Built To Tempt

February 01, 2026 by Rey Magazine

A REY Exclusive In-House Editorial, photographed in Limassol, Cyprus.

Photographed by Michael Geo

Styling Christos Christou

Starring Nicholas Charakis

Madonna Stars in Dolce & Gabbana’s The One Campaign

January 09, 2026 by Rey Magazine

The queen of pop Madonna is the face of Dolce & Gabbana’s new advertising campaign for the iconic fragrance The One.

The campaign — shot by famed fashion photographer Mert Alas — presents a sensual, cinematic story centered around desire and allure.

In the striking visuals and video, Madonna is joined by Cuban actor Alberto Guerra, who appears as her on-screen counterpart in the romantic narrative. Their chemistry is a central element of the campaign imagery, which embraces elegance and modern sensuality.

The campaign also features Madonna’s first Italian vocal performance of La Bambola, recorded specifically for the project, adding a unique cultural twist to the fragrance’s relaunch.

In Conversation with Eddie Gavriilidis

December 24, 2025 by Christos Christou

A REY Exclusive Editorial & Interview, starring Fashion Expert & Designer Eddie Gavriilidis.

Photographed by Dimitrios Kleanthous

Styling Eddie Gavriilidis

Grooming Christos Theophanous

Interviewed by Christos Christou

READ THE FULL INTERVIEW WITH EDDIE GAVRIILIDIS HERE.

화

October 29, 2025 by Rey Magazine

A REY Exclusive Fashion Editorial, produced in Athens.

Photographed by Matthew Alatsiatianos

Styling Marios Karavasilis

Starring Kangmin @ ACE Models

KING OF RAY

September 28, 2025 by Rey Magazine

A REY Exclusive Fashion Editorial, photographed in Athens.

Photographed & Directed by Alexi Charovas

starring Aggelos

The body becomes a stage where gender rehearses itself; endlessly, restlessly. One moment, the chest is armour: sculpted, hard, virile. The next, it is pierced by softness: glitter, petals, shadows of leaves. Butler reminds us that gender is never essence but repetition, a series of acts that harden into “truth.”

Yet in the cracks of performance, vulnerability seeps through. Flowers erupt from the waistband, not as decoration but as insurgents. They expose the absurdity of virility when stripped of its theatre. Muñoz would call this a glimpse of queer futurity: masculinity remade in colour, light, and excess.

Ahmed teaches us that orientations matter, and here, the body bends, twists, reclines into new alignments that disorient the straight line of heteronormativity. Each image oscillates. The stripes reads a prison of expectation, yet also a runway for camp. The torso flexes, but the hand trembles. Glitter wounds and heals at the same time.

This is not contradiction but coexistence: virility and vulnerability locked in the same frame, refusing to cancel each other. The battle is not to defeat masculinity but to expose its costume. To wear it, distort it, queer it until its weight gives way to possibility.

Alexi Charovas