siovo on What a Career in Pop Asks of Love

.digital

How a Stranger’s Grief Became siovo’s BEL AMI

interview + written ALBAN E. SMAJLI

siovo was still in primary school when he began choosing clothes for “the fantasy I wanted to give that day.” Growing up in a small town, he used fashion to make life more interesting. He now lives in Berlin, writing German-language pop with song titles such as DIESEL SKINNY JEANS and D$QUARED.

His latest release, unendlich: babyboy, is the deluxe edition of his debut album, für immer: babyboy. The single BEL AMI began with an old online post by a man mourning a former lover. The writer was angry at the adult entertainment industry and what he felt it had taken from their relationship. Reading it reminded siovo of conversations with past partners about his own dedication to music and the time and attention they needed from him. Several people have been certain he was writing about them. He says none has ever been right, and takes it as a compliment that they recognise their own relationships in his songs.

Alban E. Smajli
You’ve gone from für immer: babyboy to unendlich: babyboy. How much longer do you want to be a babyboy?

siovo
I think being a babyboy is a state of mind that never really leaves you once you've fully embraced it. It's not an era you eventually grow out of, but rather something that evolves with you. To me, it's about holding on to a certain spirit. It's the foundation of greatness, really!

What's the story behind your latest single, BEL AMI?

A while ago, I came across an old post online written by a guy reflecting on the loss of his former lover, who had recently passed away at the time. What really stayed with me was the complexity of his grief. There was so much love, but also resentment, guilt and unresolved anger towards an industry that had not only taken his partner's life, but had already taken so much from their relationship.
The adult entertainment industry has always fascinated me from a human perspective, especially when it comes to my songwriting. There are so many layers to why people enter that world, the dynamics that develop within it, and the emotional consequences that aren't necessarily visible from the outside.
Especially within male-presenting queer spaces, where physical appearance and sexual desirability often carry so much social value, I think there's a certain proximity to that industry that makes the subject particularly interesting. I've had countless conversations about it with guys around me, and I've always been interested in the contradictions between empowerment, validation, intimacy and exploitation.
On a more personal level, I could also relate to the person who wrote that post. I've had similar conversations in past relationships about my own dedication to the music industry, which, in a very different context, can also become incredibly consuming and demand sacrifices in terms of freedom, time and emotional availability. Reading his story helped me articulate feelings and dynamics I'd been struggling to put into words myself.

With BEL AMI, I wanted to bring those different perspectives together. I hope I've managed to approach their story with the respect and sensitivity it deserves, while allowing my own experiences to become part of the narrative. Ultimately, I felt it was an important story to tell, especially within our community.

You've written quite openly about love and heartbreak. Has anyone ever recognised themselves in one of your songs?

Quite a few people, actually! Although, funny enough, they've never been right. But I think that's one of the most beautiful things about songwriting. You can take something incredibly personal and turn it into something universal. The fact that people can recognise their own experiences in stories that were never actually about them is probably the greatest compliment I could receive.

siovo wears a look by LOADJRO, boots by BALENCIAGA via NIGHTBOUTIQUE and gloves by COS

siovo wears a full look by LOADJRO

You're often compared to Troye Sivan. What do you think people miss when they make that comparison?

I've definitely gotten used to it by now. I think when there's still relatively little representation, people naturally look for familiar reference points. There simply aren't that many openly queer male pop artists operating in a similar space, so I understand where the comparison comes from.I actually got to meet Troye in Berlin a while ago, and he was genuinely one of the nicest people ever. He even had some really lovely things to say about my music and invited me to his show! So being associated with someone who's not only incredibly talented but also genuinely kind is something I can only take as a compliment.
What's funny, though, is that for straight people who aren't particularly familiar with Troye's work I’m another Justin Bieber instead, since he seems to be the only other dancing twink they know. I think that also says a lot about how subjective and sometimes superficial those comparisons can be. People tend to categorise artists through whatever cultural references they already have, rather than necessarily engaging with what makes their work individual.

Which artists have been inspiring you lately, musically or otherwise?

I've always been incredibly inspired by Kim Petras. Having followed her journey through all the highs and lows of the music industry, it's been fascinating to watch her evolve into the independent artist she is today. Her resilience and ability to continuously reinvent herself have had a real impact on me. The music industry has changed so dramatically and continues to evolve, which makes it especially interesting to see established artists like her navigate this new landscape, reclaim their creative independence and redefine what success and artistic identity can look like in a new era of pop music.

Fashion seems to be a big part of your world, even making its way into song titles like DIESEL SKINNY JEANS and D$QUARED. Where does that fascination come from?

I remember standing in front of the mirror as early as first grade, thinking about what I wanted to wear based on the fantasy I wanted to give that day. Growing up in a small town, fashion became one of my earliest forms of creative expression, but also a form of escapism. It allowed me to create my own little universe within an environment that often felt quite grey and monotonous.

I think I understood pretty early on that clothes could communicate something about who you were, or who you wanted to become, before you even had the words to express it. That fascination never really left me. It just evolved into a bigger part of my artistic identity. Fashion and music have always served a similar purpose for me: creating worlds that feel more exciting than the reality you're given.

siovo wears pants by MCM and shoes by COS

siovo wears a hat and coat by CARIN MAKAREVIC, shorts by PRADA via NIGHTBOUTIQUE, shoes by DR. MARTENS and socks by FALKE

siovo wears a jacket by CARIN MAKAREVIC, pants and shoes by OTTOLINGER

siovo wears a skirt by THEATERKUNST

What's the best thing you've ever worn onstage? And is there an outfit you'd rather forget?

I once wore a full silver sequined Dolce & Gabbana look onstage, which was absolutely gaggy but also incredibly impractical. It restricted my movement so much that I regretted the decision almost immediately. I've always loved jumping around onstage, even before I started doing proper choreography, so wearing something that barely allowed me to move was definitely not my smartest decision.
But the pictures from that night turned out so cute that I can't even be mad about it. I guess it was simultaneously the best and worst outfit I've ever worn onstage. Sometimes the fantasy just has to come before functionality!

What do you love most about Berlin, and what gets on your nerves?

What I love most about Berlin is the freedom it gives you. You can pretty much do whatever you want, whenever you want, without feeling like you have to justify yourself to anyone. There's also this beautiful balance between anonymity and visibility. You can disappear into the city whenever you need to, but you also know exactly where to go when you want to be seen.
Personally, I love partying during the day and being back home by night so I can get enough sleep and stick to my schedule. Berlin allows you to create your own rhythm rather than forcing you into a conventional one.

But I think that endless freedom can also become a challenge. When everything is available to you at all times, knowing when to stop becomes a responsibility of its own. I've seen people get so caught up in all the possibilities that they eventually lose their sense of direction. What gets on my nerves is how often the city itself gets blamed for that. I don't think Berlin is inherently chaotic or destructive. It simply gives you the space to pursue whatever you're looking for, sometimes without many boundaries.

There's just as much love, peace and stillness here as there is excess. You just have to make a conscious decision about which parts of the city you want to engage with. In a way, Berlin reflects the relationship you have with yourself.

What are you most excited about right now (personally and professionally)?

I'm so excited to spend Christmas with my siblings! I don't get to see them nearly as much as I'd like throughout the year, so the simplest things, like decorating a Christmas tree or cooking together, have become incredibly precious to me. Professionally, I'm really looking forward to everything that's coming in spring 2027. We tend to work so far ahead that even the deluxe album release this October felt like revisiting a version of myself from a year ago.

The projects we're preparing for spring still feel incredibly fresh and exciting to me, so I can't wait for people to finally experience them. And there might also be another big tour coming up, which my team and I might already be working on…

watch
behind the scene

siovo wears a shirt by MALENE SPECHT, pants by MCM and shoes by COS

siovo wears a hat by MALENE SPECHT and a bag by MCM

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photographer CHRIS PUTTINS
styling SOPHIA FRIEDL
grooming THEO SCHNUERER
set design NICI THEUERKAUF
DOP JONAS REICHERT
photography assistant DANIEL KRISTOPHER
talent SIOVO

credits
all Images (c) LE MILE and Chris Puttins

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

Old Spin, New Classics with Taylor Phillips

.digital

After Roaming On The Digital Aether, Taylor Phillips Now Walks On Solid Ground

written CHIDOZIE OBASI

In a world permeated by downturns and saturation that shape society with increasingly ferocious pace, carving out a personal lane with fierce, unapologetic demeanour is no mean feat. However, one’s journey may be shaped with hard-hitting and defiant steps, which, in turn, lead to thematically varied outcomes. Such is the case with Taylor Phillips, the New York city multihyphenate who’s worn a lot of hats over the years.

“I’ve spent more than a decade sharing my life online,” he tells LE MILE’s Fashion Market Director, Chidozie Obasi, the moment they settle into conversation. “What started as a kid from a small Midwestern town moving to New York to pursue modeling eventually evolved into a career built around storytelling,” he confesses. “Along the way, I’ve shared everything from coming out publicly and navigating relationships to building a business and creating a life that feels authentic to who I am.” Over that time, Phillips built a broad community across his platforms, and that has shaped the way he approaches everything he undertakes. “Whether it’s content, creative direction, or brand building, I’m always thinking about connection first,” he says. “That’s ultimately what led me to launch GoodPark. In many ways, the brand feels like a culmination of everything I’ve learned over the last ten years—about storytelling, community, identity, and creating experiences that people want to be part of.” But there’s more to the story, which you’ll probably read here first. You’re welcome.

Chidozie Obasi
How’s the past year been for you?

Taylor Phillips
The past year has been both exciting and transformative. Last year, GoodPark launched its first swim collection and the response exceeded anything we could have hoped for. Since then, we’ve spent the year expanding the brand, refining our point of view, and building something that feels much bigger than swimwear. What excites me most is that GoodPark has evolved into a lifestyle brand with a very clear perspective. We’ve expanded our product offering, strengthened our community, and spent a lot of time defining what we want the brand to stand for. On a personal level, it’s also been a year of reflection. After spending more than a decade creating content online, I’ve become increasingly interested in building something lasting. Social media moves incredibly fast. A post exists for a day, maybe a week if you’re lucky. Building a brand feels different. You’re creating something people can physically experience and hopefully carry with them for years.

When did you first realise you wanted to go into the fashion space?

It happened in a pretty roundabout way. I don’t think I fell in love with fashion first—I fell in love with imagery. I was fascinated by photography long before I ever considered fashion as a career. Growing up in the late ‘90s and early 2000s, I remember waiting for catalogues to arrive in the mail. J.Crew, Lands’ End, Abercrombie & Fitch—they weren’t just selling clothes, they were selling worlds. Their campaigns felt like moments I wanted to step into. At the same time, I was obsessed with pop culture. I grew up watching America’s Next Top Model and the Victoria’s Secret Fashion Show. I still remember seeing Gisele Bündchen in Taxi and being completely captivated by her presence. Fashion entered my life through modeling, but what kept me interested wasn’t necessarily the clothing. It was storytelling.Modeling exposed me to branding, photography, creative direction, and the way great brands create emotional connections with people. I became fascinated by the idea that a product could be a vehicle for something much bigger than itself. That’s ultimately what pulled me into such a space.

Could you unpack any key reference points you look at when finding inspiration, and talk us through the influences you had while growing up?

Honestly, most of the influences that shaped me came later in life. I grew up in a very blue-collar, industrial town, and my exposure to the creative world was fairly limited. It was often the little things—a catalogue arriving in the mail, a magazine, eventually getting access to the internet—that made my world feel bigger. We had an Abercrombie & Fitch at our local mall, and I was obsessed with those campaigns. I used to save the shopping bags and hang them on my bedroom walls because I was so drawn to photography. Looking back, that was probably one of the first signs that I was interested in visual storytelling. As I’ve gotten older, my sources of inspiration have shifted. I’m endlessly fascinated by people and the stories they carry with them. I love hearing what someone remembers about their childhood, a place they grew up, a summer they can’t forget, a song that reminds them of someone. Those small details often inspire me more than traditional fashion references. That’s very much the world GoodPark lives in. We’re not interested in nostalgia for nostalgia’s sake. We’re interested in memory—how certain moments stay with us and continue shaping who we become.

If your path had to be described in a manifesto or summed up as a story, how would you best go about it?

I’d describe it as a story about becoming comfortable taking up space and staying open to possibility. For a long time, I was trying to fit into versions of myself that other people expected—professionally, personally, creatively. The biggest turning point in my life happened when I stopped doing that and I’ll be the first to admit it’s something I could be better at. Coming out publicly, sharing my relationship online, leaving a traditional career path, starting a business—each of those moments required becoming more comfortable being seen. If there’s a common thread throughout everything I’ve done, it’s the belief that authenticity compounds. The more honest you become about who you are, the more opportunities you create for meaningful connection with other people.

Speaking of your brand, what urged you to create it in the first place and where did the initial concept come from?

GoodPark started from a desire to create community. Years ago, I launched a small collection of apparel with positive messages and affirmations. What surprised me wasn’t the products themselves—it was how strongly people responded to the feeling behind them. People weren’t buying a t-shirt because they needed another t-shirt. They were buying into a sense of belonging and shared values. That idea stayed with me. Over time, it evolved into GoodPark.

Today, the brand is inspired by the feeling of summer—not necessarily a season, but a state of mind. Long days with friends, spontaneous adventures, human connection, and the freedom to be fully yourself. The products matter, but they’re really vehicles for a bigger emotional experience. At its core, GoodPark is about creating things that help people feel moreconnected—to themselves, to each other, and to the moments they’ll remember years from now.

Taylor wears a jacket by LOUIS VUITTON, shirt by CELINE, pants by DSQUARED2, shoes by CHURCH’S and tie by ETRO

Taylor wears a total look by PRADA

Taylor wears shirt and pants by MOSCHINO and tie by CELINE

Walk me through your creative process, or even your own background in branding and design.

I don’t come from a traditional design background, which I actually think has been an advantage. My background is in content creation and audience building. For more than ten years, I’ve spent every day paying attention to what captures people’s attention, what creates emotion, and what makes someone feel connected to an idea. When I’m developing something for GoodPark, I almost never start with the product. I start with a feeling. I’ll ask questions like: What memory does this evoke? What does this moment feel like? Who is this person? Where are they? What are they listening to? Who are they spending time with? I like to zoom out and build the entire world before focusing on the individual pieces inside it.

Once I understand that world, everything else starts to fall into place—the photography, the copy, the colors, the casting, the product design. I try to design from inside the experience rather than from the outside looking in.

Among a highly saturated market of both independent and established labels, what strategies do you adopt to stay afloat and continue carving out space to develop your own practice?

I think the biggest advantage smaller brands have is clarity. Large brands often have to appeal to everyone. We don’t. We have a very specific perspective on masculinity, community, memory, and self-expression. The goal isn’t to be everything to everyone. The goal is to create something so distinct that the right people immediately recognize themselves in it. I also think being a small brand gives us permission to experiment. Some things work, some things don’t, and that’s okay. I’ve spent most of my career online, where adaptation is part of survival. The digital landscape changes constantly. Algorithms change. Platforms change.

Consumer behavior changes. You learn to stay curious and keep moving. Community has also been a huge advantage. Because I spent years building an audience before launching GoodPark, the brand didn’t start from zero. There was already trust, conversation, and shared values. We launched with built-in support, and that’s something I’ll never take for granted.

And are you hoping to scale the brand further?

Absolutely. The long-term vision has never been limited to swimwear. I see GoodPark becoming a complete lifestyle brand that extends into apparel, hospitality, experiences, and community. The brands I admire most aren’t simply selling products—they’re creating worlds that people genuinely want to be part of. That’s what we’re building. I don’t necessarily measure success by how many products we sell or how quickly we grow. I measure it by whether we’re creating something meaningful enough that people want to keep coming back to it. If we can do that, growth tends to follow naturally.

Any exciting projects for the future?

We’re currently expanding beyond our core swim category while continuing to refine GoodPark’s identity and visual world. I’m also incredibly excited about bringing thecommunity together in real life. Some of the most meaningful connections happen offline, and I think there’s a huge opportunity to create experiences that feel just as intentional and memorable as the products themselves. That said, there will always be another project. There will always be another launch, another idea, another thing on the horizon. What I’m actually trying to get better at is slowing down enough to appreciate what’s happening right now. I’ve spent most of my life with my foot firmly on the gas pedal. I’m always looking ahead, thinking about what’s next, chasing the next goal. Lately, I’ve been learning the value of pausing and taking it all in. So while I’m excited for what’s coming, I’m equally excited about becoming better at appreciating what’s already here.

Taylor wears a total look by LORO PIANA

Taylor wears vest by PAUL SMITH, shirt by ETRO, pants by SETCHU and shoes by AQVA ALTA

Taylor wears jacket by CANALI, shirt by ISABEL MARANT, pants by RANDOM IDENTITIES by Stefano Pilati and shoes by AQVA ALTA

Taylor wears t-shirt by SON OF A TAILOR and swimwear by GOODPARK

Taylor wears henley shirt by DOLCE&GABBANA and swimwear by GOODPARK

PARK HYATT MILAN
Located in the heart of Milan’s historic centre, Park Hyatt Milano has stood for Italian luxury hospitality for over two decades. Recently refurbished by Flaviano Capriotti Architetti, the hotel combines contemporary Italian design with bespoke experiences and refined suites inspired by the city’s landmarks. The Montenapoleone Suite looks out directly onto the Milan skyline thanks to its spacious panoramic terrace, spanning 180 square metres with an outdoor area of 35 square metres.

— visit Hyatt.com for more information.

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photography STEFANO SCIUTO
fashion market director + stylist CHIDOZIE OBASI
contributing fashion editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinators FILIPPO CANCELLIER + ALBERTO MICHISANTI
make up MARTA CUPAIOLI via MKS MILANO
hair FUJIWARA TAKAHASHI via MKS MILANO
talent TAYLOR PHILLIPS
photography assistant GENNARO ANDREOLI
fashion assistants ISABELLA RUIZ + CHARISSE ORDINARIA + ANGELINA PERSIANI + LOUIS VEDERE

credits
all Images (c) LE MILE
and Stefano Sciuto

Why Sebastiano Pigazzi Keeps It Private

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Why Sebastiano Pigazzi Keeps It Private

written CHIDOZIE OBASI

Sebastiano Pigazzi is busy. Perhaps it’s the grind of travel and time zones. The script-scanning and the self-tapes. Or maybe it’s the time commitments of interviews like this one, done over the past year. “I try not to think about it too much, but I did things that I haven’t done before,” Pigazzi reflects.

“For example, I put up my own play that I wrote, directed and starred in along with nine other cast members: It was an enthralling experience that taught me so much,” he confesses. One might imagine that his current career reality is the result of some meticulously devised strategy: oscillating between characters, networks, and cast types to showcase a very well-honed creative range. But there’s more to the story: The Boston-born, Rome-hailed actor — raised between New York and Los Angeles — made his screen debut in Luca Guadagnino's We Are Who We Are (2020), where he played Enrico, before joining as Steve in Elisa Amoruso's Time Is Up (2021). Below, LE MILE’s Fashion Market Director grabs five with the actor, unpacking all things creativity and future hopes. You’re welcome.

Sebastiano wears a total look by VALENTINO

Chidozie Obasi
Could you recall the first moment that you felt drawn to the creative realm?

Sebastiano Pigazzi
After watching the movie, Tootsie with Dustin Hoffman.

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

Going to college on my own and leaving my family house made me grow up very quickly and helped me understand myself better.

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?

Use it sparingly and keep some sense of privacy.

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

Well, when you work, you’re happy when you don’t, you’re not. The most complex times are when there’s nothing motivating or stimulating around and I have done my best to avoid those moments.

What’s the most exciting production that you took part in?

Every production is exciting and interesting for different reasons. I don’t want a single one of them out in the fear that others might feel excluded.

Any dream roles you’d like to have under your belt?

The ones people don’t think I can pull off.

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

I’m hoping to take my career in surprising different directions.

Sebastiano wears a blazer by TOD’S, shirt by KITON and pants by RANDOM IDENTITIES by Stefano Pilati

Sebastiano wears a blazer by RANDOM IDENTITIES by Stefano Pilati, shirt by PAL ZILERI and pants by QUARTO ATTO

Sebastiano wears a total look by DOLCE&GABBANA

Sebastiano wears a total look by LORO PIANA

Sebastiano wears a blazer by MICHAEL KORS, shirt and pants by DIOR, shoes by BEPOSITIVE and tie by PAL ZILERI

Sebastiano wears a total look by BRIONI

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seen COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator EDWARD PUSCA
make up KIM GUTIERREZ via STUDIO REPOSSI
hair GIUSEPPE LORUSSO via MKS MILANO
talent SEBASTIANO PIGAZZI
photography assistant ANTONIO CROTTI
fashion assistants DAIANA EDOSA + ANGELINA PERSIANI + LUIZA ANGELOVA + FILIPPO CANCELLIER + ALICE GAVIN

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Self, Defined with DIOR by Jonathan Anderson

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SELF, DEFINED
*Karolina Captova

wearing DIOR SS26 by Jonathan Anderson

bag CIGALE BAG IN CALFSKIN
shoes SATIN DIOR BOW SANDALS

A Dior bag can change how a body holds a room. For LE MILE’s 40th issue, the house enters Identity through Karolina Capkova, photographed by Christopher Puttins at BODE Gallery in Berlin and styled by Dennis Schneider. Self, Defined. A title that could sound neat on paper, until the images begin to pull it into a sharper place. Karolina wears DIOR Spring Summer 2026 with a almost unreadable presence. She gives the collection room, then takes it back: a bag held close, a pale look against white space, jewelry near the skin, a body that seems aware of the camera without performing for it.

earrings ROSE DES VENTS EARRINGS IN PINK GOLD, DIAMONDS AND ONYX
necklace ROSE DES VENTS NECKLACE IN PINK GOLD, DIAMONDS AND ONYX

bags CIGALE BAGS IN CALFSKIN

bags CIGALE BAGS IN CALFSKIN

ring DIOR MEDAILLON RING IN METAL

bag CRUNCHY BAG IN CALF LEATHER
shoes DE D DIOR LOAFERS IN CROCO-EFFECT LEATHER

bag SUEDE DUFFLE DIOR BAG
belt MEDAILLON BELT IN CALFSKIN AND METAL
shoes DIOR WHISPER PUMPS IN SATIN AND CALF LEATHER

earrings DIOR MEDAILLON EARRINGS IN METAL

bag LADY DIOR IN TWEED CANNAGE WITH BOW

shoes SATIN DIOR BOW SANDALS
ring DIOR MEDAILLON RING IN METAL

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photographer CHRISTOPHER PUTTINS
stylist DENNIS SCHNEIDER
hair artist HELGE BRANSCHEIDT using ORIBE
makeup artist THEO SCHNUERER using DIOR BEAUTY
model KAROLINA CAPKOVA via ELITE PRAG
casting director PANAGIOTA FLOROU c/o WOLKN CASTING
location producer MARCO WAGNER via 030 VENUES
photo assistant MORITZ HILKER
styling assistant LOUISA EDOGUN

credits
all Images (c) LE MILE
and Christopher Puttins

Matteo Miccini on Ballet, Discipline and Mental Resilience

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How Matteo Miccini Navigates The Physical And Mental Weight Of Ballet

written CHIDOZIE OBASI

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

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

Matteo wears total look THOM BROWNE

Chidozie Obasi
What’s your earliest memory of dance?

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

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

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

Matteo wears a total look by MIU MIU 


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

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

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

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

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

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

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

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

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Rigour & Romance with Roos Abels

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

written CHIDOZIE OBASI

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

Roos wears a total look by VALENTINO

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

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

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

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

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

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

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

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

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

Final thoughts and reflections

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

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

Roos wears a total look by PRADA

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

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Pushing Through The Lens with NOAH SAPON

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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

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

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

STITCHES OF FREEDOM with Michelangelo Vizzini

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STITCHES OF FREEDOM
*with Michelangelo Vizzini

written CHIDOZIE OBASI

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

Michelangelo wears a total look by MIU MIU

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

Michelangelo wears a total look by CELINE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Any final reflections?

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

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

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

credits
all Images (c) LE MILE
and Andrea Cenetiempo

FUNCTION AND FINESSE with Umberto Villahermosa

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FUNCTION AND FINESSE
*with Umberto Villahermosa

written CHIDOZIE OBASI

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

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

Umberto wears a blazer and shirt by DOLCE&GABBANA

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

Umberto wears a blazer and shirt by DOLCE&GABBANA

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

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

Chidozie Obasi
Could you unpack your biggest career feats?

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

How about the complex moments you’ve had?

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

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

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

Umberto wears a total look by LORO PIANA

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

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

What’s next for you?

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

Umberto wears a blazer by CARUSO

Umberto wears a blazer by CARUSO and pants by THE LATEST

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

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

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

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

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

credits
all Images (c) LE MILE
and Cosimo Buccolieri