Anthony Foster Talks Early Stints, Faith and Hope

.digital

From FedEx to Versace with Anthony Foster

written + interview CHIDOZIE OBASI

Anthony Foster’s path into fashion actually kicked off in a pretty unexpected way. “I was working in a warehouse at the time and creating TikTok videos on the side, just doing something I enjoyed,” he shares, as we settle into our conversation. “I never really imagined it would open doors for me in the fashion industry.” What started as something fun gradually turned into real opportunities, and before he knew it, he was stepping into the world of modeling. “It’s been a completely different journey from where I started, but I think that’s what makes it special.

It all happened naturally, and I’m excited to see how far I can take it.” Foster cites his parents as pivotal influences while growing up. “They worked hard to make ends meet, so that my five siblings and I could have food to eat and clothes on our backs,” he shares. “They supported me, guided me, and taught me the values that have shaped who I am today,” he opines. Below, the 23-year-old youngster from Baltimore, Maryland unpacks all-things creativity, growth and family with LE MILE’S Fashion Market Director. You’re welcome.

Anthony wears a coat by TAGLIATORE, a shirt by DRUMOHR and pants by THE LATEST

Anthony wears a coat by TAGLIATORE, a shirt by DRUMOHR and pants by THE LATEST

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

Anthony Foster
One of my biggest pinch-me moments was getting the opportunity to work with Versace. Coming from working in a warehouse and making TikToks on the side, I never imagined those small steps would lead me into the fashion industry. I think what shaped my path the most was taking a chance on myself and not being afraid to pursue something different. It’s been a journey of stepping outside my comfort zone, and every new opportunity reminds me how far I’ve come while motivating me to keep pushing forward.

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

I think the biggest thing for me is not letting rejection get to my head. In this industry, you can do everything right and still not get picked. I’ve learned that it doesn’t always mean you’re not good enough, sometimes you’re just not what they’re looking for, and that’s okay. Of course, there are days when things get frustrating and you start questioning yourself, but I try to remember how far I’ve come. I went from working overnight at FedEx to doing things I never imagined I’d be doing. So even when things slow down, I try to stay positive, keep working on myself, and trust that everything will fall into place. Because at the end of the day, this industry can decide whether I’m right for a job, but it doesn’t get to decide my worth.

What drives you, beyond fashion?

What drives me beyond fashion is the life I want to build for myself and my future family and my family now, and continuing to grow closer to God. One day I want to have kids, a roof over our heads, and be in a position where I can give them a comfortable life without having to worry about the little things. That’s a big part of why I’m so ambitious when it comes to modeling. I genuinely love what I do, but I also see it as an opportunity to build something bigger than myself. Through it all, I want to keep strengthening my relationship with God, staying grounded in my faith, and remembering what really matters. I want to be successful, but more importantly, I want to become a man my future family can look up to. Because for me, real success isn’t just about how far I go in life, but who I become along the way.

Final hopes/thoughts and reflections you’d like to share.

Grow through what you go through.

Anthony wears a vest by ETRO, pants by QUARTO ATTO, shoes by CHURCH’S and a tie by EMPORIO ARMANI

Anthony wears a vest by EMPORIO ARMANI, pants by DSQUARED2, shoes by BEPOSITIVE and a tie by CANALI.

Anthony wears a blazer by RANDOM IDENTITIES by Stefano Pilati, a dress by MSGM, shorts by DEAD COUTURE, shoes by PREMIATA and jewellery by VOODOO JEWELS

Anthony wears sweaters by MSGM and FILIPPO DI LAURENTIIS, a shirt by CANALI, shorts by LOUIS VUITTON and shoes by PREMIATA

Anthony wears pants by BOSS

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photographer   COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist   CHIDOZIE OBASI
head of production   JESSICA LOVATO
contributing fashion editor   EDWARD PUSCA
make up   KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair   FABIO CICERALE via ETOILE MANAGEMENT
model   ANTHONY FOSTER via BRAVE MODELS
photography assistant   ANTONIO CROTTI
fashion assistants   SIMONA VERNAZZA + CHIARA DE BONIS + LOUIS VEDERE + ISADORA COSSARI + IOLANDA BANDINI + CAROL GARLANDO + TIYA CHEHAB

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Fedor Litovchenko Talks Taste, Downturns the Power of ‘Multifaceted Expression’

.digital

Fedor Litovchenko Talks Taste, Downturns the Power of ‘Multifaceted Expression’

written + interview CHIDOZIE OBASI

“Who am I? That’s a slightly dangerous question to start with!” blithely exclaims Fedor Litovchenko, as we kick off our allotted interview time. “Well, I suppose the official answer is that I’m a model, which I’ve been doing for around eight years, first in Russia and then internationally.” But Litovchenko never really felt that what he’s done professionally says that much about who he is now, so the question did put him in a challenging spot. “I spent a big part of my life playing tennis, and now I’m exploring acting, directing and making my own videos,” he shares. “I’m still figuring out what actually feels like mine, and I think I’m quite comfortable admitting that,” he says.

Fashion is really about what one exposes itself to, what one’s curious about, and the references one collects over time. Litovchenko was always into music and artists, which had a close affinity to fashion’s broader embodiment of style and identity. “I obviously copied them, their clothes, their image, the way they carried themselves,” he says. “I think those were probably my first real references for how I wanted to look.” The Russian model grabs five with LE MILE’S Fashion Market Director, unpacking all-things career, systemic complexities and future hopes. You’re welcome.

Fedor wears a total look by VALENTINO

Fedor wears a total look by VALENTINO and shoes by CHURCH’S

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

Fedor Litovchenko
Honestly, mostly by chance. A lot of the bigger turns in my life have come from external circumstances rather than some grand plan. But looking back, I don’t think it was completely random either. Even at school, I cared quite a lot about clothes and how I presented myself. I was always really into music and artists, and obviously I copied them, their clothes, their image, the way they carried themselves. I think those were probably my first real references for how I wanted to look. I come from a very sporty family, and I was an athlete myself, so that world was pretty far from fashion. But I think part of me always wanted to stand out, while probably also wanting to belong. And maybe, in some way, I was trying to prove something to other people through all those external things. So fashion was never something I consciously planned. But looking back now, I can see that something in me was already moving in that direction.

Who influenced you the most while growing up?

When it comes to fashion, most of my influences actually came from music rather than fashion itself. When I was younger, it was Kurt Cobain, AC/DC, Joy Division. Later, when I got into hip-hop, it became A$AP rocky, Kid Cudi and Virgil Abloh. From there I started going backwards and discovering people like David Bowie, Jim Morrison, and all these different references from the 1970s and 1980s. But I think the main thing is that I’ve never really had one person who influenced me the most. It can be a certain period in history, a country, a film, a musician, even just a very specific image. One day I can be obsessed with this very American look, denim, a big belt, cowboy boots, and then something completely different takes over. So for me, fashion is really about what you expose yourself to, what you’re curious about, and the references you collect over time. And when it comes to mentality rather than style, then definitely my mum and sport. My mum became an olympic champion in 1992, and I spent a huge part of my own life playing tennis. I think a lot of my discipline and the way I approach things comes from that.

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

I’d probably say the biggest turning point came when the war began. Until then, most of my modelling career had been in Russia, and that moment completely changed the direction of my life. I came to Milan about four years ago without really knowing what would come from it, and that was when my career started becoming international. So again, it wasn’t some perfectly planned decision. External circumstances changed the direction and I just followed it. Looking back, that was probably the moment that shaped my path the most.

Fedor wears a total look by DOLCE&GABBANA

Fedor wears a total look by DOLCE&GABBANA, shoes by CHURCH’S and a tie from the archive

Fedor wears a total look by TOM FORD

Fedor wears a jacket and pants by EMPORIO ARMANI, shirts by IM MEN and CELINE, a sweater by EXTREME CASHMERE, a skirt by MARCO PESCAROLO, shoes by PREMIATA and a tie by HARMONT & BLAINE

Fedor wears a jacket and pants by EMPORIO ARMANI, shirts by IM MEN and CELINE, a sweater by EXTREME CASHMERE and a tie by HARMONT & BLAINE

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

I think that’s almost part of the philosophy of modelling itself. Everything is unstable, a lot depends on timing and luck, and one moment can completely change the direction of your career. If you want to work professionally in international modelling, I don’t think there’s really another option. Learning how to deal with rejection, pressure and quieter periods is simply part of the job. In a way, I see it as a professional responsibility. For me, what helps is actually quite simple: friends, spending time with people I trust, a lot of sport, sometimes enough to physically exhaust myself so I stop overthinking, and then creativity in different forms. Books, music, films, making things. I think the way you spend your time matters a lot. The right kind of time can soften a lot of the mental pressure that comes with this industry.

What drives you, beyond fashion?

I think the main thing is cinema and filmmaking. About three years ago, my ex-girlfriend gave me a camera, and that was probably the beginning of it. I started filming quite casually, and over time it turned into short films, small commercial projects and this way of expressing how I see things through short videos. Since then, I've become much more interested in actually studying filmmaking, directing, acting, storytelling, and the way music and images work together. I’m still very much at the beginning of it, which is probably part of what makes it exciting for me. And more broadly, I think what drives me is the desire to make something that feels like my own. Modelling is often about becoming part of somebody else’s idea. With filmmaking, I'm curious to see what happens when I'm responsible for the idea itself.

Final hopes/thoughts and reflections you’d like to share?

I think one thing I'm starting to understand is that it’s important to be interested in many different things. Not because it necessarily makes you a better person, or more successful, but simply because one day you can have work, people, plans, everything around you, and then suddenly you’re alone with yourself. And I think that’s where it really matters whether your own inner world is interesting enough for you. Whether you can read, watch films, make something, learn about music, history, art, another profession, another culture, just keep discovering things. For me, that’s probably one of the most important things in life, to become someone you actually enjoy spending time with. And if you can genuinely enjoy your own company, I think that gives you a very strong kind of happiness.

Fedor wears a jacket by BRIONI, shirts by CALVIN KLEIN and BRIONI, pants by DIOR and shoes by RANDOM IDENTITIES by Stefano Pilati

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
contributing fashion editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator FILIPPO CANCELLIER
make up DIANA DJURDJEVSKI via STUDIO REPOSSI using MARE SKINCARE
hair FABIO CICERALE via ETOILE MANAGEMENT
model FEDOR LITOVCHENKO via INDEPENDENT MANAGEMENT
photography assistant ANTONIO CROTTI
fashion assistants SIMONA VERNAZZA + CHIARA DE BONIS + LOUIS VEDERE + ISADORA COSSARI + IOLANDA BANDINI + CAROL GARLANDO + TIYA CHEHAB

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Duncan Yair on Fashion’s Feel-Good Spirit

.digital

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

written + interview CHIDOZIE OBASI

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

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

Duncan wears total look by MOSCHINO and shoes by AQVA ALTA

Duncan wears total look by MOSCHINO

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

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

Who influenced you the most while growing up?

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

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

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

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

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

Duncan wears jacket by AGNONA and shirt by DIOR

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

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

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

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

Duncan wears coat by DRUMOHR and a blazer by CARUSO

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

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Aaron Shandel - Fashion, Ferragamo and Life Beyond Modelling

.cover story

Past Imperfect with Aaron Shandel

written + interview CHIDOZIE OBASI

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

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

Aaron wears a total look by VALENTINO

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

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

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

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

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

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

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

How has the past year been for you?

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

Aaron wears a total look by DIOR

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

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

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

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

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

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

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

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

Aaron wears a total look by MIU MIU

Aaron wears a total look by TOM FORD

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

Oh, not really.

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

How have you dealt with rejection, over the years?

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

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

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

What do you find pleasure in, outside of modelling?

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

Do you have any major aspirations for your future?

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

Any hopes? Final thoughts/reflections?

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

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

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

Aaron wears a total look by GUCCI

Aaron wears a total look by LORO PIANA

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

Aaron wears a total look by PRADA

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

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

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

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

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

Aaron wears a total look by DRIES VAN NOTEN

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

credits
all Images (c) LE MILE
and Cosimo Buccolieri

The Art of Being Riccardo Simonetti

.cover story

The Making of Riccardo Simonetti

written + interview ALBAN E. SMAJLI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Riccardo wears a total look by NOWRUBI.

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

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

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

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

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

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

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

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

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

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

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

Riccardo wears a total look by WILLIAM FAN.

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

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

credits
all Images (c) LE MILE
and Jonas Huckstorf

Langston Uibel - Acting, Identity and Louis Vuitton FW26

.cover story

Langston Uibel and the Reason Behind the Role

written + interview ALBAN E. SMAJLI

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

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

coat, jacket + ring LOUIS VUITTON

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

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

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

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

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

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

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

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

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

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

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

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

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

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

earring, ring + bracelet LOUIS VUITTON

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

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

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

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

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

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

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

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

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

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

coat, jacket, trousers, shoes + eyewear LOUIS VUITTON

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

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

Oh, not really.

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

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

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

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

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

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

Oh, I don’t know about the range.

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

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

jacket + earring LOUIS VUITTON

bag LOUIS VUITTON

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

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

credits
all Images (c) LE MILE
and Federik Rügger

Inside WHITE Milano’s September Edition 2026

Double-click to edit...

.digital

WHITE Milano Beyond the Fashion Collections

LE MILE

WHITE Milano expanded its September 2026 edition beyond clothing, adding dedicated spaces for categories that fashion retailers increasingly sell alongside it. Held from September 24–27 in Milan’s Tortona district, the fair brought together 450 brands, 24 per cent more than the previous September. The expansion changed what buyers could source within a single event, with home products and beauty joining the fashion collections.

Elly wears a skirt and jacket by MISENITHE and shoes by MARCELL PUSTUL

The new More section made that shift concrete, presenting products from fragrances to table accessories. Poltronova participated with the Ultrafragola lamp-mirror, designed by Ettore Sottsass in 1970, introducing an established design object into a fair built around contemporary fashion. For retailers whose stores already combine clothes with objects for the home, this widened the buying remit without requiring a separate design-fair visit. WHITE organised the enlarged offering across additional venues and sections, giving accessories their own Nuvola area and grouping denim with streetwear in Box. On The Beach brought together around 100 resortwear collections. This arrangement gave buyers dedicated areas for individual categories, while the fair’s continuing collaboration with Cosmoprof connected the expansion into beauty with an existing specialist trade network.

The edition also opened selected spaces and activities to consumers, extending access beyond the professional buying audience. International buyers accounted for 40 per cent of attendance, according to figures supplied by the organisers and reported by Modaes, with their number rising 15 per cent year on year. Participants included Selfridges and Mytheresa, placing independent labels before retailers with international distribution.

Photographed during WHITE Milano by Matteo D’Agostino, LE MILE’s accompanying editorial presents our selection of brands to follow from the September edition. Fashion Market Director Chidozie Obasi and stylist Edward Pusca selected pieces by Kimhēkim, MISENITHE, Marcell Pustul, Batakovic, Decorina Hats and Bussi Gems.

Elly wears a dress by BATAKOVIC, a hat by DECORINA HATS and an earring by BUSSI GEMS

Elly wears a total look by BATAKOVIC and shoes by MARCELL PUSTUL

Elly wears a total look by KIMHEKIM

Elly wears a total look by KIMHEKIM and shoes by MARCELL PUSTUL

Elly wears a total look by MARCELL PUSTUL

Elly wears a total look by KIMHEKIM

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seen MATTEO D’AGOSTINO
fashion market director CHIDOZIE OBASI
fashion EDWARD PUSCA
fashion coordinator FILIPPO CANCELLIER
make up & hair CATERINA FICO
model ELLY MERKL via MONSTER MGMT

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

The Parts You Haven’t Met Yet with Araloyin Oshunremi

.digital

Araloyin Oshunremi and the Parts You Haven’t Met Yet

written LEMILE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Araloyin wears floral knitwear, blue denim and boots by DIESEL

What kind of note from a director actually helps you?

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

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

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

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

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

Araloyin wears a jacket and vest by RALPH LAUREN

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

credits
all Images (c) LE MILE
and Julien Lentin

A Lot of Feelings, No Solutions with Tove Lo

.digital

TOVE LO
A Lot of Feelings, No Solutions

interview + written THINLEY WINGEN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tove Lo wears a dress by Vautrait, bracelet is ARCHIVE

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

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

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

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

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

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

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

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

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

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

watch
behind the scene

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

credits
all Images (c) LE MILE
and Szymon Stepniak

Kieron Moore Interview | From Boots to Poetry, Between Character and Self

.perspectives

From Boots to Poetry With Kieron Moore

written + interview ALBAN E. SMAJLI

Kieron Moore begins 2026 with a sharpened profile. The British actor reached a wider global audience through Boots, the recent Netflix production in which he plays Slovacek, a volatile young American shaped by environment and impulse, marking his first on-screen American role at a moment when his career is expanding across genre. The series aligns with further shifts, including drama in Blue Film, horror in Crave, and an upcoming poetry publication that extends his practice beyond performance.

Born in England and trained through years of competitive boxing before fully committing to acting, Moore brings a physical discipline that continues to inform his work. Boxing, he has often said, structured his thinking. On screen, that control translates into characters who oscillate between restraint and eruption. In Boots, Slovacek operates through bravado and emotional bluntness, yet Moore anchors him in recognisable vulnerability. The role positions him within a lineage of young British actors crossing into American television at scale, navigating accent, cultural nuance, and expectation.

Across recent projects, Moore gravitates toward morally complex material. Blue Film explores ethically charged terrain; Crave leans into horror’s heightened emotional register. In parallel, his photography and poetry suggest a sustained interest in self-examination. A recurring thread runs through all of it, identity as construction, negotiation, and ongoing revision. His own words echo that stance. “Kieron is just an idea,” he reflects, framing the self as plural and in motion.

Alban E. Smajli
Let’s start with Boots. What was it about this role that made you say yes and who is your character in Boots at his core?

Kieron Moore
Boots was my first opportunity to play an American on screen. That in itself was quite the incentive. I had something to prove. If I want to have the career I desire, I have to reach audiences near and far. Boots was a real opportunity to deliver something people had not seen from me. It seems to have worked too, some of my favourite interactions are people mind blown that I’m British.

Slovacek was a misguided young man, moulded by his environment and upbringing. I fell in love with the idea of his unseen potential. What lurks beneath all that testosterone and bravado. So many young men are counted out, and disregarded of before they have a chance to shine. Sometimes all we need is a little bit of direction and discipline to find our footing, and above all, love. I think Boots gave us a real insight into how people from all walks of life can come together, and how our differences are outweighed by our human similarities, if we just pay attention and give them the space to bloom. Growing up where I grew up, in the environments I did, I knew first hand boys like Slovacek. I’m known for being quite sentimental, and I seek that in all my jobs, this one was kind of a healing experience for me, how to understand everyone that bullied me growing up.

Also, one of my best friends was already booked for the show, every job comes with memories to cherish but that made this one extra sweet.

What did the role in Boots ask you to question about yourself?

I don’t really know how to answer this, it’s unheard of for me to be at a loss for words aha, but answering in hindsight is tough. I’ve changed so much since we filmed Boots, and further since its release. Who was I when I played Slovacek?

I always say it’s impossible to play similarities with characters, if we have anything in common I don’t need to lean into it. So I focus on the differences, and with Slovacek there were a lot. What fascinated me was his wiring, this absolute balls to the wall brutishness, his ability to say what he was thinking regardless of consequence, yet underneath that was just a kid trying to make sense of it and survive.

When I review him now, it reminds me that somewhere deep in us all we have a desire to connect. We just go about it in different ways. And I question whether I am being patient and understanding enough to notice that in others. It also highlights how timid I can be. I do not desire to be anything like him, but a fraction of his confidence and fearlessness would be powerful at times.

Kieron wears jumper and trousers by BOSS, shoes by PAUL SMITH and belt Fashion Archive

Kieron wears shirts and ties by FURSAC and ear cuffs by ALT PARIS

You’ve spoken about boxing shaping you for years. Did that physical discipline influence how you approached Boots?

The discipline I acquired from boxing has influenced everything that I do in life, and always will. It’s drilled into me. I approach my life through an athletes lens, and roles are no different.

With Slovacek though, I drew from less disciplined individuals I had been surrounded with in gyms growing up. The kids who had raw, undeniable talent but a defiance to them. An uncontainable roguishness. For the first half of Boots I got to be naughty, Slovacek is a naughty kid. And that was so fun, to break away from all the refinement I had been taught.

When you prepare for a role, do you work through language first, or through feeling?

I guess they fight, good wiring will always inspire deep feeling. But I have a lust for language and what works for me is reliance on the script. How much information can I gather from what is in front of me? I’ve found feelings can’t be trusted in preparation. They’re fleeting. I never want to arrive on set knowing how I should feel, it’s in the word isn’t it, feel. I want to feel it out as it’s happening.

I use the language to gather as much information as I can, to deepen my understanding. Then I hear action, surrender, and trust that the feelings will figure themselves out.

The words, the words, the words. ‘The limits of my language are the limits of my world’ — nothing can affect me when it matters if I don’t have a deep understanding of the text, and hopefully with that comes further emotional capacity.

Blue Film moves into uncomfortable territory, so what attracts you to stories that don’t offer easy moral ground?

Life is hard. The arts can offer consolation, an escape, or highlight the difficulties that exist. I believe we can develop without necessarily experiencing everything first hand, which is why empathy matters. In listening to others’ accounts and stepping into these characters, I broaden my horizons, test my boundaries, and pick at my conscience.

We only know the limits of our beliefs if we question them, and in my view the questions are more important than the answers. We do not grow in comfort. If we ignore things and leave them in the dark, they fester and become uncontrollable. We have to attack life’s difficulties head on. I’ve said this many times about Blue Film, but it’s the truth. I was terrified of the subject matter and scared of being insufficient in that role, but nothing scared me more than the idea of another actor doing it. That is attractive to me. Fear. You can’t be brave unless you’re scared.

watch film

Kieron wears full look by AMI and ear cuffs by ALT PARIS

Kieron wears total look by LOUIS GABRIEL NOUCHI and ear cuffs by ALT PARIS

What drew you toward horror in Crave?

I want to do all the genres. I read the script and fell in love with the idea of playing Eric. It’s always about the character for me, what can I bring to it, what does it give me in exchange? Horror gives a heightened sense of feeling, and I wanted to see if I had the minerals. Eric is less subtle, borderline immoral, and I wanted to see if I could make people sympathise with someone like him.

I also felt drawn to the directors, David and Justin. When we first connected, I felt seen. They believed in me immediately and gave me the space to make Eric my own. Hopefully audiences enjoy what we’ve created.

What happens to your own sense of self after inhabiting different identities again and again?

Not to sound crazy, but Kieron is just an idea. There are different versions of me in different perspectives, and all of them are right. I can’t control them, nor do I wish to. I’m changing day by day, each character just speeds that up.

All I know is my intention, to come out of this as a better person. A more understanding, patient, empathetic and kind human being. I’m getting to know myself, and that is a gift.

You also photograph to “capture time.” Does photography change the way you observe people when you’re preparing for a role?

I like trying to make moments tangible. That’s where my love for photography comes from. I take polaroids so I can hold a memory in my hands. Life is lived in the between, and a photograph can capture that and fill it with feeling. We project onto it. We make it ours.

I’ve never really drawn a link between photography and preparing for characters. Polaroids have always been a very Kieron thing, maybe an anchor for myself through it all. But acting is just anthropology, a deep interest in human beings. I’m a thief when it comes to preparing a character. If it’s an expression or a quirk in someone’s behaviour, whatever is interesting, whatever is human, I’m banking it for future use.

You’re preparing to publish your poetry — is there a poem you would be willing to share that connects to our theme of IDENTITY?

Ah, testing me … I’m keeping a lot of poems under wraps but I have attached two shorter ones that may or may not fit the theme, they aren’t very strong though. I can’t give the goodies away yet!

Kieron wears jacket and shorts by LUDOVIC DE SAINT SERNIN and ear cuffs by ALT PARIS

the red moon looks up at me tonight
i look down at myself
all the things I said no to
made me who I am
I used to think they made me little
but now I realise they make me Moore

I drift through clouds of colours again
street lights
car lights
that red moonlight
no lights inside the people
but i’m connected to them for once

I look at them with smiles
I don’t want to be held
or to hold
or to be close to anyone
i feel myself again

touch departed
significantly hardened
but soft again

something’s changed
or something has been reclaimed
I don’t know which I prefer to call it
I just try to feel it for once
i don’t try to coin it
for once I just feed it

falling forward my feet carve my way
down the road i’ve walked many times before
these new eyes see something
I wish I saw sooner

I see past
past myself
past all of the things I thought I wanted

poem by Kieron Moore

Kieron wears cardigan by CAMPER LAB, trousers and shoes by AMIRI and necklace by ALT PARIS

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actor KIERON MOORE
photographer LOUIS TERAN
stylist SIMON NGO NDJOCK
set design EL MEHDI LARGO
make up NAFIK BOUCHAREB
nails MAHARA DIARTE-ZEROUALI
casting director MARVIN LATOURNALD with MODELS LANE
producer MARIA SHAKOLINA
special thanks to MEUTES STUDIO

credits
all Images (c) LE MILE
and Louis Teran

Lisa Vicari on Learning to Trust Herself

.perspectives

Inside the Moment of Action with Lisa Vicari

written + interview ALBAN E. SMAJLI

Lisa Vicari’s work takes place inside unfolding situations. Her roles often require immediate decisions and sustained attention. This has informed how she approaches acting and how she understands responsibility within a scene.

In this conversation, Vicari reflects on shifts that developed gradually and remained private. She speaks about intuition as a practice that involves awareness and self-questioning, formed through experience over time. Acting is described as a way of staying present within uncertain situations. The conversation that follows focuses on decision-making, attention, and responsibility, tracing how these elements shape her work in practice.

Gucci La Famiglia It Girl

Alban E. Smajli
When you think about Hijack season 2 and where the story takes you, which part of this role challenged or expanded your sense of self the most?

Lisa Vicari
One of the most challenging and transformative parts of playing Clara was stepping into a situation where she has absolutely no preparation, no roadmap. She’s thrown into this extreme crisis that unfolds right in front of her eyes, and she has to respond in real time. I loved exploring that moment-to-moment evolution in her. Clara doesn’t start this season as someone who believes she’s capable of handling something so high stakes. But she’s forced to grow into the challenge, to tap into instincts she didn’t know she had.

Identity in film is often shaped by expectation, and sometimes by resistance. Where do you locate yourself between those two forces?

I think I exist somewhere in the tension between the two. Expectation can be a powerful guide. It pushes you to rise to the level a story or a character demands. But resistance is just as important, because it’s often where originality and honesty live. In my work, I try to listen to both.

Which moment in your journey so far felt like a shift — not publicly, but internally?

I think the biggest internal shift happened in my early to mid-twenties, when my perspective on life finally broadened. It felt like my frontal lobe had clicked into place and suddenly I was seeing the world in a more outward, less self-centered way. I really welcomed that shift. It made me reflect more intentionally on my choices, but it also brought a sense of calm. The understanding that not everything is within my control, and all I can ever do is make the best of the situation I’m in.

You’ve spoken in the past about intuition. How does intuition guide the choices you make now?


I love being led by intuition, but only once I understood how to listen to it. The tricky part is that sometimes what feels like intuition is really fear in disguise. So these days, I try to check in with myself - is this a warning or am I just going outside of my comfort zone? The more honest I am in that process, the better my decisions become.

When you look ahead, what kind of cinema feels necessary to you?


To me, all cinema is necessary. Whether it’s intimate or epic, experimental or classic, it all contributes to how we understand ourselves and each other. Cinema, like all art forms, is a mirror to the time we are currently living in. The challenges our society faces, the voices that need to be heard. The more diversity we have in the stories being told, the better.

Gucci Jackie 1961

Gucci La Famiglia Look La V.I.C.

What quality in a character makes you want to follow her, even before you agree to play her?


I don’t chase specific qualities, I follow whatever feels true. If a character feels authentic, I’m drawn to her. And I like choosing roles that differ from one another, I don’t enjoy repeating myself.

The migration of major film actors into streaming series has changed the rhythm of storytelling for everyone. When you choose your projects now, what draws you more, the long arc of a series or the distilled focus of a film.

I’ve been working more on series in the past few years, and it feels like a real privilege to spend so much time with a character, exploring them over a long period. But there’s also a unique beauty in films, where you glimpse a shorter moment or a pivotal event in a character’s life. I love both ways of working, and I hope to do more films again in the future.

Is there a story or genre you feel you haven’t touched yet, but you keep circling around it privately?


I’m drawn to intimate films that explore relationships, inner worlds, love, and the quiet complexities of life. Cinema from the Nouvelle Vague or Scandinavian filmmakers, in particular, has always fascinated me. It’s the kind of storytelling that truly excites me, and I hope to explore it one day.

Gucci Jackie 1961

Gucci La Famiglia Look La V.I.C.

Gucci La Famiglia Look Direttore

Gucci Bombshell Heels

Gucci La Famiglia Look Direttore

For our cover shoot you chose to move fluidly between GUCCI’s womenswear and menswear under Demna’s first collection. What made this fluidity feel right for you?


Over time, the line between menswear and womenswear has become more and more blurry, and fortunately, rigid gender roles are fading too. I love experimenting with menswear. Suits, especially, have become a staple in my wardrobe for evening events, they’re the pieces I reach for when I want to feel particularly confident.

If you imagine your identity five years from now — not career, but identity — what do you hope remains unchanged?

A big part of my identity is shaped by the people I surround myself with - my friends and my family. I hope these connections remain in my life and continue to challenge me, love me, and embrace me as I grow.

Identity quick fire, no commas


- a place you return to in your mind: the Alpes

- a feeling that shaped you: Familiarity with the people I love

- a memory you protect: If I protect it, I keep it to myself

Work quick fire, no commas

- a role you still carry: all of them

- a line you never forgot: “Wir passen perfekt zusammen.”

- a character you wish you could meet: Natassja Kinskis’ character Jane from Paris, Texas

Gucci Jackie 1961

Gucci La Famiglia Look Introverso

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featuring talent LISA VICARI
interview + editor ALBAN E. SMAJLI
photography LOTTE THOR via XO STUDIO
styling SASKIA JUNG
make up DENISE GRUNDMANN
hair DENNIS BRANDT
photo assistant SOPHIA BORZILLERI
styling assistant LENA LAUER
retouch NITTY GRITTY BERLIN

Lisa Vicari wears pieces from Gucci’s first collection under Demna.
In collaboration with GUCCI. All mattresses and pillows by Bett1.

credits
all Images (c) LE MILE
and Lotte Thor

It's About Finding Perspective with Ted Pullin

.digital

Life According To Ted Pullin

written CHIDOZIE OBASI

Striking in expression and poignant to the core, there are not many talents whose presence and resonance sprawlingly stretch beyond fashion’s mere fixtures like that of Ted Pullin. Raised in the countryside of Oxfordshire, his personality telegraphs into two contrasting sides. “On the one hand I’m very social, I love people, and get so much energy from being out with my mates,” he confesses, “on the other, I need time alone, and one can see this in my hobbies.” Pullin’s dearest pursuit is performing stand up comedy.

The pressure of entertaining and the interactions with the audience are hugely extroverted,” he says. One of his other passions is fishing, which is as far away on the spectrum of social activities as possible. “I fish to have time alone amid nature, and I rarely let anyone else come along; it would defeat the point otherwise,” he says. “It gives my brain time to do whatever it wants, its proper space to think.” As the middle child, he deems his two brothers “the best friends in the world.” But there’s more to that story. “We lost our father eleven years ago, which meant our only real male influence in our lives were each other,” he shares, with unguarded honesty. “If the bond of brotherhood was strong before, going through that loss together has made it completely indestructible. I’m a proud university drop out, and that was the best decision I’ve ever made: there were a million reasons why I decided to leave, also a couple of reasons to stay,” he says. “My life would look so different now had I chosen to stay, but I wouldn’t change a thing about it now.” Pullin’s a sports pundit, with rugby being chief among them. “It’s given me a framework for life now that influences my decision making every day.”As for the rest? You’ll probably read it here first. You’re welcome.

Ted wears total look by LORO PIANA

Chidozie Obasi
How has the past year been for you?

Ted Pullin
In a word: explorative, both in a literal and geographical sense, as well as more inwardly. 27 has felt like a year of figuring the world, and my place in it, out. How can I build a world around me that looks the way I want it to for both myself and my future family? What am I putting my time and energy into and why? Am I happy? And is that happiness intrinsic or extrinsic? People talk about your late teens and early twenties as the period of your life where you start to figure things out, but I’m learning more and more that there isn’t an end to that ‘figuring out’ process. This year has topped the charts in many metrics for me. It's been the most fun, the scariest, the most exciting, most tiring, and the year in which I’ve taken the most risk. I’m aware not all of those sound positive, but it's all added up to this being arguably the best year of my life so far.

Could you cite the biggest influences or references you had and looked up to, while growing up?

Honestly, the biggest influence on who I am today comes from the sport of rugby. It instilled a moral framework in my life that has been invaluable to me every day, even though I was forced to step away from the sport over ten years ago. I think sport in general is a great teacher, but rugby in particular, both on and off the field. If I were to detail everything I’ve learnt from the sport here then this would be the longest issue of any magazine published in the last ten years; but exposure to the combination of respect, discipline, taxing physicality, comradery, nuanced and subtle problem solving amongst violent (and often painful) chaos, healthy hardship and the need to just ‘get up and go again’, from such a young age has shaped my approach to life today. It's very rare that I come across an issue in life more immediately stressful than having an angry 120kg Samoan man running at me full tilt, with the sole intention of putting me on my arse. And the solution to this, although very clear, is not one that many would find massively appealing. That in particular has been a helpful lesson of late. Tackling problems head on (pardon the pun) is always the best course of action, and is also rarely as painful as you’d expect. Grit your teeth and get on with it.

Any special activities you’ve taken on as an adult?

I started doing stand-up comedy a few years ago and I’ve become completely obsessed with it. I grew up watching comedy with my dad as he was a writer and producer for some major players in the TV comedy show space (one of his BAFTA trophies is in my bathroom), so it was only a matter of time before I began writing and performing myself. I love it for so many reasons. The brutality of it is amazing: something is either funny, or it's not. There’s also a subtlety to it, you can take a joke from terrible to hilarious just by changing one or two words, or the pacing, or the intonation. The feeling of making a room full of strangers belly laugh with material that I’ve written and performed myself is my favourite thing in the world. And when a joke doesn’t land, it becomes a problem solving exercise. What can I change about the wording, the delivery, the structure of the joke? It keeps my brain working in a fun way off stage as well. I get ideas from absolutely anywhere. It could be a conversation I am in or overhear, something I see at an airport or while driving, or something might simply hit my brain out of nowhere that I’ll think is a good premise for a joke. Lastly, the only true way of practicing is by actually getting on stage and performing. You can say your material in the mirror over and over, imagining laughs where you’ve planned them to be, but until you get under the spotlight and present what you think is funny to an audience of strangers, you don’t truly know if you’ve solved the puzzle.

How did you fall into the fashion space?

When asked ‘What do you want to be when you grow up?’ I rarely had a clear answer. In my late teens my scope somewhat narrowed to a career as a rugby player, but once I was forced to give up the game that I love through injury (7 concussions in 2 years is enough to make any developing brain reconsider its path) I was left wondering again. The one thing I did know was that whatever I ended up doing, I wanted to be doing it for myself. I did not want to be employed. Shortly after stopping rugby I was approached by the parents of a child that I went to primary school with, asking me to come into the agency that I am currently signed with to have some photos taken. After two test shoots and a magazine editorial, they decided that I wasn’t a good fit for their agency, which was a disappointment at the time. It had, however, left me with something of a portfolio which I could take to other agencies with a view to getting signed there. I’d enjoyed my few days working as a model, although making the move from one of the most testosterone fueled environments possible (the rugby world) to essentially prancing around in my underwear for a living, in the space of two weeks was a major shock to the system. I recognised that this was something I could turn into a full time career, and that also checked the box I had of working entirely for myself. So I took my photos to another agency in London who signed me on the spot and became my representatioon in modelling for the first five years of my career.

When did you realise you wanted to make a professional career out of it?

Modelling ticked the boxes of what I wanted in a career. Self-employment, competition, exploration, freedom, and most of all: not having to sit at a desk for 10hrs a day. I enjoyed it from the start. I am fascinated by people, and it became very clear from the off that this industry houses just about every extreme of every personality type you can think of. That's an arena I wanted to be operating in.

Ted wears blazer by MICHAEL KORS, shirt by RANDOM IDENTITIES by Stefano Pilati, and pants by N21

Could you unpack any minor or major downturn you encountered?

Well, my dad killed himself when I was sixteen, which wasn’t that cool. Obviously at the time, and for a long time afterwards, life was rough. That might be the strangest age to lose your father as a boy because you’re starting to become a man, and learn what it means to be one, and the main teacher and role model for me would have been my father. Now, I wouldn’t say that going through that was a positive in many ways, but it has left me with a few things. Firstly, perspective. When you’ve had to deal with the news that your father has died suddenly, it makes things like exam stress or break-ups feel like an absolute cakewalk. It taught me the importance of setting a good example for those who look up to you. My younger brother was only thirteen when we lost our father, and with my older brother away at university, I had to take up a semi-paternal role in his life. I found the best course of action was just to lead by example, something I’d also learned from captaining various rugby teams over the years. I honestly believe that everyone will learn the same lessons over the course of their lives. Everyone will lose a loved one at some point, and learn the lessons that come with that level of grief. It's just that some people are forced to learn them earlier than others.

Oftentimes, being a model is marked by an emotionally-wrenching component that takes a toll on mental health: having the perfect body, meeting the highest standards and, lest we forget, being at one's best at any given time. Have you had any moments of self-doubt, when you felt like abandoning your career or felt belittled in some capacity?

Honestly, I feel like this industry gets a bad wrap from those who aren’t involved. I think fashion is seen to normalise Devil Wears Prada levels of sass and bitchiness, when in reality that could not be further from my experience. I think self-doubt would come up whatever I chose to do, and I don’t see it as a bad thing. We set standards for ourselves and it's important to strive to meet those standards. I see self-doubt as a good sign that those self-imposed standards are set at a good level. I love exercise, so the ‘perfect body’ goal is one I’d be striving for anyway, and having been training for 15 years now, I’ve been able to get as close to that as I need in a way that doesn’t feel restrictive at all. Being on one's best form at any given time is a skill everyone should be trying to grasp. I don’t think there’s a facet of life where that isn’t useful!

How have you managed to stay afloat, in such a frantic industry?

I’ve learnt that success in this industry is just as much about who you are as a person as how you look on camera. At the end of the day you can be the most photogenic person on the planet but if you’re a nightmare to work with, you’re not going to get booked, or at least you’re going to struggle to get repeat clients. Modesty, and respect for the professional creative process as a whole are so important. Just because, as a model, you’re the one on camera, you’re the one appearing in the final product, you’re hilariously referred to as the ‘talent’ on set, you have someone fixing your hair for you, at the end of the day you’re just another cog in the creative machine. So thinking you’re the most important is going to get you nowhere. It's a team game, played for the team.

You’re also very into traveling! Name your top three places you’ve visited and that took your breath away.

Australia, specifically Sydney, where I spent the first five months of this year. Sydney has everything. The Australian lifestyle is one that I’ve fallen in love with. In the UK, most of us get up, go to work, then head straight back home. That’s not the case over there; people are up for sunrise, and have more often than not spent an hour or two doing something before work, whether it's going down the beach, running, walking. Work becomes just one part of your day over there, not the main event! I arrived on December 2nd 2025 and was only meant to be there for 6 weeks. I stayed for 6 months, and really the only reason I came home is that I’d promised my mum that I wouldn’t miss her 60th birthday. Secondly, Los Angeles. I couldn’t quite believe just how much I loved going to LA for the first time. Having grown up in the countryside I need to be around nature, so the thought of such a booming ‘bright lights’ type of city wasn’t hugely appealing to me going in. I’ve worked in more than 20 different countries and visited nearly 40, but America, and particularly LA was the first place that I got to and thought ‘I could see myself living here for a while’. Which was surprising considering how very different it is to Oxford. The energy there is crazy, there’s so much going on, it almost feels like you’re walking around in a video game. Lastly, Mexico. I spent two weeks there with my two brothers in 2021. It was a rare trip abroad where it had nothing to do with work. The food, the people, the scenery are all incredible. I loved it so much that I actually went back on my own two weeks later.

How do you cope with rejections?

Honestly, having been working full time as a model for 10 years now, I’ve been rejected so many times for jobs that emotionally it barely moves the needle now. I never saw rejection as losing, or as failure, it's just a sign that something about what I offer isn’t in line with what that particular client wants at that time. You’ve just got to crack on.

Ted wears blazer, pants, and ties by DSQUARED2, shorts by MSGM, and shoes by BEPOSITIVE

Ted wears knits by MICHAEL KORS and EXTREME CASHMERE, shirt by CANALI, pants by DURAZZI, and shoes by CHURCH'S

Ted wears blazer and pants by SETCHU, shirt by LABO.ART, shoes by CHURCH'S, and ties by LORO PIANA and BRUNELLO CUCINELLI

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photography ANTONIO CROTTI
fashion market director + stylist CHIDOZIE OBASI
contributing fashion editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator ALBERTO MICHISANTI
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair FUJIWARA TAKAHASHI
model TED PULLIN via STORM MODELS
fashion assistants SIMONA VERNAZZA + DAIANA EDOSA + SALMA + ZEYNEP PEHLIVANOGLU

credits
all Images (c) LE MILE
and Antonio Crotti

Federico Piccin on Sport, Style & Quiet Confidence

.digital

Why Federico Piccin Never Stopped Moving

written CHIDOZIE OBASI

Blending warm-tinged aestheticism with sporty nuances, 25-year-old Federico Piccin—born in Treviso and hailed in Milan—is grateful. “It’s been an incredibly stimulating year,” he tells LE MILE’s Fashion Market Director, Chidozie Obasi, as he settles in. “I started this journey on social media, and I’m really happy with how it’s going, because it opened up some genuinely exciting opportunities.”

Beyond the content itself, what’s meant the most to him has been the experiences and the people met along the way, both professionally and personally. Piccin, who’s resided in Milan for the past seven years and took a first plunge due to his Engineering degree, works in consulting while building a presence on social media around lifestyle and fashion communication. “It’s a space that keeps pushing me to grow, meet people from completely different worlds than the one I trained in, and that contrast has been really enriching,” he shares. Beyond that, sport has always been a huge part of who he is. “I played basketball for most of my life until I stopped two years ago, but I’m still deeply attached to physical activities,” he says. Below, the talent unpacks all-things influences, sports and future hopes. You’re welcome.

Federico wears total look by LORO PIANA

Chidozie Obasi
Could you cite the biggest influences you had and looked up to, while growing up?

Federico Piccin
Growing up, my biggest inspirations came from the world of sport, basketball especially — and the NBA played a huge role in that, even from across the ocean. That’s where my passion for the Jordan world and streetwear culture came from during my teenage years. Over time, that style has evolved: partly through the influence of Milan’s fashion scene, partly out of necessity, since consulting comes with its own dress code. I’ve ended up landing on a hybrid style: something between streetwear and a more elevated, refined look.

As a trained engineer who’s now softly pivoting to the fashion space, how are you navigating the tides of the creative industry?

Consulting keeps me busy full-time, but living in Milan means there’s no shortage of opportunities in fashion if you’re willing to go looking for them. I think my engineering background actually helps here: it gives me a structured, almost analytical way of approaching things, even in a world as fluid as fashion. It’s mostly about organization: fitting everything into the calendar, showing up as much as I can to build a real network in this space, one relationship at a time. And through all of it, sport stays non-negotiable: I always find the time for it, because it’s still the backbone of my everyday life.

Was there a particular moment you realised you wanted to integrate this aspect into your path?

There wasn’t really one single defining moment. That said, meeting Marco Scomparin and joining the MASC agency was definitely a turning point. I started posting more consistently in the final months of 2025, and a few pieces of content ended up getting more engagement than I expected — which made things grow fairly quickly. More than the numbers themselves, though, it's what that gave me: a sense that this could actually become something real, and the confidence to believe I could build a path for myself in this world.

At a time permeated by saturation and excess, how are you hoping to shape your presence in the digital world?

Being one of the later arrivals in this space, I’d like to be recognized as someone put-together and intentional, but who still brings a fun, dynamic edge to everything; that’s what I hope sets me apart from the noise: keeping it fun without overdoing it. And even though my profile leans heavily into style and fashion, I want it to always carry sport, the mountains, and the landscapes I grew up around, which are the environment that shaped me, and it’s still where my core passions live.

You’re also a very sporty guy! Could you talk me through how that passion began?

As a kid I did skiing, tennis, and swimming, until fifth grade, when I finally convinced my mom to sign my brother and me up for basketball. That’s when a real love affair began, one that lasted for years, until I had to step away two years ago because of work. These days it’s the gym and running, but honestly I love sports in general. I like putting myself out there in all kinds of settings, whether it’s competitive or just a casual game with friends. It never felt like a burden; if anything, it’s one of the most grounded, consistent parts of my routine, and it’s what keeps me balanced.

Federico wears cardigan by AVANT-TOI, shirt by CALVIN KLEIN, pants by THE FRANKIE SHOP, and shoes by CHURCH'S

Federico wears a total look by PRADA

How has sport influenced you throughout your life?

Sport teaches you discipline and dedication, especially once you start competing at a certain level, and that mindset carried over directly into university: it was a demanding path, but having already trained myself mentally through sport, I was able to handle the tough periods and stay focused when it mattered. It works the other way around too: the analytical thinking I developed through my studies changed how I approach sport itself. I plan things in a more structured way now, starting from a clear set of conditions and building toward specific goals. The two worlds end up feeding into each other.

What’s the guiding principle you follow when training?

After years of doing sport, listening to my body has become more and more central; an awareness that only grows with time. When it comes to injuries especially, you learn to read the early signs and often catch what might turn into a problem before it happens. The same goes for nutrition: eating well and staying in shape matters to me just as much as training itself. The two run in parallel: sport and a diet that isn’t rigid, but balanced and healthy, are what give you the energy to face everything else with a clear head, whether it’s relationships or work. At the end of the day, we’re machines: maintenance matters just as much as fueling up with the right stuff.

Would you ever consider merging both fields — fashion and sport — to make something bigger in the future?

For sure. I think sports today are shaped more and more by fashion. Just look at running or Pilates, where emerging brands are recognized specifically for the outfits, to the point where the look itself becomes the real center of attention. As a creator who loves both worlds, I find myself right in the middle of that: I have a daily need to train, but also a genuine desire to stand out, to leave a mark. And I think outfit matters in every context now, not just on the runway. Thanks to how technical fabrics have evolved, you can build something clean and stylish that still performs, whether you're in the gym, out on a run, or up in the mountains. That fusion, where performance and aesthetic stop being separate things, is exactly where I’d love to build something bigger down the line.

Any exciting projects in the pipeline?

Nothing set in stone for now, but there’s a real hunger to grow, to do things well, and to keep having new experiences and meeting new people. It’s a genuinely dynamic environment that has a lot to offer from different angles. I won’t rule out that, hopefully not too far down the line, I’d love to have something of my own: something that lets me fully express myself and bring together every side of who I am. But it’s early days for that. Hopefully there'll be a second chapter to this story someday, so stay tuned.

Do you have any future hopes or any final reflections?

A few years from now, I hope to have hit as many milestones as possible, staying ambitious but grounded at the same time. I love my life, and I’ll keep facing it with enthusiasm, trying to make the most of every opportunity that comes my way. I think everyone should throw themselves into the opportunities they believe in without fear. Saying yes to something that scares you is often exactly what ends up changing your life.

Federico wears cardigan by AVANT-TOI, pants by THE FRANKIE SHOP and shoes by CHURCH’S

Federico wears blazer by LOUIS VUITTON, cardigan by EXTREME CASHMERE, shirt by DSQUARED2, pants by RANDOM IDENTITIES by Stefano Pilati, shoes by AQVA ALTA, and tie by CANALI

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photography ANTONIO CROTTI
fashion market director + stylist CHIDOZIE OBASI
contributing fashion editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator ALBERTO MICHISANTI
make up DIANA DJURDJEVSKI via STUDIO REPOSSI
hair FUJIWARA TAKAHASHI
talent FEDERICO PICCIN via MASC AGENCY
fashion assistants SIMONA VERNAZZA + DAIANA EDOSA + SALMA JABRY + ZEYNEP PEHLIVANOGLU

credits
all Images (c) LE MILE
and Antonio Crotti

SOFT WONDERLAND with Maddie Stanley

Double-click to edit...

.digital

SOFT WONDERLAND
*Maddie Stanley

written CHIDOZIE OBASI

There are certain trends that have claimed pride of place in our wardrobes without the gimmicks of internet-breaking campaigns or showy logos, and subtle timelessness is one such example. The word “timeless” is applied so liberally to certain items of clothing that it’s started to lose all meaning.

MADDIE STANLEY SS26 Editorial for LE MILE Magazine Maddie wears cardigan by MSGM, vest by FILIPPO DE LAURENTIIS, shirt by VENERDÌ POMERIGGIO, skirt by MAREA, and shoes by VIVETTA

Maddie wears dress by ETRO and shoes by CHURCH'S

But if there’s one garment deserving of such praise, it’s an item that has put a wealth of styles on the fashion map. More than half a century later, the blazer is no longer deemed “radical.” It is, however, the textbook definition of a classic (today’s offerings comprise those of the high street and the luxury segment, in its manifold iterations). And for good reason. It hasn’t aged since it first became the staple for women about town.

The only difference nowadays is that, pleasingly, there’s a blazer for everyone, whether your personal style leans towards ladylike or something more lo-fi. If you’re not into wear-anywhere sorts, which is perhaps the most well-trodden path into the genre, why not try another “classic” (the structured blazer, rendered in neutrals or checks instead of its customary black, or a single-breasted tailored offering that’s straight-up-and-down sharp)? As you can see from model Maddie Stanley, meanwhile, the blazer is an “outfit coat”, meaning that you really don’t need to worry about what else you team it with. Still musing over it? Head below to peruse LE MILE’s luxury edit, and rest assured to find a result that’s effortlessly polished, every time. You’re welcome.

Maddie wears a total look by VERSACE


Maddie wears bomber jacket by VERSACE, corset by LORENZO SEGHEZZI, skirt by CASELL, shoes by APEPAZZA, and hat by BONFILIO

Maddie wears blazer by RANDOM IDENTITIES by Stefano Pilati, cardigan by MSGM, dress by BALESTRA, and pants and belt by VERSACE

Maddie wears jacket by UNKNOWN ARTISAN, top by MAREA, and skirt by VIVETTA

Maddie wears coat by MAREA and shoes by CHURCH'S

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director CHIDOZIE OBASI
fashion EDWARD PUSCA
head of production JESSICA LOVATO
make up CHIARA GUIZZETTI via THE GREEN APPLE ITALIA
hair KILIAN MARIN via THE GREEN APPLE ITALIA
set designer DAMIANO DI BENEDETTO
model MADDIE STANLEY via ELITE MILAN ELITE MODEL WORLD
photography assistant ANTONIO CROTTI
fashion assistants DAIANA EDOSA + SIMONA VERNAZZA + LOUIS VEDERE + SALMA JABRY

credits
all Images (c) LE MILE
and Cosimo Buccolieri

Tamta Rewrites Greek Pop

.digital

Tamta expands the Grammar of Greek Pop

written ALBAN E. SMAJLI

Tamta operates in a state of permanent transformation. The Georgian-born singer, who built her career in Greece after arriving there as a teenager, has spent years shifting the coordinates of what Greek pop can look and sound like. What began inside a commercial framework gradually moved toward a more self-directed practice where authorship, visual identity and sonic experimentation intersect.

Her recent albums Identity Crisis (2023) and The Villain Heroine (2025) mark a decisive turning point. Both projects step away from formula-driven pop and lean into instinct, control and narrative construction. Electronic textures, sharper visual codes and a willingness to occupy contradiction run through the work.
Tamta’s biography has often dominated the way her career is framed, particularly the story of leaving Georgia and rebuilding a life in Greece. The facts remain part of the context, yet her current work moves beyond origin stories. Identity here becomes a system in motion, shaped through cultural layering, instinct and experimentation.

Alban E. Smajli
What do people misunderstand about you because they think they already know your story?

Tamta
I see myself as someone who has always been in motion. Experimentation & curiosity have shaped both my life and my music for as long as I can remember. I don’t experience change as a rupture, it rather feels continuous, almost quiet.

What often gets misunderstood is that people read this evolution as a reaction, as if I woke up one day and decided to reinvent myself out of nowhere. In reality, I’ve been exploring quietly for years. The difference now is visibility. I’m allowing my instincts, my curiosity, and even my contradictions to exist out in the open. What appears sudden from the outside is simply me removing the filter.

Finish this sentence without thinking too long:
My identity collapses when...

My identity collapses when I stop listening to my instinct and I start performing to expectations. My instinct allows me to express my art as I see fit & be authentic. I think this authenticity is an element that is deeply appreciated by my fanbase.

When you made IDENTITY CRISIS (2023) and later THE VILLAIN HEROINE (2025), what changed most in how you saw yourself?

Both of these LPs mark a period where I stopped relying on commercial formulas as a way of survival and started following my own instincts instead. I allowed myself to explore what I personally love, what excites me, and what truly expresses me, without limits or expectations.
I took full creative control of my music and built a trusted team of passionate minds who share my drive. Through this process, I began to see myself more clearly, and that clarity translates into power and into music that can move people and spark emotion. What I’ve been doing over the past few years, without idealizing it, brings me genuine joy, fulfilment, and a sense of alignment that feels deeply personal.

Do you remember the first moment you realized reinvention could be a weapon?

I’ve always known there’s strength in reinvention. It’s not something exclusive to music, we all do it constantly, often without realizing it. That’s how we evolve and grow. For me, reinvention isn’t the weapon itself; it’s the power to decide when and how to use one to fight for your art and your personal evolution.
I don’t believe things are meant to stay the same for too long. Stagnation drains meaning, and I’m not someone who feels fulfilled by repeating what already exists.

If your next album had to erase one thing people associate with “Tamta,” what would it remove?

I wouldn’t want to erase anything. What people associate with “Tamta” forms the context through which my artistic vision is read. It’s all part of me, interconnected, and removing one part would inevitably shift the balance.

When you walk on stage, what do you want the audience to feel before the music starts?

Before anything else, I want to feel present myself. The stage is a safe space for me, a place where I can express parts of myself that don’t always have room in everyday life. I feel free there, unfiltered, able to move through emotion honestly and without effort. Everything begins from within, and once I’m grounded in that state, the rest can unfold naturally.
For the audience, I hope that translates into curiosity and openness, a sense that something real is about to happen. I want them to be fully in the moment with me. This isn’t meant to be consumed from a distance or behind a screen: it’s a shared experience that only exists while it’s happening.

Tamta wears dress by CRITTER and shoes by MAISON MARGIELA

Silence, spectacle, or control — which one scares you most?

None of them truly scare me. Silence and control are both essential tools in my work, silence keeps me connected to my inner world, and control allows me to protect my vision. If I had to choose, I’d say spectacle is the one I approach with the most awareness. I don’t see it as something shallow or negative. Shock and intensity can be powerful ways to reach people, depending on the intention behind them. For me, spectacle only matters when it serves the emotion and the idea, not when it exists on its own.

Where did you feel more free to take risks — as the villain or the heroine?

As the Villain Heroine. The two aren’t opposites — they feed and complete each other. As long as I’m allowed to exist in both, risk becomes natural. That tension is where my freedom comes from.

Is there a genre or visual aesthetic that doesn’t feel right for you, even if they might work commercially?

I can’t quite pick a genre but what never felt right to me was a purely commercial approach: visually or musically. For many years, I was trying to balance my own creative instincts with the need to survive within a commercial system, without losing myself in the process.
Most of my discography is in the Greek language, while I have also worked in English at times—through fully English songs or by blending English lyrics into Greek ones. In recent years, I’ve allowed other elements that feel deeply personal to enter my work, especially Georgian influences, sometimes in the production, sometimes in the way I approach vocals, particularly when I sing in Georgian.
At the same time, the music I’ve been creating in Greek might not be considered disruptive on a global scale, but within the local context, I believe it represents something genuinely forward-thinking for the Greek pop scene. Now that I’m no longer creating from a place of survival, I feel freedom in my expression. That freedom has brought me a deeper sense of fulfilment, one that matters to me more than conventional ideas of success.

Which part of your biography comes up again and again in interviews?

The beginning of my story comes up again and again, especially my life in Georgia before moving to Greece, and then the moment of starting over in a new country. I understand why journalists return to it; the idea of someone arriving under difficult circumstances and building a place in the music industry is a compelling narrative.
At the same time, after so many years, returning to the same questions can feel limiting. I’m more interested in who I’m becoming now and where I’m headed. That’s why I appreciate interviews like this one, they allow space for evolution rather than repetition.

Imagine someone copying your aesthetic perfectly. What would they still get wrong?

In a world where images and sounds circulate constantly and are accessible to everyone, it’s natural that references overlap. We’re all exposed to the same stimuli, often unconsciously, and traces of existing work can surface without intention. That has always been the case, even before everything lived on a screen.
Of course, there are moments when imitation is intentional and obvious, and that can feel unfair to the depth of someone’s creativity and to the artist behind it. But for me, the real distinction isn’t about copying, it’s about approach. Inspiration can be respectful and even honouring, but it only becomes meaningful when it’s filtered through something personal. What matters is how you transform what you’ve absorbed, how much of yourself you allow into it, and whether it becomes something truly your own.

My aesthetic is rooted in spontaneity and instinct and it often comes together in the moment and reflects where I am emotionally at that time. By the time something could be replicated, I’ve already moved on. If my work ends up inspiring other artists, I see that as something positive. It can only be taken as a compliment.

If identity is a performance, who or what are you performing against right now?

I am performing against staticness. My work lives in movement, change, and constant reinvention, where nothing is meant to settle for too long.

Looking ahead to 2026, what can you say about the direction of your next album — and whether it will revolve around a new identity or character?

I’m very excited about what’s coming next. I can’t say much yet, but I can say that this time we’re going harder and more aggressive, while expanding into new genre territory. The next album will be primarily in English, but it will still carry elements that are deeply part of my Greek and Georgian influences, woven naturally into the sound.

It’s not about creating a new character as much as revealing more layers of myself.

Tamta wears top and briefs by ONATERI and shoes by MARTINE ROSE

Tamta wears total look by MILÓ MARIA

Tamta wears dress by RAY CHU and shoes by MAISON MARGIELA

Tamta wears top and trousers by ISSEY MIYAKE and shoes by MARTINE ROSE

Tamta wears a total look by ACNE STUDIOS

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talent TAMTA
photographer PASCAL SCHONLAU
editor ALBAN E. SMAJLI
styling IGNACIO DE TIEDRA
make up DASHA TAIVAS
hair KENTA UCHINOKURA
digitech JAMES BRYANT
light assistant CATERINA CASTRO
CGI MARVIN LÜBKE + TOBIAS TITERA + GEORGE RUSSEL
lead post KATE BROWN
post MARIA CALOSSO + RINUS VAN DE VEN
press KREATIVE PR

credits
all Images (c) LE MILE
and Pascal Schonlau

LET THERE BE LIGHTNESS with Sergio Perdomo

Double-click to edit...

.digital

LET THERE BE LIGHTNESS
*Sergio Perdomo

written CHIDOZIE OBASI

It can sometimes feel as though the fashion industry is drowning in micro – or should I say, nano – trends. From billowing trousers and wacky shoes to “bare-backs” (surely one of the most common trends to feature on the Spring 2027 men’s runways), it can be a wild ride at times.

Sergio wears total look by LORO PIANA

But even against the strong tides of the seasonal trend cycle, there are certain staples that hold steady, and when it comes to our transitional wardrobes, and the blazer is surely one of them. Made in all manner of ways, the blazer has been used in men’s attires for thousands of years and has long been lauded for its breathability, strength and natural elegant qualities.

Of course, in more recent years, it has become synonymous with a certain airy, sun-soaked aesthetic, and thus a popular choice for pairings on many occasions. And in recent seasons, we’ve seen a number of brands – both high street and designer – bringing a more elevated, sculptural spin on the classic style. For 2026, Louis Vuitton has really delivered in the elegant linen blazer stakes, with many of the brand’s iterations featuring a universally flattering fit and easy polish. For more cottagecore vibes, Dolce&Gabbana should be your first port of call, and we’re enjoying its cute crisp renditions this season – perfect for cocktail hour on holiday. Below, peruse LE MILE’s edit below and you’ll become the embodiment of the season in no time. You’re welcome.

Sergio wears blazer by DOLCE&GABBANA, shirts by DSQUARED2 and LABO.ART, pants by ESSENTIEL ANTWERP, shorts by TOD’S, shoes by SANTONI and tie by DSQUARED2

Sergio wears T-shirt and shirt by CALVIN KLEIN, long-sleeve top by CANALI, shorts by MANUEL RITZ and shoes by AQVA ALTA

Sergio wears a total look by LOUIS VUITTON

Sergio wears jacket by LABO.ART, vest by DSQUARED2, shirt by TOD’S, shorts by SUN68, and tie and belt by CALVIN KLEIN

About Casa Brera
/ Situated near the famed Milan’s Teatro alla Scala, the Casa Brera hotel is an authentic expression of the city’s evocative spirit, intertwined with the rhythm of the neighbourhood. Designed by Patricia Urquiola as an interpretation of the city’s elegance, the hotel features 101 rooms and 15 suites, including the refined Milanese suite. The Milanese Suite combines architectural elegance with contemporary comfort, including a spacious terrace that offers a rounded view of the city, whilst the bespoke furnishings and three marble-clad bathrooms, complete with toiletries by Etro, create a sumptuous finishing that’s meticulously thought through. Etereo, a rooftop and poolside venue, offers a vibrant dining experience against the backdrop of the city. With indoor seating and two outdoor terraces, close-up views of landmarks such as the Duomo and the Castello Sforzesco are present. The menu features dishes to share and bespoke cocktails inspired by Milan’s rich heritage of design and fashion.

— Visit here for more information

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director + stylist CHIDOZIE OBASI
contributing editor EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator FILIPPO CANCELLIER
make up KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair MARTA CUPAIOLI
model SERGIO PERDOMO via D´Management
photography assistant ANTONIO CROTTI
fashion assistants ISABELLA RUIZ + LUDOVICA IEMMOLO + ALICE PELATI + VICTORIA AMPUERO
special thanks to CASA BRERA

credits
all Images (c) LE MILE
and Cosimo Buccolieri

POISED CHAMBER with Maria Mavarez

Double-click to edit...

.digital

POISED CHAMBER
*Maria Mavarez

written CHIDOZIE OBASI

Certain things are universally recognised as complementary duos. To name but a few: wine and cheese, for instance, a white T-shirt and cosy denim pieces, or a trench coat and a brolly. When it comes to failsafe midseason style pairings, the same can be said of retro separates and heels – a combination that will see you through a season of post-work drinks, park strolls and garden gatherings.

Maria wears blazer by MOSCHINO, shirt by QL2, printed skirt, shoes and scarf by DOLCE&GABBANA, and black skirt by DSQUARED2

There are, of course, seemingly endless variations on both. Neutral patterns, breezy cotton skirts and body-sculpting shapes can be found far and wide this season, while in the shoes department, there’s a wealth of iterations, ranging from premium to ready to wear labels. The below outfit formulas prove that a mid-length hemline can be a great method of showing off trending shoes, whatever they may be – and wherever you may choose to wear them.

For easy midsummer style, opt for pointed-toe iterations from Santoni or Valentino – both of which will pair well with staples like a breezy skirt or wear-anywhere gown. Or, for a more pared-back approach, look to rock-studded styles in leather or suede, which are best styled with shirts or gently-volumised outerwear. Ready to embrace a new take on these styles? Scroll on for LE MILE’s edit of the best offerings available now. You’re welcome.

Maria wears coat by MOSCHINO, sweater by TOD’S, skirt by N°21 and shoes by SANTONI

Maria wears top by DSQUARED2, skirt by MISSONI, shoes by DIESEL, necklaces by SWAROVSKI and bracelet by PDPAOLA

Maria wears a total look by PRADA

Maria wears a total look by LORO PIANA and shoes by APEPAZZA

Maria wears a total look by VALENTINO

About Casa Brera
/ Situated near the famed Milan’s Teatro alla Scala, the Casa Brera hotel is an authentic expression of the city’s evocative spirit, intertwined with the rhythm of the neighbourhood. Designed by Patricia Urquiola as an interpretation of the city’s elegance, the hotel features 101 rooms and 15 suites, including the refined Milanese suite. The Milanese Suite combines architectural elegance with contemporary comfort, including a spacious terrace that offers a rounded view of the city, whilst the bespoke furnishings and three marble-clad bathrooms, complete with toiletries by Etro, create a sumptuous finishing that’s meticulously thought through. Etereo, a rooftop and poolside venue, offers a vibrant dining experience against the backdrop of the city. With indoor seating and two outdoor terraces, close-up views of landmarks such as the Duomo and the Castello Sforzesco are present. The menu features dishes to share and bespoke cocktails inspired by Milan’s rich heritage of design and fashion.

— Visit here for more information

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director CHIDOZIE OBASI
fashion EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinator FILIPPO CANCELLIER
make up KIM GUTIERREZ via STUDIO REPOSSI using DOLCE&GABBANA BEAUTY
hair MARTA CUPAIOLI
model MARIA MAVAREZ via ELITE MILAN ELITE MODEL WORLD
photography assistant ANTONIO CROTTI
fashion assistants ISABELLA RUIZ + LUDOVICA IEMMOLO + ALICE PELATI + VICTORIA AMPUERO
special thanks to CASA BRERA

credits
all Images (c) LE MILE
and Cosimo Buccolieri

THE SENSITIVE CUT with Beatriz Pimentel

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THE SENSITIVE CUT
*Beatriz Pimentel

written CHIDOZIE OBASI

As fictional The Devil Wears Prada journalist Miranda Priestly infamously declared, florals for spring are far from “groundbreaking”. The recent sequel catapulted memes of this quote into the digital realm – and its echo still stands, decades on. But that’s not to say floral prints, in whatever format you choose to embrace them – a dress, a floral skirt, a design statement – should be altogether dismissed.

Beatriz wears total look by VALENTINO

They’re arguably easier to incorporate into a wardrobe than most loud patterns. Less in your face because you’re not clad head-to-toe in blooms, they can be contrasted with a neutral pairing or can be layered over a dress for a moment at the opera or a chilled one on the beach. A lot lies in the mood, and finding a pattern that steers clear of being too whimsical or ditsy is easy to find – so too, flattering silhouettes that feel contemporary rather than retro. Fabric is another clincher: more rigid materials can lean into curtain territory, while anything too ultra-thin might run the risk of flashing what’s beneath – which is, of course, fine, if it’s done with sheer intent. And if you want to push for further balance? Look no further than LE MILE’s women’s edit of breezy staples, and be ready to become the very embodiment of the season. You’re welcome.

Beatriz wears dress by TOD’S, pants by ISABEL MARANT and bracelets by LAG WORLD

Beatriz wears coat dress by LOUIS VUITTON, shirt by DRUMOHR, shoes by PREMIATA and tights by CALZEDONIA

Beatriz wears top and blazer by DOLCE&GABBANA, skirts by MAREA and shoes by APEPAZZA

Beatriz wears skirts by N21 and TORY BURCH, shirt and t-shirt by ISSEY MIYAKE, shoes by PREMIATA, rings by PEREZ DE VECCHI and bracelet by LAG WORLD

Beatriz wears dress by TORY BURCH, jewellery by PDPAOLA and shoes by ISABEL MARANT

Beatriz wears a total look by PRADA

About Gio Gio’s
/ Born from the vision of Raphael Duntoye, a cosmopolitan entrepreneur who previously helmed the renowned La Petite Maison concept and was a key figure at the iconic London members’ club The Arts Club, Gio Gio’s celebrates Mediterranean-style culinary traditions whilst paying homage to that laid-back Milanese style, characterised by natural elegance and a love of informality. More than just a bistro, Gio Gio’s is a place to be experienced. Here, every detail becomes part of a collective, spontaneous and refined experience.

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photography COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion market director CHIDOZIE OBASI
fashion EDWARD PUSCA
head of production JESSICA LOVATO
fashion coordinators ALBERTO MICHISANTI + FILIPPO CANCELLIER
make up AMERICO TURTORO
hair MARTA CUPAIOLI
model BEATRIZ PIMENTEL via THE LAB MODELS
photography assistant ANTONIO CROTTI
fashion assistants ISABELLA RUIZ + CHARISSE ORDINARIA + ANGELINA PERSIANI + LOUIS VEDERE
with thanks to GIO GIO’S

credits
all Images (c) LE MILE
and Cosimo Buccolieri

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

Solférino Paris Fragrances Become Portraits

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Solférino Paris Fragrances Become Portraits

written LE MILE

A scent begins before it is named. It appears in the angle of a shoulder, in the weight of hair, in the surface of stone, glass and skin. For Solférino Paris, fragrance becomes a portrait language, held between the bottle and the body beside it.

Shot by Timothy Joseph Boué, the series gives each composition its own physical register. Thé au Palais Royal stands in a field of light and restraint. Folies à Montmartre takes warmth from wood. Un Samedi à Paris leans into mineral texture and a sharper gaze. Coup de Foudre Quai Voltaire rests against raw colour, while Minuit Rue Princesse moves through polished reflection and exposed skin. Together, the images trace scent as something intimate and visible. Not an accessory, not an explanation, but a presence that changes the way a figure is read.

Teti wears total look by GUCCI

Thé au Palais Royal #03
/ SOLFÉRINO Paris

Viktoria wears total look by MOSCHINO

Folies à Montmartre #04
/ SOLFÉRINO Paris

Un Samedi à Paris #05
/ SOLFÉRINO Paris

Rona wears total look by DIESEL

Nze wears jacket by ACNE STUDIOS

Coup De Foudre Quai Voltaire #09
/ SOLFÉRINO Paris

10, Solférino #02
/ SOLFÉRINO Paris

Elen wears dress + bag by THE ATTICO

Minuit Rue Princesse #07
/ SOLFÉRINO Paris

Katrina wears total look by COMME DES GARÇONS

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photography TIMOTHY BOUÉ
art direction & styling DAVIDE ANDREATTA
make up AUGUSTO PICERNI via WM MANAGEMENT
hair ALESSANDRO POMPILI via WM MANAGEMENT
casting director CARLO SAVOLDI
models TETI MAR via THE AGENCY MANAGEMENT + ELEN GIUNIO via ELITE MANAGEMENT + SANDRA NZE via MANIFESTO MODELS + VIKTORIA LULKO via LUV MANAGEMENT + RONA ANDRO via PRODIGY MANAGEMENT + KATRINA LIKSNITE via LUV MANAGEMENT
photo assistant LUCA CHIAPATTI
styling assistant ALICIA DE POLI

credits
all Images (c) LE MILE
and Timothy Joseph Boué