Camp Schill, Elan Lee and More Bring a Model Gang to Mode 3.
A full model gang of quite the variety takes fashion from the driveway to the shoreline for Harper’s Bazaar Homme France.
Camp Schill, Elan Lee, Zachary Velasco, Alex Hartnett, Buster Jaeger, Taj Britton and Caleb Enoch front the expansive story, photographed by Giovanni Corabi for the sophomore issue of Harper’s Bazaar Homme France.
Entitled Mode 3, the editorial is styled by Imruh Asha with grooming by Diana Berry, mixing formal tailoring, surf uniforms, tropical prints and thrift-store character into one sun-soaked fashion hang.
The models move between suburban driveways, surfboard workshops, chain-link fences and the water’s edge as if one very stylish beach day expanded into a complete cinematic universe.
Suits at the beach. Polos over wetsuits. Floral layers piled high enough to create their own tropical climate. Everybody understood the assignment differently.
Explore the complete editorial and find tropical shirts and textured knitwear inspired by its colorful coastal wardrobe.
As an Amazon Associate, INYIM Media earns from qualifying purchases.
Imruh Asha treats the coastline like one giant dressing room.
The wardrobe refuses to follow one tidy definition of summer menswear. Sharp wool suits arrive with bare chests and flower leis, while board shorts are topped with long coats, collared shirts and enough pattern to make minimalism file a formal complaint.
Asha’s styling draws from major fashion houses while retaining the looseness of clothing assembled from personal wardrobes, vintage stores and whatever might already be lying around the surf house.
Confirmed looks include Gucci, Valentino and Ferragamo tailoring worn with Isabel Marant jewelry, alongside pieces from Prada, Versace, Saint Laurent by Anthony Vaccarello, Armani, Lacoste and Havaianas.
That combination allows polished fashion to sit comfortably beside beat-up sneakers, flip-flops, personal wetsuits and the kind of oversized sunglasses normally spotted during a very committed vintage-shopping expedition.
The styling is not interested in whether two pieces traditionally belong together. It only asks whether the final character is interesting enough to follow down the street.
Retro tailoring receives the coastal treatment.
Two models pair softly structured suits with striped shirts, mismatched vintage ties and sunlit attitude beside a chain-link fence.
The suits throughout Mode 3 remain formal in construction but relaxed in presentation. Trousers pool around flip-flops, jackets are worn directly against bare skin and traditional neckwear appears in competing prints and unexpected lengths.
Even when the models stand completely still, the clothes carry movement through oversized proportions, loose layers and fabric that catches every bit of coastal wind.
Corabi’s photography pushes that contrast further. Warm natural light and familiar neighborhood spaces keep the editorial from becoming too pristine, while the occasional flash of saturated color makes each look land like a newly discovered postcard.
The complete Mode 3 gang hits the surf.
Floral layers, Prada knitwear, Lacoste polos, personal wetsuits and open-chested tailoring move from neighborhood streets to the shoreline.
The full cast gives Mode 3 its momentum. Rather than presenting one fixed vision of masculinity, the editorial allows seven distinct presences to move through tailoring, surfwear, florals, knitwear and personal pieces without flattening anyone into the same character.
Creative direction comes from Franck Durand, with art direction by Anaïs Mesmacque and Lise de Martino. Casting was handled by Helena Balladino, Ilai Dov and Piergiorgio Del Moro.
The issue also includes additional outtakes, extending the editorial beyond its printed pages and letting Corabi’s loose, observational approach play out across even more beach runs, neighborhood encounters and unguarded group moments.
Seven models, several surfboards and absolutely no agreement on how many patterns one outfit should contain. That is precisely why the whole thing works.
Source: Morphosis 2.0’s presentation of the complete Mode 3 editorial and outtakes, with additional production credits from Models.com.
