Photographer Yasamin Ataee captures Andrew Genner for “Idle Hours,” a new MMSCENE STYLE STORIES exclusive. Sarah D’Arcey leads the styling, with hair and makeup by Jada Arriola. Set in a fall landscape, the editorial follows Genner through a series of unhurried moments, exploring solitude and the freedom of having nowhere in particular to be.

MMSCENE EXCLUSIVES

Idle Hours explores the moments when daily routines give way to personal time. Ataee photographs Genner among rocky terrain and fall vegetation, alternating between intimate portraits and wider compositions that emphasize the surrounding environment. His movements bring a spontaneous quality to the photographs, while more contemplative moments suggest the pleasure of spending time alone. D’Arcey’s styling features pieces from Canali, J.FitzPatrick, Filson, Le 31 Studio, Jungles Jungles, AMI Paris, Banana Republic, JAK, John Varvatos, Boss, Wooyoungmi, Feit Direct, Mykita, Chevignon, Levi’s, Theory, and Vimana.

Photographer: Yasamin Ataee
Model: Andrew Genner at Key Models
Stylist: Sarah DʼArcey at Lizbell
HMUA: Jada Arriola at RM Artists

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Ferrari brings its Spring Summer 2027 collection, “Crafting Identities,” to New York, with Creative Director Rocco Iannone drawing inspiration from the city’s approach to individuality and self-expression. The runway presentation coincides with the opening of Ferrari’s Soho flagship store, establishing a connection between the brand’s expanding fashion presence and one of the world’s most influential cultural centres.

SPRING SUMMER 2027

The collection takes inspiration from the New York of the 1980s, a period associated with excess, artistic experimentation and increasingly expressive approaches to personal style. Iannone references the work of photographers and artists who helped define the city’s cultural identity, particularly Robert Mapplethorpe and Jean-Michel Basquiat. Their different visual approaches inform his interpretation of the Ferrari wardrobe, introducing influences from photography, painting and popular culture.

Mapplethorpe’s interest in composition and the human form provides one point of reference, while Basquiat’s expressive approach to imagery introduces another. Iannone draws on these artistic influences alongside the city’s relationship with pop and kitsch, translating their energy into the collection’s materials, colors and surface treatments.

Menswear centres on recognizable pieces, with bomber jackets, tracksuits, tailored suits and baseball caps forming the foundation of the wardrobe. Iannone works with these established garments, exploring how different materials and finishes can change their character. The collection maintains a connection to everyday dressing while examining the possibilities of more experimental construction and presentation.

Tailoring plays an important role in this approach. The suit represents one of menswear’s most established forms, offering Iannone an opportunity to explore the relationship between familiar proportions and contemporary expression. Sportswear introduces another dimension through the bomber jacket and tracksuit, two garments that connect naturally with the collection’s interest in movement and urban culture.

Ferrari’s established color identity also informs the designs. Red and yellow appear as references to the brand while responding to the visual intensity of New York. Animal prints introduce another influence, drawing from the familiar description of the city as a concrete jungle. Iannone uses these elements to explore how color and surface can alter the appearance of conventional wardrobe pieces.

The designer connects his approach to the technical knowledge that defines Ferrari’s wider creative practice. The process of transforming materials into finished objects provides a reference for the collection, where experimentation with texture, color and form becomes central to the design process. Iannone considers clothing another means through which individuals develop and communicate their identities.

Discover Full Collection on DSCENE

Ferrari presents the collection inside a renowned downtown art gallery, extending its connection with New York’s creative community. The venue also hosts a Rubelli textile installation featuring reproductions of covers from Ferrari’s historical archive. Through this collaboration, archival imagery takes on a new material form and becomes part of the presentation.

View Gallery 10 images

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Photographer Matthew Tate captures Chilean model León García for a new MMSCENE Magazine exclusive, photographed at his London studio. The editorial captures García through a series of understated portraits, with relaxed poses, direct expressions and minimal studio settings that keep the focus on the model. Tate also handles the editorial’s styling, selecting pieces from Zara, Emporio Armani, H&M, Frederick Grove, Charles Tyrwhitt, Calvin Klein, Uniqlo, and Lacoste. Vicente Chavarria provides assistance during the shoot at Tate’s London studio.

MMSCENE EXCLUSIVES

In an accompanying conversation with MMSCENE, García reflects on his introduction to modelling and the experiences that have shaped his career across international markets. The 20-year-old model discusses adapting to different working environments, developing confidence in front of the camera, and finding his own approach to the industry. He also shares his perspective on life away from home, the challenges of building a career across several cities, and his interests and ambitions beyond modelling.

I started modelling when I was doing my last year of high school preparing for the university exams. I got scouted because the director of my agency in Chile followed my dad on Instagram and texted him when he posted a pic for my birthday. The original plan was to study business while working as a model just in Chile when jobs came, same as I was doing with school. I wasn’t really expecting to leave Chile for 2 years to work as a model but I’m really happy on how is going.

I think China surprised me the most. It was quite different from anything I’d experienced before, especially because of the cultural differences and the way people work there. I noticed that people were very disciplined and organised.

It taught me a lot about being professional on set, being prepared and understanding how things work in a different environment.

I wouldn’t say where I’m from defines the way I see myself or approach my work too much, but I’m definitely very proud to be Chilean. I think growing up in Chile and then moving abroad has given me the chance to see things from different perspectives and experience different ways of life.

I always try keeping an open mind and not limiting myself to one place or way of thinking.

Since I was a kid my dream was always to travel the world, so being able to do it while working and developing a career means a lot to me.

It’s quite surreal when I stop and think about it. I’m only 20, and in a relatively short period of time I’ve had the opportunity to work across different markets and meet nice people in cities that are so different between them. I want to keep learning, experiencing new things and seeing how far I can take this.

I think it happened gradually rather than in one particular moment. In the beginning, I was very conscious of what I was doing, thinking about every movement, whether I was doing things right and what I think conditioned me the most was always trying to look good and attractive. Once I realised I didn’t have to force anything or try to look like something everything felt way more natural. Since then, I’ve enjoyed modelling much more.

The atmosphere was really enjoyable Matthew and Vicente were really nice and made me feel like in home. It felt relaxed and collaborative, which made it easy to experiment and not take myself too seriously. there was room to play around with different expressions, movements and attitudes rather than sticking to one idea of how the images should look.

I think it’s quite natural, actually. I like being able to try different things and step into different characters, but I never really feel like I’m pretending to be someone completely different. I think a bit of my personality always comes through, no matter what I’m doing. I just try to understand the mood of the shoot, go with it and have fun.

For me the hardest part is that is a very lonely career. You meet really nice people along the road but a lot of times there’s no enough time to connect on a deeper level, or when you do connect, you have to leave the country to go to other market without knowing if you’re gonna see this people again. In my scenario being from Chile which is so far away from everything makes it super difficult to see my family and friends from there. Since I started in January 2025 I’ve just been home once, a couple of months ago, before that I was a year and 8 months with out seeing anyone.

I think what has helped me a lot is to spend a lot of time by myself knowing me better so I can find that containment in my rather than other people, I’ve always liked to be alone so I think that helps a lot, Also keeping touch with my loved ones from distance.

To be honest, I don’t have one particular person whose career I look at as a reference. I feel like I’m still figuring things out and trying to build my own path rather than following someone else’s. I do listen a lot to my mother agent Polis though. I really trust his vision and I’m really happy on how things are going.

In five years, I’d like to still be modelling. Maybe travelling a little less and being a bit more settled in one place, but still having the opportunity to work internationally.

I’d also like to be working on something of my own on the side, whether that’s starting a business or exploring something more creative. At the moment I’m learning a lot and exploring my creative side which I’ve discovered through this job, so I hope that I can translate that to something great in the future.

I see modelling as a vehicle in life. You meet so many interesting people, experience different cultures and learn a lot just from being in different places. I feel like all of that can be useful for whatever you decide to do later on. I guess I’d just like to make the most of those opportunities and see where they take me.

Photography and Styling: Matthew Tate
Model: León García  at PRM Agency
Assisted by Vicente Chavarria

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Carhartt WIP and Nike introduce their Fall Winter 2026 collection with a campaign film set in Manhattan after dark. Director Bing Cao shoots on 35mm, following three strangers on separate commutes. It is the first collaboration between the brands in eight years, bringing together six apparel pieces and three versions of the Air Max Goadome Low WIP.

SPORTSWEAR

The cast brings three different occupations to the film. Christiano Wennmann is head pizzaiolo at Scarr’s on the Lower East Side, Rasheem Dunn is a Dyckman Tournament basketball MVP, and Abi Asisa is a London-based cellist and producer. Cao uses a cool, muted palette as the film cuts between their routes. The canvas jacket, brushed sweats and low-cut Goadome appear as clothes worn in transit, with the commute providing a common setting for people who never meet.

The Air Max Goadome Low WIP takes its material cues from the Half Dome. Carhartt WIP layers suede and leather over a canvas upper, using metallic Swoosh details and eyelets against the textured fabrics. The brand adds its name to the foxing. Black and British Tan join Green, a colorway exclusive to Carhartt WIP.

In the apparel, Nike’s Windrunner provides a line the designers can use in two different ways. On the Windrunner Active Jacket, the chevron runs along the chest, as it does on Nike’s running shell. Mesh lining and toggle fastenings also come from the sportswear side of the collaboration. Carhartt WIP supplies the stonewashed Dearborn Canvas, kangaroo pocket and triple stitching associated with its Active Jacket.

The same angle appears at the knee of the Windrunner Drewe Pant. The designers use the Windrunner’s 26-degree chevron to set the angle of the reinforced knee panels. The trousers keep the relaxed cut of the Drewe Pant, with double-layer knees, a hammer loop and tool pockets drawn from the Double Knee Pant. It is a small pattern change that makes the connection between the jacket and trousers visible.

 

 

 

 

 

 

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The rest of the apparel consists of a heavyweight brushed cotton hoodie, a graphic T-shirt, a cotton waffle long-sleeve and a stretch cotton beanie. Carhartt WIP’s WIP H Brown and Black set the palette, with Cypress and Fleur de Sel appearing in the details. The brands pigment-dye select pieces to give the fabric a worn-in finish and variation in tone.

The collection debuts November 12 at select Carhartt WIP stores, on the brand’s website and through the Carhartt WIP App. The global footwear release follows November 20 via Nike SNKRS and select retailers. Carhartt WIP and its retail partners retain the apparel, and the Green Goadome remains a Carhartt WIP exclusive.

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Calvin Klein welcomes the holiday season with a new campaign featuring global brand ambassador and BTS member Jung Kook. The singer presents a personal selection of the brand’s signature wardrobe pieces, focusing on denim, underwear, knitwear and outerwear for the colder months. Photographer and director Alasdair McLellan captures Jung Kook in a series of images and films that explore his individual approach to dressing, with familiar Calvin Klein designs taking on different combinations throughout the campaign.

HOLIDAY SEASON

The Holiday 2026 campaign follows Jung Kook as he experiments with seasonal outfits through intimate unboxing moments, festive dressing routines and styling challenges. These scenarios offer a closer look at the pieces he regularly chooses and the different ways he incorporates them into his wardrobe. McLellan places the singer’s personality and confidence at the centre of the visuals, allowing his styling choices to guide the campaign.

Jung Kook’s selection draws from Calvin Klein’s established categories, with denim providing the foundation for several looks. The singer revisits familiar fits and introduces new combinations through layering, pairing jeans with knitwear and outerwear suited to winter temperatures. His approach reflects the versatility of the individual pieces and the freedom to adjust an outfit according to personal preference.

“There are certain Calvin Klein styles that I always come back to – especially the denim,” Jung Kook explains. “For this holiday edit, I had fun taking some of the most iconic fits and styling them in new ways for the season. I like that you can dress them up or keep things simple and still make each look your own.”

The campaign places particular attention on two denim silhouettes, the Barrel Jean and the archival ’90s Straight. The Barrel Jean introduces a relaxed shape, while the ’90s Straight references one of the brand’s established denim fits. Both styles provide a starting point for the seasonal outfits, allowing Jung Kook to experiment with different proportions and textures.

Textured sweaters made from marled yarn accompany the denim selections, adding warmth and variation to the winter wardrobe. Classic crewnecks offer another option for layering, creating combinations that work across different holiday occasions. The styling moves between casual daytime dressing and outfits suitable for evening gatherings, with familiar garments forming the basis of each look.

Calvin Klein also explores roomier denim proportions through baggy jeans, which appear alongside a selection of more structured outerwear. Rugged aviator jackets introduce a heavier silhouette, while biker-inspired designs bring sharper lines to the collection. Tailored leather outerwear provides another option for winter dressing, giving the denim pieces a different character through changes in shape and material.

Throughout the campaign, Jung Kook approaches the selection through his own wardrobe preferences. His interest in Calvin Klein denim informs the edit, while the accompanying knitwear, underwear and jackets expand the possibilities for seasonal styling. The campaign encourages experimentation with familiar designs, showing how individual choices can change the appearance of an outfit.

The post Calvin Klein Celebrates the Holidays With Jung Kook appeared first on Male Model Scene.

Not long ago, a chain was a declaration. You were either a man who wore one or a man who didn’t, and the two camps rarely mixed. That line has all but disappeared. Walk through any recent menswear season, scroll any campaign, or look at what the best-dressed men on the street are wearing, and the chain has become what the watch has long been: something a man puts on without a second thought.

Which leaves the more useful question of which chain, and with what. How a chain looks has surprisingly little to do with the chain itself and almost everything to do with what you’re wearing around it. A link that looks perfect against a white tee can look clumsy under a fine poplin shirt, while the slim chain that sits elegantly beneath tailoring vanishes against a chunky knit.

So this edit starts with the clothes. Browse any serious selection of men’s chain jewelry and you’ll find a dozen link styles in a dozen widths. Here’s how to narrow that down to the right one for what you actually wear.

Men’s Chain Styles: Know Your Links

A handful of link styles cover almost everything men wear:

• Cuban: thick, tightly interlocked links with real weight. The boldest option, built to be seen.
• Curb: the classic the Cuban grew out of. Its twisted links lie flat, with a lighter feel and more movement.
• Franco: V-shaped links locked into a dense column. It hangs dead straight and resists kinks.
• Herringbone: flat, angled links that form a liquid, mirror-like ribbon of metal.
• Rope: small links twisted into a spiral that throws light from every angle.
• Box and rolo: square or round links, clean and discreet. (In Britain, the rolo is called a belcher.)

Keep those in mind, because they map neatly onto the wardrobe.

How to Wear a Chain With a Suit

Tailoring is the strictest test, because a chain has to work with the cloth rather than against it.

Under a buttoned shirt and tie, aim for invisible. A slim box or Franco chain, 2–3mm wide, sits close to the skin and won’t print through fine poplin. Heavy links will, and nothing undermines a sharp suit like the outline of a Cuban showing through the shirt front.

The more interesting look is the suit worn without a tie, collar open. Here a 20-inch curb or rolo, sitting right at the collarbone, works the way a pocket square does: it signals that the formality is a choice. Keep it to one chain and keep it slim. Tailoring rewards restraint.

Chains With an Open Shirt

This is where chains look best, full stop. The V of an open collar frames whatever sits inside it, and a camp-collar or linen shirt practically asks for one.

It’s also the herringbone’s natural habitat. That flat, liquid surface needs open space and skin to read properly, and against an unbuttoned resort shirt it catches the light like nothing else. Wear it at 20 inches so it sits inside the collar rather than disappearing behind the placket. A curb or rope works too if you’d rather have more texture. One practical note: store herringbone laid flat, because it kinks if it’s bunched into a drawer.

Chains With Knitwear

Knitwear splits into two rules. Over a fine-gauge merino crewneck or turtleneck, a chain worn on the outside is one of the most quietly elegant looks in menswear. A slim silver chain against a black turtleneck is a combination that has never dated. Here, finer is better.

Over chunky knits, the logic flips. Texture swallows fine chains whole, so go bolder: a 4–5mm curb or a rope chain has enough presence to hold its own against cable or rib. Or keep the chain underneath until the knit comes off.

Chains With T-Shirts and Streetwear

The plain T-shirt is a chain’s easiest canvas and its most forgiving. This is Cuban territory: 5mm and up, worn alone at 20 to 22 inches, where the chain is the accessory and needs no pendant to justify it. Against a heavyweight white or black tee, a substantial Cuban does more for an outfit than almost anything else you could add.

Streetwear rewards scale and repetition, which brings us to layering.

How to Layer Chains

Layering looks complicated and isn’t. Three rules handle nearly every situation.

Separate the lengths. Leave around two inches between chains: 20 and 22 inches, or 20, 22 and 24 for three. The gap is what makes it look deliberate rather than tangled.

Vary the texture, not the metal. Pair a dense Cuban with a twisting rope, or a heavy curb with a fine box chain. Contrast in link style creates interest; mixing silver and gold usually just creates noise.

Keep one focal point. If there’s a pendant, it goes on the longest chain, with plain chains above it. Two pendants compete.

Two chains is easy to wear. Three is a look. Four is a commitment that needs a very plain outfit underneath.

Silver, Gold or Steel?

Match your chain to the metal you already wear every day, which usually means your watch. Beyond that, the choice comes down to how you live.

Sterling silver is the classic. It has weight and character, develops a lived-in patina, and polishes back to bright whenever you want. Stainless steel is the workhorse: it won’t tarnish, shrugs off sweat, salt water and the gym, and suits the man who never wants to think about upkeep. Solid gold is the heirloom option and is priced like one. For gold tones at an everyday price, look past the color to how the piece is made. Thin plating can wear through with daily use, while bonded finishes over steel hold up far better.

The One-Chain Wardrobe

The British label Illicium London is one place to see the full spread of link styles side by side, from slim box chains to statement Cubans. Wherever you buy, start with the clothes you actually wear. The right chain follows from there.

If you’re only going to own one chain, make it a 22-inch curb or Franco, 3 to 4mm wide, in sterling silver. It’s slim enough to wear under a shirt, substantial enough to hold its own over a tee, strong enough to carry a pendant, and it works with almost everything in this guide.

Add a second chain when you find yourself wanting one: a Cuban for weekends, a herringbone for summer evenings. That’s how most men’s collections actually grow, one considered piece at a time.

Images from Alisson by Diego Bigolin – see full story here.

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Every year, thousands of young men type the same question into a search bar: how do I become a male model? In 2027, the honest answer is more nuanced than it has ever been. The industry is hungry for new faces on runways and in campaigns, yet it is also being reshaped by technology, tighter budgets and a more cautious approach to casting. At MMSCENE, we follow this business every day, from the Top 30 Male Models to the agencies behind them, so here is our straight take on where things stand and how to approach it.

Where the Industry Is Heading in 2027

There is a clear appetite for fresh faces. Designers and creative directors keep looking for newcomers who feel unpolished, individual and unexpected, and that energy is visible on runways and in campaigns each season. Casting directors want models who look like real people with a point of view, not copies of last year’s favorite.

At the same time, the business is not as easy as it looks from the outside. Budgets are tighter, fewer jobs pay generously, and the gap between the handful of models who build real careers and everyone else remains wide. AI is also part of the picture. Brands are experimenting with generated imagery and digital replicas, and that is not good news for the industry as a whole. It makes one thing more important, not less: genuine presence, personality and the ability to show up and deliver on set are what technology cannot replace.

Our view is simple. Take modeling seriously enough to do it professionally, but not so seriously that it defines your whole future.

What You Need to Become a Male Model in 2027

There is no single template, and that is the point. Agencies look for a mix of qualities, and the balance changes from market to market.

• A distinctive look. Agencies are less interested in generic handsome and more interested in a face or a presence people remember.
• Healthy, natural condition. Clear skin, good posture and a fit, healthy body matter more than extreme thinness or heavy muscle.
• Age and timing. Most new male models start in their late teens or early twenties, although some begin later and thrive, especially in commercial and character-driven work.
• Professionalism. Punctuality, a good attitude and the ability to take direction are what bring clients back.
• Adaptability. Being comfortable in front of a camera, on a runway and in a casting room with dozens of other people.

Study who is working. Our Top 30 Male Models list is a good place to see the range of looks the industry is booking right now. You will notice how different they are from one another.

How to Get Started the Right Way

If you decide to pursue it, do it properly and keep it simple.

1. Take clean, honest photos. You do not need a professional shoot. Agencies ask for natural digital photos: a close-up, a profile and full-length shots in a plain tee and fitted jeans, no filters, no heavy styling, daylight, plain background. They want to see you, not an edit.

2. Research agencies before you submit. Not every agency suits every look or market. Browse our Male Model Agencies Directory to find reputable agencies and understand who represents what.

3. Follow each agency’s submission guidelines. Most agencies publish how they want to receive applications. Use their official channels, include the information they ask for and nothing more.

4. Never pay to be represented. A legitimate agency earns its money from commission on the work you book. Be wary of anyone asking for upfront fees for signing, portfolios or promises of work.

If You Get Scouted and Were Never Interested in Modeling

This happens more than you might think, and some of the most successful models in the business are men who never planned to model. They were approached on the street, at a festival, at university or through social media. If it happens to you, do not dismiss it, and do not jump in blindly either.

Here is what to consider:

• Verify who approached you. Check that the agency is real and established. Look it up, look at its roster and cross-check it in our agencies directory. Scouts from legitimate agencies will not mind you doing your homework.
• Understand the terms. Ask about commission, expenses that may be deducted from your earnings, contract length and exclusivity. If you are under 18, involve a parent or guardian. Have someone you trust read the contract before you sign it.
• Do not give up your plans. Keep your studies or your job. Modeling is unpredictable, and a good agent will understand that you are building a life, not only a portfolio.
• Be honest about your interest. You do not need to be passionate about fashion on day one. You do need to be willing to show up, travel for castings and handle rejection without taking it personally.
• Think about what you can gain. Modeling can fund your education, take you to new cities, introduce you to creative people and teach you confidence. If that appeals to you, it may well be worth a try.

The reason guys who never thought about modeling often do so well is that they arrive without ego or an expectation of how it should go. They are curious, relaxed and natural in front of the camera, and clients respond to that. If you were scouted, treat it as a real opportunity, try it with clear eyes and stay in control of the decision.

If you have submitted widely and professionally over a sustained period and received no interest, it is healthy to step back and reassess rather than keep pushing in the same direction.

Trying on Your Own: Is It Worth It, or Are You Delusional?

This is the uncomfortable part, so let’s say it plainly. Wanting to be a model is not delusional. Many men have the right look and the right drive. But modeling is one of the few careers where talent and effort alone do not guarantee anything, because the industry selects based on what it needs at a given moment, in a given market. You can do everything right and still hear no.

So if you have been submitting for a while and no agency has signed you, are you delusional? Not necessarily. A rejection is rarely a verdict on your worth. It often means one of the following:

• Your look does not fit what that agency currently needs or already represents.
• The agency already has several models who resemble you.
• Your market is saturated, or the wrong market for your look.
• Your photos are not showing you at your best, or are over-styled.
• The timing is simply off.

That said, there is a difference between persistence and denial. If you have submitted widely and professionally over a sustained period and received no interest, it is healthy to step back and reassess rather than keep pushing in the same direction.

How to Rethink the Approach

• Set a time limit. Give it a fixed window, such as six to twelve months, with clear goals. At the end, decide whether to continue, adjust or move on.
• Improve your submission. Simpler, more natural photos often work better than glossy ones. Make sure your information is accurate and complete.
• Widen your targets. Look at smaller or regional agencies, and different markets. Many models start locally, build experience and move to larger markets later. Use the Male Model Agencies Directory to explore beyond the obvious names.
• Consider other lanes. Commercial, fitness, mature and character modeling are all real categories, and the best path for your look may not be high fashion.
• Ask for feedback politely, once. If an agent offers a response, take it seriously. If they do not, do not chase it.
• Separate your identity from the outcome. Your value is not decided by a casting list. Build skills and interests that grow whether or not modeling takes off.

Respect Boundaries: The Rule That Matters in 2027

This is one of the most important pieces of advice we can give. Do not be pushy. Agents and bookers receive an enormous volume of messages every day, and the models who stand out for the wrong reasons are the ones who flood inboxes, message several people at the same agency, follow up daily or turn up unannounced.

• Submit once, through the channel the agency asks for.
• If you do not hear back, assume the answer is no for now, and consider updating your photos and trying again after a reasonable time, such as several months.
• Do not send unsolicited private messages to agents or scouts on social media.
• Be polite and brief in every exchange, whether the answer is yes or no.

The industry is small, and people talk. Being respectful and easy to work with is a long-term asset.

A modeling career can last a season, a few years or, for a small number of people, much longer. The face that is in demand now may not be next year, and that is nothing personal.

Our Advice: Try It, but Do Not Bet Everything on It

If you get the chance, try it. Modeling can be an exciting, formative experience, and the industry currently has room for new faces. But treat it as one chapter rather than the whole story. A modeling career can last a season, a few years or, for a small number of people, much longer. The face that is in demand now may not be next year, and that is nothing personal.

• Keep a second path alive. Study, work, build a business or develop a craft alongside modeling.
• Use the experience. Sets and castings put you in rooms with photographers, stylists, designers and creative directors. Learn from them.
• Network with intention. Build genuine connections, not only contacts. Many models move into photography, styling, design, music, acting or entrepreneurship because of the relationships they formed.
• Develop your talents. Treat each job as a chance to learn something you can carry into whatever comes next.
• Protect yourself. Read contracts carefully, including any clauses on the use of your image and likeness, especially as AI becomes more common in the industry.

Finally, becoming a male model in 2027 is possible, and the industry is open to new faces. But it rewards those who are realistic, professional and respectful, and it punishes those who treat it as their only option. Start with a clear head, do your research, use resources like the Male Model Agencies Directory and the MMSCENE Top 30 Male Models to understand the landscape, and keep growing as a person along the way. Whether it lasts a season or becomes a career, the best models are the ones who never stopped being more than a face.

The post How to Become a Male Model in 2027 appeared first on Male Model Scene.

Some coats are made for the city. Burberry’s Cashmere 2026 campaign takes its tailoring into the open air, placing Cherif Douamba in a long, belted coat against a backdrop of mature trees and sun-dried grass. The effect is less studio polish and more a pause during a walk, a reminder that a well-cut coat is meant to move with the person wearing it.

The campaign is credited to Ronan Gallagher (photography), Martin Senyszak (direction) and Tamara Rothstein (fashion editing and styling), with the collection designed by Daniel Lee. Explore the full Fall Winter 2026 campaigns to see how this shoot sits alongside the season’s other work.

A Coat Cut for Movement

The coat is the clear focus of the frame. It is a grey-blue wool design with a double-breasted front, a row of large dark buttons and structured epaulettes that sit neatly on the shoulder. A matching belt is cinched at the waist and tied at the back, giving the silhouette a defined line without tightening the body beneath it. The sleeves are generous, with a strap at the cuff that echoes the belt.

Cherif Douamba holds the lapel closed with one hand, a small gesture that keeps the coat in focus and suggests he has just stepped out into the wind. The fabric has a soft, brushed surface that catches the late light, and the drape falls straight to the ankle.

House Check at the Collar

The only flash of pattern comes from the collar. A band of Burberry check, in warm red, beige and navy, rises just above the coat’s high neck. It is a quiet nod to the house’s archive, used sparingly enough that the wool stays the main event.

That restraint is typical of how Burberry has approached its heritage codes in recent seasons. The check is present but never shouts, and the modern proportions of the coat keep the outerwear feeling current rather than costume-like.

Outdoor Light, Honest Setting

The setting does much of the work. Tall, uneven trunks frame the top of the image, and the green lawn runs out at the bottom edge. Nothing in the background competes with the coat. The natural light is soft and slightly warm, which flatters the grey tones of the wool and gives the portrait a documentary feel.

For a menswear campaign, this is a shrewd choice. Outerwear is worn in the world, not in a vacuum, and placing the coat in a park shows how it would actually sit on a daily walk.

Representation Across Agencies

Cherif Douamba is represented by a broad network of agencies. In New York he works with IMG New York, in Paris with Premium Models, in Milan with d’management group, and in London with Supa Model Management. He is also represented in Barcelona by Francina Models, in Copenhagen by Unique Models, and in Berlin by nest model management. Mother Agency also appears on his list of representation.

That spread gives the model access to bookings across the main fashion cities, which is one reason campaigns like this one can move quickly from concept to shoot. You can read more about his work on his MMSCENE model page.

Campaign Credits

Model: Cherif Douamba
Designer: Daniel Lee
Photographer: Ronan Gallagher
Director: Martin Senyszak
Fashion Editor/Stylist: Tamara Rothstein
Hair Stylist: Shiori Takahashi
Makeup Artist: Ammy Drammeh
Casting Director: Shyra Gaillard
Manicurist: Ama Quashie
Set Designer: Andy Hillman
Producer: Matilda Webster

The post Cherif Douamba Takes Burberry’s Cashmere Coat Outdoors appeared first on Male Model Scene.

Rooms for resting, rooms for waiting. For its Fall Winter 2026 campaign, Helmut Lang trades the runway for the quiet theater of domestic space, casting model Elliot Belot in a series of images that feel more like a held breath than a fashion pitch.

Photographed by Daniel P. Shea, the campaign follows Belot across a leather sofa, a makeshift plywood platform and a bed of rumpled white linen. Each setting is spare, each pose slightly off-center. The result is a portrait of a wardrobe that works as hard in repose as it does in motion.

Softness With Structure

The first image sets the tone. Belot reclines on a black leather sofa in a heavy ribbed knit in charcoal grey, its high neck and dropped shoulders giving the silhouette real weight. Wide-leg trousers in a flecked, heathered wool pool around his legs, creaseless and unfussy. A dark leather bag sits half-hidden behind him. The palette is tonal and muted, the tailoring generous, and the gaze direct.

It is a study in how Helmut Lang approaches knitwear: not as comfort dressing, but as architecture. The ribbing creates vertical rhythm, the volume creates distance, and the whole look reads as composed rather than casual.

Workwear Gets Sharper

In the second frame, the mood shifts. Belot crouches on a raw plywood plinth topped with a pale mattress, wearing a clean white T-shirt and deep chocolate brown wide-leg trousers with contrast stitching and metal rivet detailing. Glossy black leather boots anchor the look. The pose is almost feline, the stare unflinching.

Here the brand leans into its long-standing tension between utility and polish. A simple white tee and a pair of work-inflected trousers become something more deliberate through proportion and finish alone. The unfinished wood against the soft pastel backdrop only sharpens the contrast.

Monochrome in Bed

The third image may be the most striking. Belot lies on his side across pale blue-white bedding, dressed head to toe in a pale stone-toned set: an oversized shirt jacket with a pointed collar and a chest pocket with a snap closure, paired with matching trousers and cinched by a slim black leather belt. The fabric has a subtle sheen that catches the light and mirrors the folds of the sheets around him.

Tone-on-tone dressing has long been a signature of the house, and this look shows why it endures. Without contrast to lean on, the cut does all the talking: the roomy shoulder, the clean placket, the single dark accent at the waist.

A Busy Season for Belot

The Helmut Lang campaign adds to a strong season for the model, who also appeared in the AMI Paris Fall Winter 2026 campaign. Appearing for two distinct houses in the same season speaks to his range: equally convincing in the warm, Parisian ease of AMI and in the cooler, more austere world of Helmut Lang. Belot is also the face of Moncler’s latest fall winter 2026 lookbook. 

Belot is represented by Wonderwall Management in Milan and Chapter Management in London. Discover more of the shoot in our gallery: 

View Gallery 5 images

Campaign Credits

Model: Elliot Belot
Photographer: Daniel P. Shea
Art Director: Becca Thandi Halev
Fashion Editor/Stylist: Clare Byrne
Hair Stylist: Tamas Tuzes
Makeup Artist: Emi Kaneko
Casting Director: Bert Martirosyan
Producer: Wei Wang

The post Elliot Belot Fronts Helmut Lang Fall Winter 2026 Campaign appeared first on Male Model Scene.

Models Yeray Allgayer and Léo Dufloux pose for Balmain’s Men’s Pre-Spring 2027 collection, marking Antonin Tron’s first menswear offering for the French fashion house. Photographed by Matthias Vriens, with art direction and styling by Éric Diulein and Sacha Quintin, the collection draws inspiration from surfing legends, rock musicians, and Hollywood actors. Tron explores unconventional masculinity through sharp tailoring, relaxed silhouettes, decorative fabrics, and athletic references, continuing the direction established in his Fall Winter 2026 womenswear debut.

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Tron looks to men whose personal style developed outside conventional expectations. Brad Pitt and Matthew McConaughey during the 1990s and early 2000s provide references for the collection’s relaxed California attitude. Their informal approach to dressing informs a silhouette built around strong shoulders, defined waists, and clothing that follows the body without restricting movement.

Double-breasted suits appear alongside shearling aviator jackets, fitted leather Perfectos, and lace-up leather trousers. Low-slung faded denim and worn-in outdoor jackets introduce a casual direction, while the colour palette moves through black, brown, gold, tan, washed beige, and faded blue. These pieces establish a wardrobe in which traditional menswear proportions meet the informality of West Coast dressing.

Music provides another important reference. Tron draws from Lou Reed, Richard Hell, and Andrew Eldritch of Sisters of Mercy, incorporating elements of their dark, provocative stage wardrobes. Gilded leather blazers, paisley jeans, and silk leopard-print ensembles bring decorative intensity to the collection. Animal prints also reference Balmain’s early designs under founder Pierre Balmain, connecting Tron’s musical influences with the house’s established aesthetic.

The designer places particular emphasis on David Nuuhiwa, the American surfing icon of the 1960s and 1970s. Nuuhiwa’s wardrobe combined athletic clothing with California counterculture and elements of his Hawaiian background. His approach to dressing informs Tron’s understanding of masculine style as something personal, physical, and adaptable. The influence appears throughout the collection in the relationship between athletic proportions, casual clothing, and more elaborate evening pieces.

Despite the collection’s extensive use of embroidery, beading, brocade, satin, and leather, Tron introduces footwear intended for everyday wear. The new Balmain Daytona sneaker takes inspiration from football shoes, while the Balmain Canyon boot incorporates hiking references. Both provide practical options for styling the collection’s tailored and decorative pieces.

For his first Balmain menswear collection, Tron develops a wardrobe around individuality, movement, and the freedom to combine seemingly unrelated influences. From surf culture to gothic rock and Hollywood style, Pre-Spring 2027 establishes his approach to the house’s menswear identity.

View Gallery 18 images

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