When Mariam de Vinzelle appears on the May 28th, 2023 cover of The Sunday Times Style, she isn’t merely posing for another fashion editorial. She’s embodying a very specific kind of contemporary elegance—one that speaks to the coded language of European leisure, where beach culture becomes a theater of aspiration. Photographed by Giampaolo Sgura against the sun-bleached glamour of a coastal backdrop, the young Parisian model represents something fashion has long sought to bottle: the intersection of ease and refinement, where privilege whispers rather than shouts.
Sgura’s composition is deceptively simple yet meticulously calibrated. A Matteau swimsuit provides the foundation—Australian minimalism meeting French restraint—layered with The Row’s signature green garment that functions as both texture and status marker. These aren’t arbitrary choices; they’re visual shorthand for a particular tier of consumption. Santangelo & V By Laura Vann necklaces glint against sun-warmed skin, while a Sapir Bachar bracelet adds artisanal weight. The supporting cast—a Loewe Paula’s Ibiza bag and Celine Plein Soleil towel—underscore the narrative’s authenticity. This is luxury as lifestyle documentation, where every accessory serves as evidence of discerning taste.
Stylist Verity Parker orchestrates the editorial story “Pure Shores” with deliberate intentionality, assembling a wardrobe that reads like a syllabus in contemporary luxury codes. Dior and Prada anchor the selection—heritage names that confer instant credibility. But it’s the inclusions of Casa Raki, Eres, Missoni, Hunza G, Extreme Cashmere, Miu Miu, Jade Swim, and Polo Ralph Lauren that reveal Parker’s curatorial intelligence. This isn’t indiscriminate brand-dropping; it’s strategic myth-making, positioning the reader within reach of aspiration while maintaining the fantasy’s exclusivity. The shoot becomes a blueprint for desire, translating privilege into product.
Giampaolo Sgura, the Italian photographer whose lens has shaped countless fashion narratives, brings technical precision to what might otherwise read as effortless. Born in Puglia and trained in architecture, Sgura understands composition as constructed space. His work for Vogue iterations worldwide and campaigns for Dolce & Gabbana and Versace demonstrates a command of editorial glamour that balances commercial viability with artistic vision. In this Sunday Times Style feature, he collaborates with hair stylist Ezio Diaferia, makeup artist Luca Cianciolo, and casting director Simobart to craft Mariam de Vinzelle’s image—not as documentation, but as deliberate mythology.
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