In a world driven by consumerism and constant connectivity, it can be tough to reconnect with traditions and intimacy. Amidst the noise, Manuel Calabrese‘s debut collection — titled “Gentleman” — brilliantly succeeds in creatively addressing the increasing alienation caused by smartphones and social media.
Showing off the collection, this photo series, photographed by Gabriele Rosati, reinterprets traditions, values and sexuality. Calabrese, freshly graduated from Polimoda, uses different materials and merges consumerism around traditional portraiture to craft a colourful and intense microcosm that highlights vulnerability.
full look. Manuel Calabrese
Hailing from Italy, Calabrese’s venture into the fashion world was unhurried. Having been a dancer since the age of five, the designer even got into a prestigious dance school in Rotterdam before pursuing a career in fashion. “I was constantly in contact with the most disparate artistic visions of great choreographers, composers and costume designers,” the young designer confesses of his time at the school. This was a way for him to constantly “feel, train and push [his] body over boundaries” but he could not help but feel a void, a “feeling of missing something.” It was there and then that his head was turned towards the clothes industry, eventually leading him to start a career in the field.
For his debut as a designer, Calabrese decided to focus on the decaying idea of intimacy within a consumerist society — a notion he admits is complicated to define. For him, it’s made up of “relationships, moments and sensations we create with people we care about as well as with ourselves when we are on our own.” From going out with a friend to sleeping with somebody, Calabrese finds intimacy in the small feats that, even if unbeknownst to us, fill up our days. This feeling of preciousness is echoed in the materials the young Italian designer chose for the collection, each carrying a very intention sensory load — take leather for example. “Leather reminds me of carnal, almost sexual sensations,” the designer explains. “It embodies a part of a human habit that exists since we arrived on this planet.”
But, aside from appealing to our senses, Calabrese also wants us to come to our senses when it comes to protecting the planet. Coming from the region of Solofra, known as one of Italy’s biggest manufacturers of luxury leathers, the designer has made it a priority to learn about the actual waste and pollution the producing such goods causes — and pass on the message with his designs. “Thousands of leather goods can be trashed for really superficial reasons,” Calabrese recounts. “This inspired me to give a second life to all these huge amounts of goods that were going to be trashed and not used at all. This is my way to sustainability.”
full look. Manuel Calabrese
full look. Manuel Calabrese
In this particular photo series, Calabrese invents a personal language with his styling and colour choices to express his bafflement with today’s society. “We post nudes and private moments on social media, but at the same time, we close ourselves in rooms when we are sad, sometimes without even speaking to anybody,” the designer argues. With “Gentleman,” he hopes people will get inspired to reconnect with others and also themselves.
Opting to do photo series with Gabriele Rosati in lieu of a traditional runway show also feeds into this narrative. Calabrese explains that as much as runway shows excite him and amaze him in their ephemeral aspect, photographs allow for a better playground with proportions and contrasts. Rather than rushed in a quick strut, the details are explored and nailed to perfection, making the whole project wholeheartedly fragile and sophisticated. A snapshot forever and impeccably immortalised in the scope of fashion.
full look. Manuel Calabrese
full look. Manuel Calabrese
This pertinence is perhaps enhanced further by the special relationship photographer and designer share. Calabrese and Rosati met in Polimoda’s library, and the Italian designer was “immediately attracted to Rosati’s special attitude, posture and silence” as well as his “sensitive and romantic understanding of everything that surrounds him.” Inspired by the likes of Francis Bacon and Maurizio Cattelan, the duo thoroughly worked to remake “intimate and profound self-portraits” in a contemporary way. “We mostly tried to show something that is a part of our lives — like a completely naked body, a sexual act or even the sense of eating — in its own beauty and power,” Calabrese explains. “The construction behind all the garments completes the concept itself, everything is so religiously embellished, the intarsia leather patterns or even the monumental graphics works are mediums that perfectly embody the importance I give to those moments.”
Now looking forward, Calabrese confesses that he does not want to restrict himself in any way to any medium, admitting his great love for music and fine arts. With a trip to Japan already planned, the young designer hopes to get inspired by this brand new world. As “Gentleman” make its first foray into the world, so does Calabrese, who now looks forward to collaborating with brands, maisons, and mayhaps even starting his own brand.
full look. Manuel Calabrese
full look. Manuel Calabrese
full look. Manuel Calabrese
Discover more about Manuel Calabrese’s projects and creations on his Instagram.
all designs. “Gentleman” by Manuel Calabrese Polimoda Graduation Collection 2019
full look. Davii
shoes. Vittorio Virgilli
tights. Calzedonia
opposite
longsleeves top. Simon Cracker
necklace. Leonardo Valentini
Dionysus is the Greek god of wine, viticulture, fertility, religious ecstasy, ritual madness, and theatre, representing both liberation and wild frenzy, and in this Schön! editorial photographed, art directed, and styled by Polina and Vladimir Mordvinovs, model Slava Sikorski embodies the power and might of the God himself while wearing Davii, Henri Paris, and others.
dress. Henri Paris
opposite
dress. Fink Model Vintage
shoes. Vittorio Virgilli
gloves. Leonardo Valentini
tights. Calzedonia
full look Davii
opposite
top. Protemoa
shirt + shorts. Arthur Arbesser
shoes. Vittorio Virgilli
tights. Vintage
top. Vintage
dress. Henri Paris
shoes. Vittorio Virgilli
tights. Calzedonia
socks. Diesel
dress. Henri Paris
opposite
longsleeves top. Simon Cracker
trousers. Octavio Pizzaro
coat. Voluminous
boxers. Tom Ford
opposite
dress. Fink Model Vintage
tights. Calzedonia
trench coat. The Frankie Shop
shirt + trousers. CDLP
loafers. Duke + Dexter
There is a sharpness behind Shazad Latif’s eyes that demands attention and commands a presence, an intensity made for the silver screen. On the other side of the coin is an incredible kindness that can’t be overlooked. The conversation is easy. We chat about old movies, of growing up with parents who had an appreciation of films, and watching films that we shouldn’t have been watching at such a young age — shout out to ‘Casino’ and ‘Snatch’ for not being age-appropriate but giving us that appreciation all the same.
A true artist, who recognizes that filmmaking and artistry is the heartbeat of any society, Latif knows that we need these stories now more than ever. Beyond entertainment, films are here to make us take pause, breathe and feel something, even if it’s for a short period of time.
It’s that appreciation of the movies that spurred Latif to be an actor. Now, starring alongside Margot Robbie and Jacob Elordi in Emerald Fennell’s ‘Wuthering Heights’, Latif plays the foil to Elordi’s Heathcliff, Edgar Linton — a role he hopes will propel him, he tells us. From playing a spy in ‘Spooks’ (or MI-5 in North America) to the endearing (if infuriating) Clem Fandango in ‘Toast of London’, Latif has worn many hats. A Renaissance man in so many respects, he takes on each role with a fervour. With ‘Wuthering Heights’, he’s excited for audiences to embrace Fennell’s rendition of the story. Eager for other directors to take a crack at some of the classics, in hopes that this will give way to new adaptations in the future.
I read an article from Bustle recently that you credit your love of film to your parents, and relatable because my mom raised me on black and white films, so I have to ask: what were the staple films in your household? And which ones do you find yourself going back to?
Wow, that’s a big and hard question. When my dad came over to England when he was around 13 – 15 years old, he worked as a film road changer during one of the golden ages of cinema in the 70s. His taste was always great, but I think I was watching inappropriate movies way too young [laughs]. I remember watching ‘Casino’ way too young, ‘Elephant Man,’ and sort of hiding under the covers. I probably shouldn’t have been watching it, but that’s where the love probably started.
With my nan and my mum, it was all black and white movies. It was ‘Great Expectations’, ‘Weathering Heights’, which was one of the VHSs. ‘El Cid’, which is a weird old movie, lots of Charlton Heston and Bette Davis. My mom would keep a little journal of her favourite movies when she went to the cinema. We’d cut the little explanations out of Radio Times, an old TV magazine, and we’d stick them into the journal.
I played football and watched movies — that was pretty much my childhood, and I had arguments with my brother and ate curry with my family. It was a lot of playing out and watching movies. All the black and whites. I convinced my beautiful friends I’m staying with in LA to watch ‘The Apartment’ last night.
Love that movie. Shirley MacLaine is at her best.
I really think it’s one of the greats. We were talking about it in a grocery store, and some lady thought I said John Lennon. I said, “no, it’s Jack Lemmon.” Then a guy down the aisle said, “No, it’s Jack Lemon.” I was like, “this is so LA.” But yes, it’s great. I love films.
shirt + trousers. Toga Virilis
loafers. Malone Souliers
necklace. Maya Magal
rings. The Ouze
What’s the earliest memory you have of feeling moved by a film?
I guess it would have been something animated — probably ‘The Lion King’ or something like that. The Disney ‘Robin Hood’, I was quite obsessed with that movie. ‘The Jungle Book’, all of the Disney films. A lot of that probably seeped in early. But then Baz Luhrmann’s ‘Romeo + Juliet’, we snuck into the cinema.
Rebel.
We got in when I was about 10. I had the poster on my wall and would reenact the scenes. I’d try to copy Leonardo DiCaprio, wearing weird coloured shirts we got from a car boot sale, pretending it was the same Venice Beach kind of thing. That one really affected me because it was about love, and it hit right as you’re starting to understand romance. That was a big emotional one. ‘Titanic’ was another. My boys and I even had a crying competition after seeing it to see who could cry first to the soundtrack — I’ve never told anyone that [laughter]. Those two were huge because it was ’97, ’98.
I was 10, so films were starting to affect me differently. Before that, it was mostly animation. I mean, watching ‘Casino’ at six probably terribly affected me, but not emotionally. I do remember watching ‘One Flew Over the Cuckoo’s Nest’. My uncle Bernard and my mum were trying to explain how emotional the ending would be, because the beginning is so funny. That really stayed with me. And ‘Great Expectations’ — the whole story. Those two had the biggest emotional impact on me.
You’ve delved into Shakespeare, you’ve been to space via ‘Star Trek’, you’ve been Dr. Jekyll, and now you’ve entered the world of ‘Wuthering Heights’. What is it about acting that thrills you?
It’s never boring. As you said, I’ll never get to go to space or be an astronaut, but you get to explore these worlds. It’s constantly changing — you meet new people and dive into stories, characters, and lives you’d never otherwise encounter, or you do and then become obsessed with that world.
It’s emotional. It’s storytelling. It’s a way of feeling alive at a time when everyday life can feel numbing. Every generation goes through it, but it really feels like we’re in a period of transition as a civilization, and it’s quite scary. Our senses are dulled, we’re all on autopilot — going through routines, stressed, chasing goals. Acting, those moments between action and cut, are a bit of respite from that. Like playing sports or any distraction from the daily grind, it’s nice to step into that imaginary space, even just for a little while.
trench coat. The Frankie Shop
shirt + trousers. CDLP
loafers. Duke + Dexter
opposite
coat. Kulaskovsky
pyjamas. Derek Rose
loafers. Russell & Bromley
necklace. Maya Magal
tie. mfpen
rings. The Ouze
When you’re looking at a new role or when a script comes to you, what are you looking for before you say, “Yes, this is something I want to take on?”
Is the character interesting? Can I visualize it? Is it something I can easily see myself doing? If the script is good, if the dialogue sounds right, if it’s an exciting world. I don’t have as much choice right now — what comes through, comes through. I’m hoping that after this mov,ie things will start to snowball a bit. But it’s always about the story and the character, and if it’s high quality, and you’re working with good directors, a new director, or a DOP you want to work with, all of that comes into play.
Speaking of scripts, what were your thoughts when you read Emerald Fennell’s script? First impressions?
When a script is that good, it just flows differently. The pacing is right, so it’s never boring. It’s funny, beautiful, and heartbreaking. You’re immediately in the world, and it doesn’t feel like it takes long to read because it’s so engaging. You already know the story, so you’re seeing what’s changed and what’s stayed the same. There was even a nice bit of artwork on the front of the script. Seeing her name on it, I just thought, “Wow — I’m in this one.”
Can you talk a little about your interpretation of Edgar Linton, and what made him interesting to you in this version?
What was exciting was obviously playing opposite Margot Robbie and being the foil to Jacob Elordi. He’s such a stunningly beautiful, amazing man [laughter]. You’re like, “Oh, okay, this is going to be easy. I’ll just play the cuckold.”
You meet him for the first time, and he’s 6’5”. If someone asked me to describe Jacob, I’d say he’s like a Greek god — Achilles, Hercules — but also an Aussie dude. He’s the height of a basketball player with the soul of John Keats. He’s the perfect guy. And you’re just like, “Oh, God.” It makes my job as Edgar much easier — being jealous and all of that. What Emerald wanted to do, which is slightly different from the book, was make Edgar a credible threat. He’s not just rich — he’s clever, he’s kind, and Cathy really does love him. She wants to be loyal; it’s just that the other love is pulling her away. And that love is more powerful.
blazer + shirt. Paul Smith
boxers. Derek Rose
slippers. Pickett
necklace. Maya Magal
scarf. Aspinal of London
rings. The Ouze
socks. Falke
On a scale of 1 to 10, how heartbroken am I going to be by the end of it? Who am I going to root for?
It’s hard not to root for Jacob, because he’s just so… At one point, I was like, “Wait — no, no, I’m Edgar. Don’t root for yourself!” [laughs] But no, it’s heartbreaking.
I’ll remember to bring tissues. Is there another classic you would personally like to see adapted into film?
They’re doing ‘East of Eden’, which is such a great book. They were filming in New Zealand when I was there, but I think it’s a TV series. I don’t know — maybe, if I wanted to be in it, we could roll back to something like ‘Arabian Nights’ or give ‘Sinbad’ another go.
shirt + trousers. Toga Virilis
loafers. Malone Souliers
necklace. Maya Magal
rings. The Ouze
Sinbad would be amazing!
I don’t remember when ‘The Last Great Expectations’ was — it feels like there have been quite a few TV versions. There was the Robert De Niro and Gwyneth Paltrow film, which was a while back, wasn’t it? There are so many adaptations. I’d love to see a director’s take on it, like the way Emerald’s done this — just really make it their own.
I genuinely can’t wait to see what she does with it. Moving forward, how has being an actor and an artist informed how you see the world and how you move through it?
That’s an interesting question. I wanted to do something that allowed me to express myself, because where I was from, that was quite rare. I was just playing football and watching movies. Acting became a kind of survival — it was a way out of my circumstances. We grew up very poor. When you become a teenager and start watching arthouse films, becoming a romantic and engaging with all these ideas, you’re really just trying to feel something in a world that can be bleak and dark. I guess it’s a form of hope.
It’s one of our strengths as actors. What we do can inspire hope and remind people of being young and watching films. There’s a sense of life-changing possibility when you watch a film — no matter the genre — you can leave the cinema feeling something, inspired to change your life, or at least to hope. That’s what I love about being an artist.
There are, of course, more important jobs — doctors, people working in war zones — that work truly matters. But I think one of our strengths lies in keeping the heart alive. And artists are the heart.
blazer + shirt. Paul Smith
boxers. Derek Rose
slippers. Pickett
necklace. Maya Magal
scarf. Aspinal of London
rings. The Ouze
socks. Falke
opposite
jacket. Kulaskovsky
shirt. Margaret Howell
trousers + tie. Mr P
shoes. Malone Souliers
watch. Montblanc
rings. The Ouze
I completely agree. Since you mentioned the heart, what is it that keeps people coming back to stories like ‘Wuthering Heights’, ‘Pride and Prejudice’, and ‘Sense and Sensibility’? Why do you think these stories are still so popular hundreds of years later?
For one, they’re part of the classic canon for a reason. They’re incredible pieces of literature that really strike a chord. People are obsessed with period dramas — I am too. There’s that classic English fantasy we all carry, and we all want a Mr. Darcy or a Heathcliff. I remember growing up with my mum constantly talking about that ‘Pride and Prejudice’ TV adaptation with Colin Firth — she was always talking about Mr. Darcy. We’re all obsessed with love in some form. There’s something about the way period dramas handle it — the repression, the palpable feelings, the tension.
Jacob was saying the other day that when he was on the moors, it felt like the spirits of Cathy and Heathcliff were there. That’s what’s beautiful about stories — they exist forever. They’re immortal, and they keep making new generations feel something. It’s a beautiful thing to think about — that these stories continue to touch people across time.
And lastly, when you look at your career so far, what’s a lesson you’ve learned about yourself, and what’s a lesson you’ve learned about the industry?
You learn how to navigate situations more easily — how not to react in certain moments, how to stay focused, how to operate. There’s a constant process of getting to know your own mind and learning how to work with people as a team. I learn new things about the industry every day. It can be an amazing place, and it can be very brutal, especially as a person of colour. You never quite know what’s going to happen when you wake up — but I’ll tell you this: it’s never boring.
jacket. Kulaskovsky
shirt. Margaret Howell
trousers + tie. Mr P
shoes. Malone Souliers
watch. Montblanc
rings. The Ouze
‘Wuthering Heights’ is in theatres this Friday, February 13th.
left to right
top. Chambre De Fan
trousers. PONDER.ER
skirt. JGP
shoes. Christian Louboutin
earrings. MENMOVARY X MONSECRET
dress. ETIENNE JEANSON
t-shirt. CERTIFICATE DEL REY
trousers. L’AMOUR BRUT
shoes. ROGER VIVIER
hat. Levi’s
necklace + bracelets. PERRINE TAVERNITI
Time to play dress up with Yeseul Kim, Linda, Rae, Lise and Audrey in this Schön! editorial lensed by Florent with styling by Anaïs who dresses them in looks by Christian Louboutin, Levi’s, Patou and others, with hair by stylist Gwen and make up by Anthony.
jacket + trousers. MAITRE PIERRE
t-shirt. TRINITE STUDIO
skirt. PAUL & JOE
shoes. BOTH PARIS
earrings. MENMOVARY X MONSECRET
rings. PORTUGAL JEWELS + MENMOVARY
opposite
t-shirt. MIASIN
dress. PATOU
shoes. BOTH PARIS
earrings + bracelets. PERRINE TAVERNITI
set. ORIANE BEL ENFANT
shoes. BOTH PARIS
earrings. MONSECRET
opposite
t-shirt + short. PATOU
black top + shoes. MAYALI
white top. RIZ POLI
glasses. YRYS EYEWEAR
earrings. MENMOVARY
set. PONDER.ER
shoes. Christian Louboutin
glasses. Dior
earrings. MON SECRET
rings. PORTUGAL JEWELS X MENMOVARY
left to right
t-shirt. THEMAFIA
skirt. TRINITESTUDIO & POSSERY
shoes. ROGER VIVIER
bracelet + rings. PORTUGAL JEWELS
dress. MILAAN
shoes. ROGER VIVIER
earrings + ring. MENMOVARY
full look. Levi’s
body. ETIENNE JEANSON
skirt. MAITRE PIERRE
shoes. Christian Louboutin
earrings. MENMOVARY
necklace + bracelets. PORTUGAL JEWELS
arm bracelet. FLORENCE MOORHEAD
bra. POSSERY
jacket, shirt + skirt. RIZ POLI
shoes. Christian Louboutin
earrings. PERRINE TAVERNITI
necklace. MONSECRET
opposite
green top. HER SENSES
red top. TRINITE STUDIO
skirt. MAYALI
shoes. BOTH PARIS
earrings. PERRINE TAVERNITI
rings. PORTUGAL JEWELS
t-shirt + short. PATOU
white top. RIZ POLI
black top + shoes. MAYALI
glasses. YRYS EYEWEAR
earrings. MENMOVARY
