Lightweight hydrating hair oil for radiant shine and a silky, frizz-free finish without weighing hair down.

Florian, what part of your work on Riccardo usually remains invisible in the finished photograph?

FF
In the photo, you only see the final result – basically the tip of the iceberg – but not all the small decisions and preparations that came before it. Riccardo often has an idea and already has a very precise vision, which can sometimes be quite unusual. My job is then to prepare for that hairstyle and figure out how to make it work. But those are exactly the kinds of challenges I love because they make me think differently, try new approaches and learn new skills. Of course, you don’t see any of that process in the final image.

This time, Florian is in front of the camera too. What changes when the person who usually creates the look becomes part of the visual story himself?

FF
For me, it’s honestly quite unfamiliar. I’m normally behind the camera – or rather, behind the look – concentrating on making sure Riccardo looks good from every angle. Suddenly being part of the image myself feels completely different. And that’s also what makes this shoot so special to me. It shows our shared history and the friendship that has developed over many years and countless looks.

RS
I think it’s nice that Florian gets to be seen too. I have enormous respect for the work of hair and makeup artists, and I owe a lot of my success in the beauty industry to the people who help me look the way I do – so they should get their flowers too. Florian and I have worked together for more than ten years, and he has become just as much his own brand as I have. So it’s even nicer that we get to experience this moment together, not only as creative collaborators but also as friends.

Was there ever a look Florian had to convince you to try, which later became completely natural to you?

RS
I think it’s usually the other way around. (laughs) I’m the one who keeps coming to Florian with absurd ideas and sometimes has to convince him. Like an extremely long braid that looks as though someone has shot through it with a gun. Or bleached eyebrows. But we always see the whole thing as a collaboration. We collect ideas together and have a huge archive of looks we can draw from. Our list of hairstyles and makeup looks we still want to try is almost endless.

And is there one earlier hairstyle that immediately takes you back to where you were and how you felt at the time?

RS
I think that would be my wedding hairstyle. We tried the look for the first time when we shot my wedding look for Vogue, and I immediately knew: this is exactly the hairstyle I want to get married in.

Riccardo wears a suit by SANDRO, a tank top and belt by VERSACE, loafers by FERRAGAMO and a watch by BVLGARI. Florian wears a suit by EMPORIO ARMANI, a shirt by FALKE and shoes by THE ROW.

Riccardo wears a total look by WILLIAM FAN.

Riccardo wears a suit by SANDRO, a tank top and belt by VERSACE, loafers by FERRAGAMO and a watch by BVLGARI.

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talents RICCARDO SIMONETTI + FLORIAN FERINO
photography JONAS HUCKSTORF
styling DENNIS SCHNEIDER
hair + make up FLORIAN FERINO using haircare by KÉRASTASE
production ALBAN E. SMAJLI
production coordination MARK ASHKINS
fashion assistant FRANZISKA FUCHS
special thanks to KÉRASTASE + R+ COMMUNICATIONS

credits
all Images (c) LE MILE
and Jonas Huckstorf

Langston Uibel - Acting, Identity and Louis Vuitton FW26

.cover story

Langston Uibel and the Reason Behind the Role

written + interview ALBAN E. SMAJLI

There is a moment in our conversation when Langston Uibel says that a project needs a clear reason to exist. He is speaking about the people behind the work, the perspective they bring and the commitment required to carry an idea through. The sentence lands almost casually, yet it explains much of the path he has taken across cinema, streaming and theatre, and his growing involvement in producing projects of his own.

At 28, Uibel is already testing how much responsibility an actor can take for the work around him. He speaks openly about early performances he would approach differently today, the assumptions that follow certain roles and the need to keep moving before a career begins to repeat itself. What emerges is an actor becoming increasingly precise about where he places his energy, and increasingly determined to help shape what comes next.

coat, jacket + ring LOUIS VUITTON

jacket, shirt, tie, shorts, socks, boots + ring LOUIS VUITTON

Alban E. Smajli
What holds your work together when every new project takes you into a completely different creative environment?

Langston Uibel
I had to learn on the job. I never had a classical education. So I was lucky enough to have these three Netflix shows: Dogs of Berlin, Unorthodox, and How to Sell Drugs Online Fast. I basically always had the opportunity to work with showrunners and creators who have a very distinguished approach to their respective projects.

And I think throughout my career, what holds everything together is that I’m always looking for somebody behind the project who has an absolute perspective and a concrete idea of what they want to do and a reason why they’re saying it. That’s always necessary for me. I don’t have to be on exactly the same page as everybody, but there has to be a subject to discuss. If somebody doesn’t know why we’re doing something, I’m not interested.

I always need to have people who feel like they need to do this, that there is a necessity behind this story and a necessity behind their vision. And that’s where collaboration starts, because that’s the way I approach it. I always come in with 150 percent. Nothing is ever blatant. There is nothing that doesn’t matter. Everything matters so much. And that’s what I need to have with the creators that I work with. At the moment, I feel like I’ve found that most in theatre and cinema. With Christian Petzold, but also with young directors like Jasmin Baumgartner and Romina Küper, as well as my mentor in theatre, Barbara Frey.

Has there ever been a role that felt like it completely disrupted the direction your career was taking?

Well, funny enough, I tend to see myself as quite a serious guy. I mean, I laugh with my friends, but in general I think people laugh way too easily. Everything is not always that fucking funny. Especially when people think they’re funny. Let the others be the judge of that. That also goes for comedies. If we’re talking about something disruptive, actually my next move is that I’m going to be in a children’s movie, Bibi Blocksberg. And I think these classic German children’s film productions have a certain vibe and a certain taste, which I really wanted to be part of.

One of my first film experiences was being an extra in the children’s movie Hanni & Nanni. And now to come back as a proper actor in Bibi Blocksberg, an absolutely legendary German children’s story, is a dream come true.

Have you ever thought twice about a role because of what it might lead to afterwards?

I feel like I grew up in a world where people would still say absolutely outrageous stuff, like you wouldn’t want to play a queer character too often because you would then only get cast as a queer person. I mean, even if that is true, I couldn’t care less. I try to have versatility in my characters, but people sometimes lack the concentration to really look at what makes a character different, the nuances of characters.

People will actually have the cheek to use things like skin colour, sexuality, or style as the differences between characters. Maybe my characters all happen to have a certain swagger, but underneath there are differences. I sometimes feel like that’s a problem in general. People have to understand that you are made of so many little particles and that you can be so many things at once.

After Roter Himmel, did you notice people expecting something different from you as an actor?

Well, working on Roter Himmel, English title Afire, was my absolute home run, because I knew I needed to exist within this kind of space. I needed to meet a director like Christian Petzold to be reassured that my take on art is valid and that it makes sense to dive even deeper and really find out. He gave me that last bit of self-esteem that I needed to know that I can create art and that I can be impactful. I want to develop my own taste.

That work was absolutely pivotal, and I took it into my work on Hijack now and also into everything I do in the future. For me, he will be a mentor. I hope we get to work together again, but even if not, this will be one of my most important experiences. The way he works and the way he sees art is just very similar to mine, and I’m absolutely thankful for that time in my life. But that was three years ago, and we have to move on.

earring, ring + bracelet LOUIS VUITTON

jacket, t-shirt, trousers, belt, socks, shoes + earring LOUIS VUITTON

What makes you trust a director enough to show them a side of your acting you haven’t explored yet?

One of my teachers in primary school said everybody’s best is different, but I think you should always try for the best. As long as everybody wants to try and people aren’t sloppy or lazy about things, things can happen. Things can go wrong. I’m 28, what do I know? But I’ve had experiences with directors who just don’t care, and I think it’s okay. In a capitalist society, you can have people who are not as ambitious, and it’s also fine to just do the bare minimum. I don’t judge that. But I just feel that if you’re only willing to do the bare minimum, then maybe being an artist doesn’t make that much sense.

What did your first season at the Burgtheater ask of you that film hadn’t prepared you for?

I just had to realise that film and theatre have more differences than similarities. In film, if you’re lucky enough, the director will be able to catch something while you’re living in the world that is set in front of the camera. The camera just passes by. The world should already exist. Theatre, for me, can only happen with the audience there. So you have to acknowledge the audience somehow. That doesn’t mean being loud and screaming and big, but you have to acknowledge the audience, even if it’s just through a thought.

I come from film. Film is the thing that I know more about. But I’m now about to do my second play with the same director, The Seagull by Chekhov at the Düsseldorfer Schauspielhaus. I just can’t wait to get back on stage. If I can do a play a year, that would be the perfect balance. And in general, the Burgtheater, where I’m still playing and where we’ve been renewed for a fourth season, has just reassured me that I can do it.

Did producing the KaDeWe film change the way you walk onto a set as an actor?

I just try to limit my commercial activities, but when I do something, I try to take it into my own hands and make sure that whatever I do, even if it’s commercial, shows my take on art, shows my perspective, and gives me the opportunity to express myself.

With KaDeWe, as well as now with the new film I’m about to release for Dr. Martens, which I executive produced, it has been a really nice school for me. It’s been preparation for my first feature film that I’m going to produce together with Jünglinge Film, where I will be playing one of the leads as well as being one of the executive producers. I think we’re looking to shoot in 2028 or 2029, so it will take a while. I am also working with C/O Berlin, where I’ll be producing an intervention performance for the exhibition of Carrie Mae Weems.

I have this notion that I want to take responsibility in the future as an actor, to bring these films into the world and to make my projects successful. Successful doesn’t only mean numbers. I want to make sure they’re relevant, connected to the zeitgeist, connected to debates, and that they make sense. I want to take that responsibility.

coat, jacket, trousers, shoes + eyewear LOUIS VUITTON

trousers, belt, earring, necklace, bracelet + rings LOUIS VUITTON

You work in both German and English. Does switching between the two change the rhythm of a character for you at all?

Oh, not really.

My main base is Berlin. My father has a bar called Dalston Jazz Bar in London, where I am a lot. I was incredibly lucky to shoot Hijack Season 2, the Apple TV series produced by Idris Elba, in London for around eight months last year, which was wonderful because I could work in my other home. For me, English and German are not something where I need to choose. I don’t need to choose one of these. Both are part of me.

Sometimes one language makes more sense. There are specific words that work better in one language, and I have people that I speak English with and use these specific words with, and then I have a German context where I speak German. I’m proud to be both, and I don’t have to choose.

When you look back at one of your earliest films, do you recognise anything in your acting that’s still there today?

No, sometimes I feel a little bit of shame because I started so young. I think I needed the time to understand the importance of my job. I never went to acting school, and my family doesn’t have any connection to the industry. You have to learn certain codes. You have to learn how to talk about it. And I wish I had given myself more time to learn before jumping into projects.

There are some projects where I feel I could have done better, and that hurts sometimes.

If we jump ten years ahead, what would you like audiences to say about the range of roles you chose?

Oh, I don’t know about the range.

In ten years, I just really want to make sure that the dreams I have and keep in my heart sometimes come true. It needs to work. I need this. And I hope that I can just play my part in this world somehow. Even if it’s a small one, I really hope that I can leave an impact.

shirt, trousers, shoes, earring, bracelet + ring LOUIS VUITTON

jacket + earring LOUIS VUITTON

bag LOUIS VUITTON

sweater, shirt, tie, trousers, shoes + bag LOUIS VUITTON

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talent LANGSTON UIBEL
photography FREDERIK RÜGGER
styling KLAAS HAMMER
hair + make up ILYA FESENKO
editor ALBAN E. SMAJLI
special thanks to THEATERKUNST

credits
all Images (c) LE MILE
and Federik Rügger

The Parts You Haven’t Met Yet with Araloyin Oshunremi

.digital

Araloyin Oshunremi and the Parts You Haven’t Met Yet

written LEMILE

Araloyin Oshunremi has spent the years since Top Boy making sure the role that introduced him does not become the one that defines him. At 22, that has already meant moving between sharply different registers: Heartstopper, Steve and, most recently, MOMO, Christian Ditter’s English-language adaptation of Michael Ende’s novel, in which Oshunremi plays Gino alongside Martin Freeman, Laura Haddock and Claes Bang.

For Oshunremi, that range begins with the idea that a character is never entirely foreign, he describes each role as a part of his own personality that has not yet been accessed, then builds outward from there through observation: speaking to people whose lives resemble the character’s, studying their mannerisms and mentality, and testing what can be carried into his own performance without losing its credibility.

Voice, perhaps more than anything else, reveals how long those characters stay with him. Accents are the habit he finds hardest to leave behind, and they now sit at the centre of two very different challenges: mastering an American register as he prepares for Los Angeles, and speaking in a Nigerian accent for BBC production WAHALA, something that connects the work directly to the way he speaks with his mother at home. The next phase of his career is opening outward, but its most interesting question may be how much of home travels with him.

Araloyin wears a shirt and shorts by VLISCO with a belt by HEREU STUDIO

LE MILE
Top Boy made people associate you with a very specific kind of realism; what did you have to do afterwards to avoid being placed in one lane?

Araloyin Oshunremi
I had to do roles completely different to Top boy after finishing top boy for example MoMo, heartstopper and Steve just to show my versatility. At the same time I’ve also made sure my fashion is completely outside the box and different from what people would expect showing range in my personality.

What did you understand about acting on Top Boy that no acting class could have taught you?

That each role or character you play is a part of you however you just haven’t unlocked it yet. So you’re never acting as someone else but instead unlocking another version of your personality you never knew you had.

When a role is far from your own life, what is the first practical thing you do to make it believable?

I do my research on people who have lived that role in real life, if some are close to home then I ask them questions just to understand how they would act in certain situations. I study them to see how their mannerisms are how their mentality is and then adopt that into my performance. But I also look within deep and see if I have any traits similar to the character.

What is the hardest habit to lose when you move from one character to the next?

The way the character talks for me is the hardest thing to lose only because your used to one accent for a long period of time that sometimes it sticks with you for a long time.

Araloyin wears a vest, trousers and belt by DOLCE & GABBANA with shoes by DIESEL

Araloyin wears a leather jacket, cream trousers and black-and-brown shoes by BERLUTI

Momo is a major shift in tone and scale; what felt unfamiliar about acting inside that kind of world?

Having to use my imagination to see things that wasn’t there but also having to have a young soul was quite hard for me. With Momo a lot of the world was fantasy and some of the things weren’t actually there in real life but got added in the edit so when acting I had to imagine it being there and genuinely believe it was there so the performance felt real and natural.

You are 22 and already moving between British TV, international film, and now Los Angeles; where do you feel most tested right now?

For me I feel more tested in LA I feel like it’s a whole different world of acting in America and as a Brit acting in America I feel like a lot of eyes are on us. But also having a good American accent so the audience don’t recognise we are a Brit is very important and hard to do but is needed.

When you work with actors who have much more experience, what do you watch most closely?

How they prepare for a role. The difference between experienced actors and new actors is the prep for a role. Experience actors are in character or in the mindset of the character a month before even entering rehearsals, they do their study on the character so that when they’re on set they don’t find it hard to get into character.

Araloyin wears floral knitwear, blue denim and boots by DIESEL

What kind of note from a director actually helps you?

When a director tells me to be free and explore on the next take. Being told that pushes me to think in a different way but also take risks that I wouldn’t usually on a normal take and usually the risky takes are the best ones for the scene.

With WAHALA coming next, what are you interested in showing that audiences have not yet seen from you?

Me playing a character in a Nigerian accent, being from Nigeria getting to play a Nigerian is one of my dreams and because I speak in that accent when I’m with my mum at home it feels surreal to see it on screen.

What do you want your move to Los Angeles to change, and what do you not want it to change?

I want my move to LA to push me in my acting but also make me learn new styles of acting. I want it to have a positive change on my mindset on how I approach roles and hopefully I’m able to adopt skills from some LA actors. And what i don’t want it to change is my london culture I feel like being from london is an amazing thing because of how diverse and multicultured we are.

Araloyin wears a jacket and vest by RALPH LAUREN

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talent ARALOYIN OSHUNREMI
photography JULIEN LENTIN
fashion WILOW DIALLO
hair SOLINE DE MEDEIROS
make up DIVINE M
casting director MARVIN LATOURNALD
casting MODELS LANE
fashion assistant WISSAL TOUMA

credits
all Images (c) LE MILE
and Julien Lentin

A Lot of Feelings, No Solutions with Tove Lo

.digital

TOVE LO
A Lot of Feelings, No Solutions

interview + written THINLEY WINGEN

Tove Lo is back with ESTRUS: her sixth studio album, born somewhere between instinct, anxiety, desire and a body that seems to have plans of its own. LE MILE spoke with the Swedish pop icon about having no answers, writing what you need, black cats and keeping the fire burning. There is something wonderfully inconvenient about wanting something your brain hasn’t agreed to yet. Tove Lo knows the feeling.

On ESTRUS, her sixth studio album arriving September 18, the body is loud, the mind is still catching up, and nobody seems particularly interested in pretending otherwise. The title itself is wonderfully unsubtle. Estrus is the biological term for the period when a female mammal is in heat. An animal ready to mate. Instinct taking over. Tove Lo takes that very physical idea and lets everything else rush in with it: anxiety, vulnerability, sex, doubt, appetite, fear, and all those feelings that tend to arrive at exactly the wrong time.
Some of the record took her back to a small Swedish fishing village where she spent her summers growing up and later worked on parts of Dirt Femme. Going back opened a few doors. Childhood. Depression. Her eating disorder. Breakups. Family drama. Loss. The younger, messier version of herself was apparently still there somewhere. The music looks backwards too, towards The Knife, Robyn and the Swedish indie dance she grew up with, then pushes those references through the sweaty electronic pop Tove Lo does so well. Longtime collaborator Ludvig Söderberg returns alongside Elvira Anderfjärd and Luka Kloser, with Stromae appearing on the album as well.

And then there is the cat.
While putting ESTRUS together, Tove Lo kept seeing a black cat in her head. Independent, nocturnal, unpredictable, happily uninterested in behaving. It became the starting point for the album’s cultish visual world: candles, ceremony, darkness, and just enough weirdness to make the whole thing feel slightly dangerous. She doesn't particularly care whether we read it the way she intended. Quite the opposite.

Maybe that is also the nicest way into ESTRUS. Don’t look for a lesson. The album literally opens with A Lot of Feelings, No Solutions. By the time we speak, Tove Lo hasn’t magically found any either. What she does have are questions, desires, and one piece of advice that sounds suspiciously close to a life philosophy: “If you don’t have desire in life, that’s when you get old. It should always be burning for something, whether you get it or not.”
Fair enough. Keep burning.

Tove Lo wears sunglasses by GUCCI, a hat by H&M and jewelry from FASHION ARCHIVE

Tove Lo wears a dress by LAURA GERTE, shoes by JIMMY CHOO and earrings by ALAN HAMILKO

Thinley Wingen
The title Estrus carries biological, emotional, and cultural associations all at once. What did that word allow you to explore that another title couldn't?

Tove Lo
It’s funny because it’s a very biological term, but it really does include all the vulnerable, fragile, and anxious emotions that usually come with animalistic intensity, in my opinion. It really sums up the contradictory place I’ve been in the last year.

There seems to be a recurring tension between the body and the mind throughout your work. How has that relationship evolved while making Estrus?

I think with Estrus it’s the most aware I’ve been of my mind and body battle. It’s a different one than it’s been in the past, and it’s freaking me out a little bit. It’s my body calling for something my mind isn’t ready for.

The opening track is called A Lot of Feelings, No Solutions. What conversations were you hoping to open by starting the record there?

I think just the freedom in not having answers for everything and accepting that. Nothing in life is for certain or 100%; things and you are forever gonna change and that is okay.

Is there a song on the album that feels closest to your heart?

It changes every day, but right now F.A.M.T is hitting hard because I’m not doing what I’m supposed to be doing.

Tove Lo wears a jacket by DIESEL and accessories by H&M STUDIO

Tove Lo wears a dress by Vautrait, bracelet is ARCHIVE

Your songwriting has always felt remarkably unfiltered. Looking back today, what has changed about the way you're willing to reveal yourself through music?

I think I always fight my way back to “make sure you write what you need, not how you wanna be perceived”. It’s the weird thing about being so personal in your songs; every album process I have to shut out the thought that a bunch of people are gonna hear these very intimate stories. If I think about that while writing, I find it very hard to be authentic.

The visual world around Estrus feels almost ceremonial. How did the visual language of this record grow alongside the music?

It was a very fluid ongoing process as I put the album together. I kept seeing a black cat, like an independent, unpredictable night creature that had broken free from conformity. That’s where the cult imagery kinda sparked from. I love making the visuals this dark and a bit twisted; let people interpret it however they want, which might be very different from my intention. I love seeing it through different eyes.

You have spent more than a decade writing about desire from your own perspective. How has your understanding of desire changed over time?

If you don’t have desire in life, that’s when you get old. It should always be burning for something, whether you get it or not.

Looking back now, what feels different about the person who finished Estrus compared to the one who began it?

Honestly, the same. I still have no answers or good advice… only feelings, questions, and desires.

Tove Lo wears earrings by ALAN HAMILKO and carries a bag by FERRAGAMO

Tove Lo wears a coat by ISSEY MIYAKE and earrings by PORTUGAL JEWELS

watch
behind the scene

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photographer SZYMON STĘPNIAK
fashion editor KLAAS HAMMER
make up JOHANNA NORDLANDER
hair LEO STERN using ORIBE
light assistant ALEX FORREST
camera assistant FRANCISCO RAMOS
styling assistant LOUISA EDOGUN
BTS video SERGEY KUCHIN
interview THINLEY WINGEN
talent TOVE LO

credits
all Images (c) LE MILE
and Szymon Stepniak

WHITE Milano Fashion Week - Designers & Brands

Double-click to edit...

.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