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

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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 - STITCHES OF FREEDOM with Michelangelo Vizzini

.digital

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

.digital

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

FW25 Menswear - Truly, Softly, Preppy with Simone Pollastri

.digital
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

FW25 Menswear - Retro Spotlight

.digital
RETRO SPOTLIGHT
*with Simone Bredariol

written CHIDOZIE OBASI

As seen across the Fall runways, the appeal of pared-back minimalism has yet to wane – and, whatever your style-driven proclivities, this season has plenty to choose from.

Whether you prefer your slouchy tailoring with a twist, or your airy goods slightly functional, here’s how to wear this season’s minimal offerings with maximum impact. Our wardrobe will naturally shift throughout the year, but Fall is the season when the weather dictates your clothing choices the most: from Zegna’s pristine tailoring, Dolce&Gabbana’s clean-cut suiting to Etro’s wear-anywhere ease, you’ll want a roster of reliable, classic pieces to make getting ready every day so much easier. It can sometimes feel like a conundrum to remain snazzy amid the depths of winter, but these 7 looks are a failsafe way to keep things cool, and in line, for you. And the most important message? Keep it breezy. You’re welcome.

Simone wears a blazer by DOLCE & GABBANA, a jacket by CASCINELLI, a sweater by CALVIN KLEIN, a jumpsuit by HED MAYNER, and shoes by CHURCH’S

Simone wears a total look by ZEGNA

Simone wears a sweater by ZEGNA, a shirt by ALESSANDRO GHERARDI, and pants by SETCHU

Simone wears a blazer and vest by EMPORIO ARMANI, and pants by CANALI

Simone wears a sweater by ETRO, a shirt by BRIONI, and pants by SANDRO

Simone wears a cardigan by AVANT-TOI, and pants by ZEGNA

Simone wears a sweater by FILIPPO DE LAURENTIS, and pants by HED MAYNER

credits
all Images (c) LE MILE
and Cosimo Buccolieri

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 BREDARIOL via DMANAGEMENTGROUP
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