David Beckham and BOSS return with their fourth collection together, and the Fall Winter 2026 lookbook is a quiet, confident one. Beautifully photographed by Darren Gwynn, the images feature Alejandro Albaladejo Diaz and Valentin Caron in relaxed tailoring, grained leather and soft layers set against a hazy, painterly studio backdrop.

Relaxed Tailoring With a British Accent

The collection is built around the way Beckham says he actually dresses. Working as Creative Style Director, he describes a “very British sensibility” designed to move from the city to the countryside, with a timelessness that feels classic but also modern. The palette stays muted, the fabrics lean on heritage materials, and the silhouettes are deliberately easy.

The lookbook translates that idea cleanly. One look pairs a camel car coat with a checked lining and a deep navy turtleneck, finished with wide, fluid trousers in a darker blue. The proportions are generous but controlled, and the tonal colours let the cut do the talking.

Leather, Knitwear and Layers

Outerwear carries much of the season. A black grained leather jacket with ribbed trims and deep flap pockets is layered over a dark, textured hooded knit, creating a study in black-on-black depth. It is the kind of piece that works as easily over a turtleneck for dinner as it does with chunky knitwear on a weekend away.

Beckham has spoken often about his love of fine knitwear and outerwear, and the collection pairs those pieces with more structured tailoring. The balance between the two is the lookbook’s strongest idea.

Tailoring Under a Statement Coat

The most dramatic frame closes the story. A model opens an oversized dark overcoat to reveal a double-breasted suit in a soft taupe weave, worn with a pale blue shirt and a textured knit tie. The coat swings away from the body in a blur of movement, which gives a formal look a sense of ease. It is a reminder that tailoring remains the backbone of the BOSS brand, even in a collection that celebrates comfort.

Two Faces for the Season

Alejandro Albaladejo Diaz is represented by Next Models in New York and London, New Madison in Paris and Independent Model Management in Milan. In Barcelona he is with Francina Models, in Hamburg with Modelwerk and in Stockholm with Kult Stockholm.

Valentin Caron is represented in Paris by Success Models, and he holds the No. 13 spot in MMSCENE’s Top 30 Male Models. His place in a campaign of this calibre underlines why he continues to climb our ranking.

An Ongoing Partnership

The lookbook is the latest chapter in a collaboration that began in May 2024, when HUGO BOSS announced a global, multi-year design partnership with Beckham, the first of its kind for BOSS menswear. The first BECKHAM x BOSS collection arrived for Spring Summer 2025, and Fall Winter 2025 followed as the second. Spring Summer 2026 was the third, launched with an event in Berlin that came after earlier appearances in New York and Shanghai.

The partnership has also grown in scope. The line is now called BOSS by Beckham, and designer Daniel Kearns, who first worked with Beckham at Kent & Curwen, has been named Head of Design for the collections. HUGO BOSS has not disclosed how long the agreement runs, only that it is multi-year. With four seasons delivered and a growing creative team in place, it looks like a partnership that is built to last.

Discover the collection in our gallery: 

View Gallery 21 images

The lookbook was photographed by Darren Gwynn, with styling by Joe McKenna, art direction by Theresa Baena and hair by Benjamin Muller. Casting was led by Julie Sinios and set design was by Stefanie Grau.

For more from the season, explore our latest lookbooks on MMSCENE.

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Fall Winter 2026 is shaping up as a season of new faces, and the AMI Paris campaign makes the case. Photographed by Karim Sadli and built around the house’s signature mix of tailoring, shearling and leather, the images give the spotlight to a generation of male models who have had a breakout year. Under the direction of designer Alexandre Mattiussi, the campaign shows these men at ease in clothes that are warm, textured and a little unexpected.

A New Generation of Top Models

Dara Gueye is one of the clearest examples of where the industry is heading. Working across four cities, he is represented by DNA Models in New York, New Madison in Paris, Elite Milan in Milan and Models 1 in London. That kind of international reach has become the standard for models who want to work across runway, editorial and campaign, and his presence here reflects it.

Dara’s standing is also recognised in our own rankings. He is placed at No. 8 in MMSCENE’s Top 30 Male Models, part of the top 10 list. Dara’s place in the campaign fits that profile. AMI has built its identity on pairing confidence with approachability, and a model with his range fits that brief easily. The result is a cast that feels current rather than polished for its own sake.

Fresh Faces Who Had a Standout Year

Alongside Dara, the shoot brings together several models who have had a strong year across runway, editorial and now advertising. Elliot Belot is represented by Chapter Management, and his work in this season’s campaign shows the easy, understated presence that editors have been noticing. Each of these models brings a different energy to the frame, and that variety is what gives the campaign its rhythm.

Mack Karpes is with Soul Artist Management. His presence adds a looser, more personal note to the set, and the styling leans into it. Mohamed Benhadda works exclusively with Next Models worldwide, with bookings in New York, Paris, Milan, London and Madrid. His inclusion underlines how quickly a model can move from runway to campaign when the right opportunity arrives.

Shearling, Leather and Tailoring

The clothing gives the campaign its character. One image pairs a black leather jacket with a thick grey shearling collar, dark knit socks and chunky black loafers with squared toes. It is a study in contrast, with soft fur framing a hard, glossy surface.

Another frame is built around texture. A pale, shaggy coat wraps the body with volume, while bright red leather gloves cut through the soft white fabric against an icy backdrop. The colour choice is deliberate, and it keeps the image sharp.

The third image turns to classic tailoring. A grey herringbone jacket sits over a double-breasted grey waistcoat, with a white shirt and a striped tie. A red cap printed with the words “Don’t Forget to Love” adds a touch of humour and shows how the house can pair a formal suit with something more relaxed.

Discover more in our gallery:

View Gallery 9 images

Behind the Lens and on Set

The campaign was photographed by Karim Sadli, with creative direction from Jean-Baptiste Talbourdet-Napoleone. Fashion editing and styling came from Elodie David Touboul, hair from Benjamin Muller and makeup from Adrien Pinault. Casting was led by Giulia Massullo and Piergiorgio Del Moro, and the team’s choices show in how each model fits the house’s codes.

To see more of the season, explore the Fall Winter 2026 campaigns on MMSCENE. You can also see the whole AMI Paris campaign, including the womenswear, on DSCENE.

The post AMI Paris Fall Winter 2026 Campaign Puts Dara Gueye and a New Generation of Male Models in Focus appeared first on Male Model Scene.

Few models have had a season like Valentin Humbroich. Fall Winter 2026 has kept him in demand across the industry, and his latest campaign for Banana Republic may be the most striking of the season. Titled To Everywhere, the campaign was photographed in Tokyo, a city that suits a brand built on travel, utility and layered American workwear.

A Tokyo Setting for a Global Brand

Banana Republic chose Tokyo as the backdrop for its Fall Winter 2026 story, and the location does much of the work. Wooden beams, latticed windows and a narrow street lined with hand-painted signage give the images a clear sense of place without turning them into tourist postcards. The light is warm and low, falling across the frame in a way that makes the clothes feel lived in rather than staged.

Plaid, Patchwork and Denim

The campaign’s clothing story is built on pattern and texture. In the main hero image, Valentin Humbroich wears a navy and olive plaid overshirt with woven patchwork panels, layered over a soft grey shirt and paired with dark indigo jeans. The raised arms and direct gaze keep the look confident and relaxed at the same time. The overshirt works as both a statement piece and a practical layer, which is exactly the kind of dressing Banana Republic has built its reputation on.

In the street-set image, the same logic continues. A denim jacket with a subtle printed motif sits over a checked shirt, while a woman in a striped button-up and a dark corduroy skirt, finished with a brown leather belt and a silver buckle, stands beside him. The pairing shows how the collection moves between menswear and womenswear without losing its visual thread.

Two Looks, One Story

The campaign works because it refuses to treat its models as separate characters. Valentin Humbroich and Rebecca Leigh Longendyke share the frame in an easy, unposed exchange, both turned toward each other as if mid-conversation. Their outfits sit in the same colour family of navy, rust and brown, so the image reads as one considered wardrobe rather than two separate ads stitched together.

RELATED: Zankov Designs A Collection for Banana Republic

That cohesion is the campaign’s strongest argument. Banana Republic is selling a way of getting dressed for movement, whether that means a train across town or a flight to another city. The Tokyo setting makes the point without spelling it out.

The Team Behind the Images

The campaign was photographed by Sonia Szóstak, whose eye for natural light gives the set its warmth. Creative direction came from Michael Scanlon and Ryan Spacey, with set design by Julia Wagner, production led by Roberto Sosa, and hair by Ryan Mitchell.

Where to Find Valentin

Valentin Humbroich is represented by agencies across four continents. In New York he is with Soul Artist Management, in Paris with Success Models, in Milan with Monster Management, in London with Chapter Management, and in Madrid with Monster Management Spain. He is also represented by Mother Agency.

For more from this season, explore the full collection of Fall Winter 2026 campaigns on MMSCENE.

The post Valentin Humbroich Brings Banana Republic’s Fall Winter 2026 Tokyo Campaign to Life appeared first on Male Model Scene.

Underwear looks like the easiest product to start a menswear label with. Small garments, low fabric cost, no complicated sizing grid, and customers rebuy the same style for years once they find one they like. That last part is exactly what makes it harder than it looks. A first drop that relaxes in the wash or rides up by the second week doesn’t get reordered, and in underwear the repeat order is where the business actually lives.

If you’re a designer or a small brand planning a first run of boxer briefs, trunks or briefs, these are the decisions worth settling before you approve a sample.

Choose The Fabric For How It Feels After 10 Washes

Most men’s underwear is cut from knit jersey, and the common bases are cotton, cotton/modal, cotton/spandex and viscose from bamboo. Each changes the price and the hand feel. Cotton/modal is soft and drapes well, that’s why so many premium labels use it. Cotton/spandex holds its shape and works well for trunks with a closer fit.

Weight matters as much as composition. Underwear jersey usually sits between 140 and 200 gsm. The lighter end breathes better and tends to feel more premium on the body. The heavier end has more presence in the hand at retail and tends to survive repeated washing better, though that’s genuinely hard to judge from a swatch alone.

If you plan to sell in the United States and you like the idea of a bamboo story, check your label wording early. US labelling rules require “viscose from bamboo” or “rayon from bamboo” rather than plain “bamboo”, and most factories will print care labels exactly as you send them over.

The Waistband Is Your Brand

For a lot of customers the waistband is the only part of the garment anyone else ever sees. You’ve got two main routes. A woven jacquard band with your name repeated along it is the classic look and reads as a proper label. Covered elastic with a printed or heat-transfer mark is softer against the skin and often cheaper at small volumes.

Jacquard bands need their own tooling step, so send clean vector artwork with your tech pack and ask how long that step adds before you nail down a launch date.

Then there’s recovery, meaning whether the waistband still springs back after ten washes. A standard AQL inspection checks for visible defects like skipped stitches, stains and wrong labels. It doesn’t tell you whether the elastic will hold up over time. A waistband that goes slack is probably the single most common reason a first underwear drop doesn’t get reordered, and you won’t find out until a few months after the boxes arrive.

Fit Lives In Four Measurements

Pouch shape, rise, leg opening and gusset width are where men’s underwear succeeds or fails. These get settled on the first prototype, and you should expect at least one revision round. A brand that nails the fit on the first proto has usually just been lucky.

Have a few people with different builds wear the sample for several days, through a workout and a long flight if you can manage it. Ask them where it moves. Underwear that feels fine for an hour can be rolling at the leg by evening.

The leg finish deserves its own conversation with your factory. A picot edge, a raw bonded edge and a folded coverstitched hem each feel different on first touch, and that difference is often what a customer unconsciously uses to decide whether a pair feels cheap or expensive.

What a 100-piece Minimum Really Means

Small brands tend to read “MOQ 100” as a hundred pairs in total. Ask the questions that actually change that number. Is it per style or per colour? Can sizes be split freely inside those 100? Does each extra colour need its own dye lot, and therefore its own minimum?

For example, Renrui Textile, a custom underwear manufacturer that produces boxer briefs, trunks and briefs for small private label brands, works from 100 pieces per colour with sizes mixed freely, and each additional colour is its own 100 because it needs its own dye lot. The factory also wash-tests elastic recovery on a swatch cut from the same fabric roll as your order before cutting starts, and sends the report. Its terms are laid out at renruitextile.com/custom-underwear-manufacturer if you want a reference point when comparing quotes.

Starting with one style in two colours is a realistic first drop for most new labels. It keeps the total at a few hundred pairs while still giving customers a choice, and it doesn’t lock you into a colour you’ll later want to retire.

Timing, Payment and The Reorder

Sampling for underwear typically takes one to two weeks per round. Bulk production for a small run often takes another 25 to 35 days after you approve the sample and pay the deposit, plus shipping on top of that. A common payment structure is 30% to start production and the 70% balance after you’ve approved the inspection results.

Ask about reorders before you place the first order. If the factory keeps your patterns, waistband tooling and specs on file, a repeat run can ship in roughly 10 to 15 days without new samples. For a label whose core customers are buying the same style again and again, that reorder speed matters more than trimming a few cents off unit cost.

Start Narrow

The underwear labels that last usually launch with one hero style, get the fit and the waistband right, and add colours once customers start coming back for more. A first run of a few hundred pairs is enough to learn whether the product holds up in real use. And honestly, finding out whether people reorder is the one thing you really need to know before committing to a full collection.

The post Launching a Men’s Underwear Label? What to Lock Down Before Your First 100 Pairs appeared first on Male Model Scene.

Some campaigns rely on spectacle. The best ones let a single object and a single face do the work. In its Fall Winter 2026 campaign, Bottega Veneta does exactly that, and Leon Dame is one of the reasons the images hold attention long after the first look.

A Campaign Built on Material

The campaign was photographed and directed by Juergen Teller, who keeps the frame unforced and lets the clothes and accessories carry the story. Creative consultation came from Dovile Drizyte, with styling by Katie Shaw. The collection was designed by Louise Trotter, and casting was handled by Anita Bitton with Establishment Casting.

That restraint shows in the settings. One image places Leon in a tiled space with a yellow floor, a grey woven tote pressed against his chest and dark sunglasses on his face. Another sets him against a mosaic stone wall. The third, on a staircase with peeling plaster, lets the cream and red shearling carry the color. None of the backdrops compete with the product, and that is the point.

The Weathered Leather Coat

The standout piece in the campaign is the Weathered Leather Coat, worn by Leon against the mosaic wall. The coat is a standalone menswear piece from Bottega Veneta, cut in a dark, woven leather with a worn-in finish that gives it depth and character. A belt cinches the waist, the leather collar frames the face, and the raglan sleeves give the silhouette a sharp, architectural edge. Paired with a cream undershirt and a matching woven bag, it looks less like a statement piece and more like something that has already been lived in.

The coat is available to buy online through the Bottega Veneta shop, with pricing on demand. It is a rare piece that does two jobs at once. It is dramatic enough to anchor a campaign, and wearable enough to become a staple. For men who want leather that reads as craft rather than trend, this is the reference point.

Leon Dame in the Frame

Leon Dame works here because he does not perform for the camera. His expression is steady, his posture is relaxed, and he lets the pieces move around him. The shearling coat in the staircase image is a demanding look, with its bold color blocking and oversized volume, and he wears it without losing the simplicity of the black trousers and lace-up shoes beneath.

Leon is also part of a larger cast in this campaign alongside Anine Van Velzen, Binx Walton, Lina Zhang, and Sihana Shalaj, which shows how the brand builds a campaign around a group of models rather than a single face.

Where to Book Leon Dame

Leon is represented by DNA Models in New York. In Paris and London, he is represented by Viva Paris and Viva London. Editors, brands, and photographers can find his full profile in MMSCENE’s model directory.

Campaign Credits

• Brand: Bottega Veneta
• Season: Fall Winter 2026
• Designer: Louise Trotter
• Photographer and Director: Juergen Teller
• Creative Consultant: Dovile Drizyte
• Fashion Editor and Stylist: Katie Shaw
• Hair Stylist: Kei Terada
• Makeup Artist: Daniel Sallstrom
• Casting Director: Anita Bitton
• Casting by: Establishment Casting
• Models: Anine Van Velzen, Binx Walton, Leon Dame, Lina Zhang, Sihana Shalaj

The post Leon Dame in Bottega Veneta’s Fall Winter 2026 Campaign appeared first on Male Model Scene.

Fashion photography has always been about more than showcasing clothing. It communicates personality, atmosphere, and the creative vision behind a collection. In men’s fashion editorials, where styling often emphasizes structure, texture, and subtle details, color plays a particularly important role in shaping how an image is perceived.

From the muted tones of a minimalist studio portrait to the dramatic contrasts of an outdoor campaign, color influences the visual identity of every photograph. While lighting and composition establish the foundation of an image, thoughtful color grading helps bring its atmosphere together.

Understanding how color works throughout the photography process allows photographers to create more expressive images while maintaining the natural appearance of models and garments.

Why Color Matters in Men’s Fashion Photography

Color affects how viewers interpret fashion images before they consciously notice individual details. A photograph dominated by cool blue and gray tones may create a sophisticated, restrained atmosphere, while warm amber lighting can introduce a sense of nostalgia or intimacy. These associations influence the overall mood of an editorial and help communicate the designer’s intended message. Consider a campaign featuring tailored suits in a modern architectural setting. A subdued palette with controlled contrast can emphasize clean lines, sharp silhouettes, and the structure of the garments.

By comparison, a streetwear editorial photographed in an urban environment might benefit from vibrant colors, deeper shadows, and stronger contrasts that reflect the energy of the collection. The relationship between clothing and background colors is equally important. Neutral outfits may stand out against colorful surroundings, while monochromatic styling can create a cohesive, understated appearance.

However, effective color grading should support the fashion rather than overwhelm it. Excessive saturation or dramatic color shifts can distract viewers from the clothing and alter the appearance of important materials. The strongest fashion images maintain a balance between visual creativity and accurate representation.

Right Atmosphere Through Lighting

Successful color grading begins during the photoshoot itself. The quality, direction, and temperature of light determine how colors appear in the original image. Natural daylight offers a versatile starting point for fashion portraits, but its characteristics change throughout the day. Early morning and late afternoon light often produce warmer tones and softer shadows, creating an inviting atmosphere. Midday sunlight can generate stronger contrasts and more defined shadows, which may work well for dramatic editorial concepts.

Studio environments provide greater control over these variables. Photographers can combine softboxes, reflectors, and directional lighting to create a particular mood while keeping exposure and skin tones consistent. The choice of background also influences the final result. Dark backdrops can emphasize facial features and garment silhouettes, while lighter environments often create a cleaner, more contemporary aesthetic.

When planning a shoot, photographers should consider how these lighting decisions will translate into the final edited photographs. Capturing a balanced exposure and preserving detail in highlights and shadows provides greater flexibility during post-production.

Role of Color Grading in Creating a Consistent Editorial

An editorial typically includes multiple photographs featuring different poses, camera angles, and sometimes entirely different locations. Although each image should have its own character, the complete series must feel visually connected. This is where color grading becomes especially valuable. Color correction and color grading serve related but distinct purposes. Color correction focuses on achieving balanced exposure, accurate white balance, and realistic colors.

Color grading involves making creative adjustments that establish a particular aesthetic. For example, photographers might begin by correcting unwanted color casts caused by mixed lighting. They can then introduce subtle tonal adjustments to create a cooler, cinematic appearance or a warmer, vintage-inspired mood. Maintaining this consistency manually across a large collection can be challenging, particularly when lighting conditions vary between photographs.

A color grader that supports reference-based adjustments can help photographers establish a unified palette across different images, making it easier to maintain continuity while leaving room for individual creative decisions.

Reference images are particularly useful when an editorial requires a specific visual identity. Photographers can select an image that represents the intended atmosphere and use it as a starting point for adjustments throughout the series. However, automated corrections should always be reviewed carefully.

Differences in skin tone, background lighting, and garment colors may require additional refinements. A consistent editorial does not mean applying exactly the same settings to every photograph. Instead, it means maintaining a shared visual direction while respecting the characteristics of individual images.

Preserving Natural Skin Tones and Fabric Textures

One of the greatest challenges in fashion photography is achieving a distinctive visual style without compromising realistic details. Skin tones are particularly sensitive to color adjustments. Changes in temperature, tint, or saturation can make a portrait appear unnatural, especially when strong creative filters are involved. For male modeling portraits, where facial structure and expression are often central to the composition, subtle processing tends to produce more convincing results.

Photographers should pay close attention to how adjustments affect highlights on the face, shadow transitions, and the natural variation of skin tones. Fabric textures require similar consideration. Different materials respond to light in unique ways. Wool absorbs and diffuses light differently from silk, while leather and metallic accessories can produce strong reflections. Aggressive color grading may obscure these characteristics or change the perceived shade of a garment. This becomes especially important in commercial fashion photography, where customers and creative teams expect clothing to be represented accurately.

A useful approach is to evaluate the photograph at different scales. Viewing the entire image helps assess its atmosphere and visual balance, while examining details at higher magnification reveals whether textures and colors have been preserved. The objective is to enhance the photograph without removing the qualities that make the clothing and model visually distinctive.

Developing a Recognizable Photography Style

Color grading can also contribute to a photographer’s professional identity. Successful fashion photographers often develop recognizable visual characteristics through their choices of lighting, composition, contrast, and color. Some favor understated tones and natural textures, while others build their work around bold palettes and experimental lighting. Developing a personal style does not require using the same color settings in every project. Instead, it involves understanding which visual elements communicate the photographer’s creative perspective and applying those principles consistently.

Experimentation remains essential. Photographers can explore different color combinations, study cinematic lighting techniques, and analyze editorial campaigns to understand how particular palettes influence the atmosphere of an image. Creating several interpretations of the same photograph can also help reveal how significantly color changes the viewer’s experience. A neutral portrait may communicate professionalism and restraint, while a darker version with stronger contrast could suggest mystery or intensity. Neither approach is inherently better. The appropriate choice depends on the intended story and the clothing being presented. Over time, this process helps photographers develop a more confident visual language.

Preparing Images for Editorial and Digital Publication

The final appearance of a photograph also depends on where it will be published. Images intended for fashion magazines may require different preparation from photographs displayed on websites or social media platforms. Print production involves specific color-management requirements, while digital images must remain visually consistent across different screens and devices.

Photographers should consider these differences before exporting their work. Checking color profiles, reviewing contrast, and examining images on calibrated displays can help reduce unexpected changes in appearance. It is also useful to compare photographs as a complete editorial sequence rather than evaluating each frame independently. Transitions between images should feel deliberate. Sudden changes in white balance or saturation may interrupt the visual narrative, even when the individual photographs look attractive. A final review ensures that the collection maintains its intended atmosphere across different formats and viewing conditions.

Finally, color grading is an essential part of contemporary men’s fashion photography because it influences how clothing, models, and environments come together within a visual story. When combined with thoughtful lighting, careful composition, and an understanding of fabric textures, it allows photographers to create images that feel both expressive and cohesive. Modern editing techniques can make the process more efficient, but the most meaningful decisions remain creative ones. By treating color as a storytelling tool rather than simply a finishing effect, photographers can develop distinctive editorials that communicate the character of a collection while preserving the authenticity of every image.

The post How Color Grading Shapes the Mood of Men’s Fashion Photography appeared first on Male Model Scene.

Some models arrive on a set and disappear into the clothes. Others make the clothes look as though they were waiting for them. Parker Van Noord belongs to the second group, and his work in Situationist’s Fall Winter 2026 campaign is a good reason to look closely at how casting shapes an image.

A Campaign Built Around a Shared Team

The Situationist Fall Winter 2026 campaign was shot in September 2026. Davit Giorgadze photographed the images, with creative direction from Irakli Rusadze and styling by Dogi Nesanir. Casting was led by Piergiorgio Del Moro, whose choices set the terms for the two models at the center of the campaign: Parker Van Noord and Amelia Gray.

Advertising campaigns rely on many hands. Every decision, from the lighting to the way a jacket falls on the shoulder, has to hold up across a full series of images. This campaign benefits from a team that works in the same visual language, which is why the pictures feel unified rather than assembled.

Behind the Look

Hair was styled by Claire Grech, makeup was created by Karin Westerlund, and manicures were done by Cam Tran. Grooming in fashion advertising is often the first thing viewers notice and the last thing they remember, so these details carry real weight. Together they give the campaign a finished quality without making it look overworked. The images wonderfully encapsulate the sentiment of the Situationist and we can simply see how Van Noord is the perfect choice for the face of the brand. 

Parker Van Noord in the Frame

For a model, a campaign is less about one flattering frame than about how a face and posture hold across a series of images. Parker Van Noord works in that setting because his presence reads as controlled and deliberate, and it gives the wardrobe room to speak.

Working alongside Amelia Gray adds a second layer. The campaign becomes a pairing rather than a lineup, and the two models share the frame in a way that asks the viewer to look at both. 

Representation and Where to Book

Parker is represented by DNA Models in New York. Brands, editors, and photographers who want to work with him can find his profile on MMSCENE’s model directory, where his full portfolio and details are kept up to date.

Campaign Credits

• Campaign: Situationist, Fall Winter 2026 (Advertising)
• Photographer: Davit Giorgadze
• Creative Director: Irakli Rusadze
• Fashion Editor and Stylist: Dogi Nesanir
• Hair Stylist: Claire Grech
• Makeup Artist: Karin Westerlund
• Casting Director: Piergiorgio Del Moro
• Manicurist: Cam Tran
• Models: Amelia Gray, Parker Van Noord

The post Parker Van Noord in Situationist’s Fall Winter 2026 Campaign appeared first on Male Model Scene.

The first cold morning run of the season always delivers the same lesson. You step outside feeling sharp, finish a few miles later, and catch your reflection in the hallway mirror: cheeks flushed raw, skin tight, a stinging sensation that no amount of water seems to calm. This is windburn, and it is one of the most overlooked grooming problems for men who spend real time outdoors.

Windburn does not get the attention that sunburn does, yet it affects runners, cyclists, hikers, skiers and anyone who commutes on foot through a hard winter. Understanding what it is, and building a routine around it, is the difference between skin that holds up all season and skin that spends November through March in recovery.

What Windburn Actually Is

Despite the name, windburn is not a true burn. It is irritation and inflammation caused by cold, dry wind stripping moisture and natural oils from the outer layer of the skin. That outer layer, known as the skin barrier, exists to keep hydration in and irritants out. When wind and low humidity break it down, the skin becomes reactive, red and uncomfortable.

Typical signs of windburned skin include redness, a tight or stinging feeling, dryness, flaking and sometimes mild swelling. The face is the usual target, particularly the cheeks, nose, forehead and lips, but exposed hands and necks are vulnerable too. Symptoms often appear within hours of exposure and tend to fade over several days if the skin is treated gently.

Why Active Men Are Especially Vulnerable

Runners face a compounding effect. Movement multiplies the wind your skin feels, so a calm 35 degree morning becomes a much harsher environment at running pace. Add sweat, which evaporates quickly in cold air and draws more moisture away from the surface, and the barrier takes a double hit.

Grooming habits make it worse. Men who shave daily are removing a thin layer of surface skin along with the hair, which leaves the face more exposed before it ever meets the wind. Add a foaming cleanser, an alcohol-based aftershave or a post-run scrub, and the barrier has very little chance to rebuild. Many men also skip moisturizer in winter because the skin does not feel hot or oily, which is exactly when it needs support most.

Windburn vs Sunburn: Knowing the Difference

The two conditions look similar, and they can overlap. The difference is the cause. Sunburn comes from ultraviolet radiation damaging skin cells. Windburn comes from moisture loss and barrier disruption caused by wind and cold. Sunburn typically feels hot and can blister, while windburn feels tight, dry and stinging.

The overlap matters for outdoor athletes. Snow reflects a significant amount of UV light, and UV exposure continues on overcast days, so a long winter run or a day on the mountain can deliver both at once. This is why sun protection stays in the routine all year, not only in summer.

How to Treat Windburned Skin

The goal of windburn treatment is simple: calm the skin and rebuild the barrier. Aggressive products will slow recovery, so strip the routine back until the redness settles.

• Cleanse gently. Use a mild, fragrance-free, non-foaming cleanser with lukewarm water. Hot water pulls out more moisture.
• Moisturize generously. Look for creams containing ceramides, glycerin or hyaluronic acid, and apply them to slightly damp skin to lock in hydration.
• Seal it in. A thin layer of petrolatum-based balm over the cheeks and lips at night protects the skin while it repairs.
• Pause the actives. Skip retinoids, exfoliating acids, scrubs and alcohol-heavy products until the skin feels comfortable again.
• Soothe the sting. A cool, clean compress can ease discomfort. Avoid heat, steam and long showers.
• Shave with care. Use a sharp blade, a soothing shave cream, and consider skipping a day or two while the skin recovers.

Most cases of mild windburn improve within three to seven days with this approach.

How to Prevent Windburn on Runs and Outdoor Days

Prevention is far easier than recovery, and it takes less time than most men expect. The principle is to protect the barrier before exposure and replenish it afterward.

Before You Head Out

Apply a moisturizer with a richer texture than your summer formula. Over it, add a thin layer of barrier balm or ointment to the exposed areas most likely to take the wind, including cheeks, nose and chin. Finish with a broad-spectrum SPF 30 or higher, since UV exposure does not disappear in winter. A lip balm with SPF is worth carrying too.

During the Run

Physical coverage is the most reliable defense. A lightweight neck gaiter or buff, pulled up over the lower face in the first mile, reduces direct wind contact dramatically. Choose breathable, moisture-wicking fabrics so sweat does not sit against the skin. In severe wind, plan routes that put the headwind at your back for the final stretch, when your skin is already tired.

After You Finish

Do not leave sweat to dry on the face. Rinse or wipe gently, cleanse only if needed, and reapply moisturizer within minutes. Skip hot showers directly after a cold run, because the sudden temperature swing can intensify redness and tightness.

Rethink the Winter Grooming Routine

Windburn is a prompt to look at the whole routine, not only the post-run recovery. Swap foaming cleansers for cream or gel formulas, reduce exfoliation to once a week at most, and choose alcohol-free aftershave balms over splashes. Humidifying the bedroom can also help, since indoor heating dries the skin further overnight. For product ideas and routines built for men, explore the beauty and grooming section on MMSCENE.

When to See a Dermatologist

Most windburn is mild and self-limiting. Persistent redness, cracking, blistering, intense pain or symptoms lasting longer than a week deserve professional attention. Men with eczema, rosacea or very sensitive skin often find that cold wind triggers flare-ups, and a dermatologist can recommend treatment suited to the condition.

Finally, windburn is a predictable, preventable result of cold air, wind and a stressed skin barrier. For men who run, train and live outdoors, a small shift in routine makes a visible difference: richer moisture, a protective layer before exposure, physical coverage when the wind picks up, and gentle recovery afterward. Treat the skin the way you treat the rest of your training, with consistency and a plan, and the cold months become far easier to enjoy.

The post Windburn in Men: What It Is, How to Treat It, and How Runners Can Prevent It appeared first on Male Model Scene.

Model Rubén Revell stars in a new MMSCENE Magazine exclusive photographed by Silvia Guedes, with creative direction and styling by Alejandro Llovell. Produced by Pop House, the editorial features looks from Maison Margiela, Isabel Marant, AMI Paris, Armani, and Ralph Lauren. Teddy Murphy joins the creative team as photography assistant.

MMSCENE EXCLUSIVES

In an exclusive interview with MMSCENE, Revell reflects on growing up in Lanzarote and the unexpected circumstances that introduced him to modeling. He shares his interests beyond fashion, including sports, motorcycles, and acting, offering a glimpse into his personality beyond the camera. The conversation also explores his approach to working with creative teams, his ambitions within the industry, and the opportunities he hopes to pursue as his career develops.

You grew up in Lanzarote, surrounded by volcanic landscapes and the ocean. How did that environment shape the way you see the world, and does any of it show up in how you approach your work today?

Lanzarote has a very unique essence. Everything feels natural, and life moves at its own pace. I think growing up there has influenced the way I approach my work. I like things to feel organic and effortless, without forcing anything too much. I try to bring that same calmness and natural flow into every project.

Your modeling career started with a message from a scout who found you on Instagram. Walk us through that first conversation. What did you think when it happened, and what made you decide to travel and meet the team?

I woke up to the message and honestly thought it was a scam. But after they sent me the agency’s official Instagram account, website, and phone number, I started to take it seriously. After several calls with the team, I decided to travel to Las Palmas and meet them in person. It’s funny how something I was initially so suspicious about ended up opening a new chapter in my life.

You say you can’t end a day without a workout. What does your routine look like on a typical day, and how do you keep it going when you’re traveling for shoots?

I train football almost every day and combine it with gym sessions when I can. When I’m traveling for work, I usually use the hotel gym. If there isn’t one, I’ll find some bars or space to do bodyweight exercises or calisthenics. For me, it’s all about staying consistent, wherever I am.

You hold licenses to ride motorcycles, drive heavy trucks, and operate boats. Which of these skills do you enjoy most, and has any of them ever surprised a client, a photographer, or a set crew?

Riding motorcycles is my favourite because it’s the license I’ve had the longest and the one I’ve used the most. So far, none of these skills has come into play on a shoot, but I’d love to use them for a future campaign or project. It would be great to bring something different to a job.

You explored acting as a child and would like to return to it. What drew you to acting then, and what kind of role or project would you most want to take on now?

I got into acting unexpectedly when I was offered the chance to audition for one of the main roles in a show. I decided to give it a try, really enjoyed the experience, and got the leading role the following year. Now, I’d love to explore acting again, especially in films, and challenge myself with different characters.

Your family sounds like a big part of who you are. Which childhood story still comes up at family gatherings, and what did it teach you about yourself?

My family would probably tell you that, even as a kid, I could talk to absolutely anyone. I was always very extroverted, making friends easily and feeling comfortable around new people. I never really felt shy about starting a conversation, even with people I’d just met. Looking back, I think that ability to connect with different people has become a big part of who I am, and it’s something that helps me a lot in the modeling industry today.

You have a strong memory for random facts and small details. Where did that habit come from, and how do you think it helps you on a set or in front of a camera?

I’ve always enjoyed mathematics, numbers, and remembering patterns. Video games probably helped develop that side of me too. On set, I think it helps me remember directions, poses, and small details from previous takes, which makes it easier to stay consistent while still being creative.

Being “spontaneous” and “energetic” can be a strength on set but also hard to channel. How do you stay focused and present during long, detail-heavy shoots?

Being energetic is a great advantage, but maintaining that energy throughout a long shoot can be challenging. For me, sleeping well and eating regularly are essential. I need to keep my energy levels up, stay focused on the moment, and make sure my attitude doesn’t change as the day goes on.

This is a new professional chapter for you. What are the first goals you’ve set for yourself, and what would make you feel this move was a success a year from now?

I’d love to keep growing in the fashion industry, explore new opportunities, and work with different brands and creative teams. I’m at a stage where everything is still new to me, and that’s exactly what excites me the most: not knowing what might come next.

I’d love to travel, discover new places, and be part of projects that allow me to learn and develop as a model. I’m in no rush, and I don’t want to put too much pressure on myself. I’d rather enjoy every experience, give my best, and let things happen naturally.

For me, success isn’t just about working with big brands. It’s also about enjoying what you do, feeling that you’re growing, and never losing the excitement and enthusiasm you had when you first started.

If a brand or designer could only know one thing about you before working together, what would you want it to be, and why?

I’d want them to know that I’m always open to new experiences and bring positive energy to everything I do. I like being involved, understanding the vision behind a project, and contributing my own personality. I’m always willing to learn, adapt, and give my best to make a collaboration work.

The post MMSCENE Exclusive Interview With Rubén Revell appeared first on Male Model Scene.

Y2K fashion is often associated with summer outfits, low-rise jeans, cropped tops, and colorful accessories already influence today’s menswear outfits. However, the early-2000s aesthetic is much more versatile than it might seem. From lightweight spring layers to oversized winter sweaters, Y2K-inspired clothing can be adapted to every season.

The key is to work with the silhouettes, textures, and accessories that define the style while adjusting fabrics and layering techniques to suit the weather. Here’s how to create Y2K outfits throughout the year without sacrificing practicality or personal style.

Spring: Experiment With Layers and Light Denim

Spring is an ideal season for experimenting with Y2K fashion because changing temperatures allow for creative layering. Start with a pair of baggy or flared jeans, two silhouettes strongly associated with early-2000s fashion. Combine them with a fitted baby tee, a graphic T-shirt, or a ribbed tank top.

For an additional layer, choose a cropped zip-up hoodie, a lightweight cardigan, or a denim jacket. These pieces create the contrast between fitted and oversized clothing that makes Y2K outfits recognizable. Pastel shades, faded denim, and colorful graphics work particularly well during spring. Accessories such as narrow sunglasses, shoulder bags, and chunky sneakers can complete the look.

Spring outfit idea: Light-wash baggy jeans, a fitted graphic baby tee, a cropped cardigan, white sneakers, and a small shoulder bag.

Summer: Embrace Cropped Tops and Playful Accessories

Summer is probably the easiest season for recreating classic Y2K outfits. Many of the era’s most recognizable trends revolve around lightweight clothing and shorter silhouettes. Baby tees, halter tops, tube tops, and cropped tank tops are excellent starting points. They can be paired with denim mini trousers, low-rise shorts, lightweight cargo pants, or loose-fitting jeans.

For a more casual look, combine a graphic tank top with baggy denim shorts and sneakers.  Summer also provides an opportunity to experiment with colorful accessories. Tinted sunglasses, rhinestone belts, beaded jewelry, and small handbags can make simple combinations feel distinctly Y2K. When choosing fabrics, prioritize breathable cotton and lightweight materials that remain practical in warm weather.

Summer outfit idea: A fitted halter top, denim trousers, platform sneakers, tinted sunglasses, and a colorful shoulder bag.

Fall: Combine Y2K Streetwear With Cozy Layers

Fall is particularly well suited to the streetwear side of Y2K fashion. Oversized silhouettes, graphic sweaters, cargo pants, and distressed denim become useful as temperatures begin to drop. A classic combination involves baggy jeans with a graphic long-sleeve shirt and an oversized zip-up hoodie. This outfit captures the casual influence of early-2000s skate culture while remaining easy to wear. Striped sweaters, fitted cardigans, and faux-leather jackets are other useful options. For a more alternative aesthetic, combine black flared jeans with a graphic top, a studded belt, and chunky boots.

Layering also makes it easier to introduce statement pieces without overwhelming an outfit. A bold sweater, for example, can become the focal point when worn with simple denim and neutral footwear. When building a seasonal wardrobe, choosing versatile y2k clothing such as graphic tops, oversized sweaters, and baggy jeans makes it easier to create different combinations throughout the year.

Fall outfit idea: Black baggy jeans, a striped sweater, a faux-leather jacket, chunky boots, and a studded belt.

Winter: Build Y2K Looks Around Oversized Silhouettes

Winter styling requires a slightly different approach, but Y2K fashion offers plenty of options for colder weather. Oversized sweaters, hoodies, puffer jackets, and loose-fitting jeans all fit naturally into the aesthetic. The combination of wide trousers and bulky outerwear also reflects the influence of early-2000s streetwear. Start with a graphic sweater or a fitted long-sleeve top layered beneath an oversized hoodie. Add baggy jeans or cargo pants, followed by a puffer jacket or a warm coat.

For footwear, chunky boots and sneakers with suitable winter grip work well with wide-leg trousers. Beanies, scarves, and crossbody bags can provide practical finishing touches. Color coordination becomes especially useful when working with several layers. A neutral base of black, gray, or dark denim can be combined with a colorful sweater or statement accessory.

Winter outfit idea: Dark-wash baggy jeans, a graphic sweater, an oversized puffer jacket, chunky boots, and a knitted beanie.

Essential Y2K Pieces That Work All Year

Although each season calls for different clothing, certain Y2K wardrobe essentials remain useful throughout the year. Baggy jeans are among the most versatile options. They work with lightweight summer tops, spring cardigans, fall hoodies, and winter jackets. Graphic T-shirts are equally adaptable. Wear them alone during warmer months or layer them over long-sleeve tops and beneath jackets when temperatures drop.

Zip-up hoodies provide another practical option, especially for transitional weather. Their relaxed silhouette works with both fitted and oversized pieces. Statement accessories can also be worn year-round. Studded belts, silver jewelry, shoulder bags, and graphic beanies help maintain the Y2K aesthetic even when the rest of an outfit consists of contemporary basics.

Building a wardrobe around these versatile pieces makes seasonal styling considerably easier.

How to Keep Your Y2K Outfits Balanced

One of the most useful styling principles is to balance different proportions. If you’re wearing oversized jeans, consider a fitted top or a shorter jacket. If your outfit includes fitted trousers, an oversized sweater can create an interesting contrast. It’s also worth limiting the number of statement pieces in a single outfit. Graphic prints, rhinestones, colorful accessories, and decorative hardware are all characteristic of Y2K fashion, but they don’t need to appear together.

Instead, choose one or two elements to emphasize and let the remaining pieces provide balance.

Making Y2K Fashion Work Throughout the Year

Creating seasonal Y2K outfits doesn’t require four completely different wardrobes. Many of the same jeans, tops, sweaters, and accessories can be combined in new ways as the weather changes. Spring encourages lighter layers, summer highlights cropped silhouettes, fall brings oversized streetwear into focus, and winter provides opportunities to experiment with heavier textures and outerwear.

By choosing versatile essentials and adapting the way they’re styled, it’s possible to enjoy Y2K fashion in every season while keeping outfits practical, comfortable, and suited to everyday life.

The post How to Create Y2K Outfits for Every Season appeared first on Male Model Scene.