Rewrite
jeans. Tom Ford
“And I think if you really like someone, there’s meant to be more celestial light,” Gabriel Tierney says in one of his first lines as Patrick O’Hara in ‘Rivals’, Disney+’s irresistibly decadent adaptation of Dame Jilly Cooper’s ‘Rutshire Chronicles’. In the scene, three episodes in, the prodigal son of a TV journalist and an ex–movie star makes a surprise return home for Christmas, notably without his girlfriend. The breakup, his family immediately learns, stems from a disagreement over a gifted Kafka novel – hers, not his – and a perceived absence of that elusive celestial light.
It’s the kind of opening that could have made the eldest O’Hara child instantly unlikable: a handsome intellectual speeding home on a motorbike, quoting literature, and exuding privilege. But as with much in ‘Rivals’, the glossy surface hides something far more complex beneath.
Speaking to Schön!, Tierney reflects on discovering Cooper’s universe, finding softness and why ‘Rivals’ continues to resonate even in an era of cancel culture, fleeting attention spans, and swipe-right romance.
jumper. STORY MFG
shorts. BOSS
opposite
jumper. STORY MFG
knit jumper. Loewe
shorts. BOSS
shoes. Russell & Bromley
socks. Falke
opposite
suit. Edward Sexton
vest. Sunspel
Talking to you today was a really nice excuse to re-watch ‘Rivals’.
Oh, how was it on second viewing?
Honestly? Just as fun. Did you ever watch it after it came out, or is it too weird seeing yourself on screen?
Yes, I actually binged it as well. With any other things I’ve done, I usually cringe quite hard, and I watch myself through my fingers, but for some reason, something about ‘Rivals’ specifically, I quite unashamedly just loved. Although I did wait for all my mates to leave the house, shut the curtains, and then just sat on the sofa and binged it.
What about ‘Rivals’ do you think made it possible for you to enjoy watching it?
It’s such a great cast, and enjoying everyone else’s performances was a real highlight. Watching back is so much fun. You get to see everyone’s work, notice who stands out, and observe people’s process on set and how it translates on screen.
For example, you can watch someone like Aidan Turner, who plays my dad, who’s a very technical actor. He’s always aware of the lens, the lighting, and all the technical details, and seeing how that informs his performance aesthetically is really interesting. Then there are actors like Alex Hassell, who is a true actor’s actor. He’s deeply focused on the process itself, and it’s fascinating to see how that comes through in his performance.
Well, it’s also a massive cast, somewhere around 42 main cast members, right?
Yeah, and for season two, we’ve got even more characters joining in.
sweater. Edward Sexton
trousers. The Row
opposite
tank top. Calvin Klein
jeans. Tom Ford
Speaking of season two, the show has, in some way, diverged from the books it is based on. Before we get into that, I am curious, were you familiar with Dame Jilly Cooper and the ‘Rutshire Chronicles’ universe before you joined the show?
I wasn’t aware of it at all before that email came through about the audition, but then I picked up on the hype fairly quickly because my agent was very interested in it, and was talking like ‘it’s Jilly Cooper, it’s the Cooper universe’. At the time, I was thinking like ‘The Marvel universe? What are you talking about?’ But that’s what it was to them in the ’90s and 80s – everyone was reading it.
The world Jilly Cooper built is so deliciously addictive. Did you instantly fall in love with it?
At first, I thought, ‘Oh, this won’t be for me’ – maybe I was being a bit of a snob. But very quickly, I realised it’s a bit of a page-turner, and it’s very accessible.
You already touched upon it, the original books were published in the 80s and 90s, so there are certain characters that act in ways that society nowadays would – hopefully and rightfully – criticise and cancel almost immediately.
Absolutely, and it made people’s appetite for it even more interesting. There’s a darker side to it, and you don’t want people to just think it is funny. You want them to acknowledge that a lot of what is happening is not okay. That’s somewhat out of your control, but given the current political and social situation, with more conservative, right-wing movements popping up everywhere, it’s something we have to be sensitive to and keep an eye on.
tank top. Calvin Klein
opposite
jeans. Tom Ford
Was that something that concerned you when you first read the script?
There were definitely concerns, and it had to be handled carefully. I think the way we approached it was not by shying away from it, but by leaning into it. We’re not trying to present someone like Alex Hassell’s character Rupert as a moral figure – he’s a very troubled, dark man who most men probably wouldn’t want to be.
If they do want to be that man, then maybe that says something about them more than it does about the show. He’s depicted as pretty lonely, and so when he says certain things or touches someone inappropriately, it doesn’t reflect well on him. His riches and wealth might look desirable, but we make a decent effort to balance that with his sadness and loneliness.
Now, I obviously want to talk about your character, Patrick O’Hara. The way he is introduced, for a second, it almost made me think we’d have a mini Rupert on our hands.
The Rupert comparison is interesting. When I’ve talked to Jilly, one thing I’ve been pushing for with the character is softness and vulnerability, which I do get to explore quite nicely. In season two, there’ll be a lot more of that side of him. But he’s also an intellectual, which is the one difference I like to really push between Patrick and Rupert, because my character is a real philistine in my mind.
He went to Trinity, which feeds his intellectual side. He likes to think of himself as a bit of a writer, playwright, and poet from that long line of Irish literary greatness. But yes, he is set up in a way that looks like he could be kind of a stud, just a bit of an arsehole or a player. Yet very quickly, he just fixates on Cameron, and is actually a real romantic.
You’ve just brought up his pursuit of Cameron Cook, a much older TV producer who also happens to work with his father. It is that budding relationship and how instantaneously he falls for her that makes Patrick feel like a romantic anomaly to us nowadays, especially in a time when so much of dating has become transactional or largely online. Did it feel refreshing to play a character so emotionally earnest and unapologetically open?
It’s definitely old school romantic. That’s something I subconsciously really enjoy playing. As a person, I’m so anti the modern state of romance and dating apps. I think it’s a real shame that that’s how people have to interact now, and I think it’s only going to get worse, so for me to be able to absorb a character that is just like completely based on old school chivalry is a real privilege to play.
t-shirt. Talent’s Own
jeans. Tom Ford
opposite
suit. Edward Sexton
vest. Sunspel
On top of that, Patrick also comes across as incredibly self-assured, yet he rarely crosses over into arrogance, which is somewhat remarkable given his parents…
He’s super confident, but he isn’t arrogant, and I like that you picked up on that because it’s something I haven’t really thought about too much. He is someone who’s got some status, whose dad is a famous television personality, and also someone who’s had his privilege, went to a good university and all that stuff. On paper, he could very much be arrogant. To have confidence without arrogance is something you don’t really see that much now.
I feel like I’d probably slip into that a lot. I can be very confident, and I think people can sometimes mistake that for arrogance. Sometimes it blurs a little bit, especially in this industry. When you’re acting or auditioning, you just have to have confidence. If you turn up and you’re not feeling yourself, and you’re not exuberant, and you’re just not exuding confidence, casting won’t take a risk on you. We constantly have to either just have confidence or pretend we have confidence.
It’s one thing to be really confident and self-assured in a group of one’s peers, but Patrick seems just as sure of himself when he first meets Cameron.
His confidence, especially when he pursues Cameron, stems from the fact that he falls for her straight away. He’s such an outward, emotionally available guy. In a way, he’s a little bit naive, but for me, it’s like all I’ve got to do is believe in. All I have to do is try and fall in love.
You just said that your ‘only job’ in that scenario is to believe in the love, but how did you feel about the age gap when you first read the script?
Well, we are scared to admit that they happen, but they’re everywhere. Especially in celebrity culture, age gaps are everywhere. And for some reason, the bigger a celebrity you are, the bigger a green pass you get.
Societally, age gaps are something we need to talk a little bit more about. It’s too definite to be like, “Oh, well, you can’t love someone who’s a different age to you.” But of course, to an extent, it can be questionable. There’s always that looming question of: ‘well, what do you have in common with that person who’s 25 years younger than you?’ At least, with ‘Rivals’, we see it play out – and we see those conversations.
shorts. CHÉ Studios
opposite
shorts. CHÉ Studios
You mentioned Patrick sees himself as a descendant of a long line of Irish literary greatness – do you have something similar, a performance or a movie that made you want to become an actor?
I thought you were going to ask if there was a character that made me think of Patrick, which I would have said, ‘Cinema Paradiso’. The main character in that stands outside the woman he’s interested in every day for like a year. He will not give up; he’ll do anything to be with her.
That was someone who made me think of Patrick, but for myself, what really, weirdly, attracted me to performance was watching American comedy movies in the noughties, that golden era of comedy. I remember watching any Jim Carrey or Jack Black film as a kid. That kind of stuff always put a smile on my face, got me excited about movies, doing impressions, accents, and pulling funny faces. I think that was the start of my inspiration, and then it went down a more serious route with amateur drama, drama societies, and theatre. I’d say it started there.
Did you study drama formally?
No, I studied English and did some theatre, but I haven’t done any professional theatre in London yet. I’d love to at some point.
What is it that draws you to the idea of theatre?
People have paid their ticket, they’re sat down, and they’re ready to engage and listen. Nobody’s going to be on their phone while they’re watching. I know it’s a bit rich because I’m literally shooting a TV show, and I’m enjoying it very much, but there’s something less satisfying about doing that kind of work when you know someone will watch it while distracted – answering an email on their phone, eating a pizza, having their head down in a pizza box. You want people to see it properly.
And you have the hope that people still appreciate theatre more fully?
At least with theatre and film, there’s a ritual. You go to the place, you leave your home, you pay your ticket, and you invest in this time. Whereas TV — you know, I saw someone watching ‘Rivals’ on their phone on the tube the other day, getting banged around in a commute. I was like, it’s great you’re watching it, but you’re not really watching it. I like to think that at least good TV deserves more attention.
It’s something that has definitely changed over the years. I still remember when we all watched certain shows on a set day each week and then talked about them at school the next day.
People used to watch TV collectively. There were only a handful of shows, and everyone watched them. The viewing figures smashed current numbers because there was less to watch, and people talked about them. You had that sense of community. Now, a handful of shows dominate: one person watches Wednesday, one person watches Rivals, another re-watches ‘Sopranos’. The communal buzz is rare now.
suit. Edward Sexton
vest. Sunspel
opposite
suit. Edward Sexton
‘Rivals’ brought some of that back, though, and really started a conversation.
Absolutely, in the street, people want to talk about it all the time. I was working in a café after season one, before season two, and it was hard because every day I’d make coffees, and people would ask, “So what happens with Tony Baddingham?” or, “Are you going to end up with Cameron?” I was just trying to make a latte, and it really hit home. Everyone loves it, everyone knows it, and everyone wants to talk about it.
Did it surprise you, the fact that it started so many conversations?
In a way, we were all questioning why everyone was so obsessed, and people were talking a lot. And it wasn’t just because there was a load of sex. We’re in a post-shock era with TV; nothing shocks anymore. The real conversation comes from the politics of people and their decisions, not the explicit content.
What answer did you find? Why were people obsessed with the first season of ‘Rivals’?
I think ‘Rivals’ might have resonated because at the end of the day, everyone’s insecure, everyone’s trying to find love, everyone wants validation. Sure, the characters on the show have a lot of money and big houses, and that’s visually impressive on TV, but what you’re really seeing are those interpersonal relationships that everyone deals with at every level of society. I think the wealth side of it is just an aesthetic, kind of visually pleasing element. ‘Rivals’ isn’t just interesting because people are rich – it’s interesting because people are very fallible.
jumper. Prada
vest. MR PORTER
trousers. Zegna
opposite
t-shirt. Talent’s Own
I have one more question before asking you to give us a little insight into season two, but I just have to know: will we be seeing more of Gertrude, the O’Hara family dog?
Yes, the dog that plays Gertrude has been back. He’s one of the best actors on the show. You watch him work, get him to sit from behind the camera, without interfering, and he nails it. The trainer on set is also incredible. She has this whole pack of dogs, all with different jobs, and knows all the breeds and their temperaments. I’m a massive dog lover, so I always ask her, “If I got this breed, what would they be like?” She’s great to chat to.
Okay, but now… is there anything you’re already allowed to tell us about season two?
We’re running season two until early March, so we’re only halfway through. This time around, they’ve dialled everything up, which you expect with second seasons. They see what works, what doesn’t, and they listen to responses. They’re ramping up the drama and the energy.
jacket. Officine Générale
tank top. Calvin Klein
opposite
tank top. Calvin Klein
jeans. Tom Ford
photography. Guy Lowndes
fashion. Gary Salter
talent. Gabriel Tierney
interview. Jule Scott
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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jeans. Tom Ford
“And I think if you really like someone, there’s meant to be more celestial light,” Gabriel Tierney says in one of his first lines as Patrick O’Hara in ‘Rivals’, Disney+’s irresistibly decadent adaptation of Dame Jilly Cooper’s ‘Rutshire Chronicles’. In the scene, three episodes in, the prodigal son of a TV journalist and an ex–movie star makes a surprise return home for Christmas, notably without his girlfriend. The breakup, his family immediately learns, stems from a disagreement over a gifted Kafka novel – hers, not his – and a perceived absence of that elusive celestial light.
It’s the kind of opening that could have made the eldest O’Hara child instantly unlikable: a handsome intellectual speeding home on a motorbike, quoting literature, and exuding privilege. But as with much in ‘Rivals’, the glossy surface hides something far more complex beneath.
Speaking to Schön!, Tierney reflects on discovering Cooper’s universe, finding softness and why ‘Rivals’ continues to resonate even in an era of cancel culture, fleeting attention spans, and swipe-right romance.
jumper. STORY MFG
shorts. BOSS
opposite
jumper. STORY MFG
knit jumper. Loewe
shorts. BOSS
shoes. Russell & Bromley
socks. Falke
opposite
suit. Edward Sexton
vest. Sunspel
Talking to you today was a really nice excuse to re-watch ‘Rivals’.
Oh, how was it on second viewing?
Honestly? Just as fun. Did you ever watch it after it came out, or is it too weird seeing yourself on screen?
Yes, I actually binged it as well. With any other things I’ve done, I usually cringe quite hard, and I watch myself through my fingers, but for some reason, something about ‘Rivals’ specifically, I quite unashamedly just loved. Although I did wait for all my mates to leave the house, shut the curtains, and then just sat on the sofa and binged it.
What about ‘Rivals’ do you think made it possible for you to enjoy watching it?
It’s such a great cast, and enjoying everyone else’s performances was a real highlight. Watching back is so much fun. You get to see everyone’s work, notice who stands out, and observe people’s process on set and how it translates on screen.
For example, you can watch someone like Aidan Turner, who plays my dad, who’s a very technical actor. He’s always aware of the lens, the lighting, and all the technical details, and seeing how that informs his performance aesthetically is really interesting. Then there are actors like Alex Hassell, who is a true actor’s actor. He’s deeply focused on the process itself, and it’s fascinating to see how that comes through in his performance.
Well, it’s also a massive cast, somewhere around 42 main cast members, right?
Yeah, and for season two, we’ve got even more characters joining in.
sweater. Edward Sexton
trousers. The Row
opposite
tank top. Calvin Klein
jeans. Tom Ford
Speaking of season two, the show has, in some way, diverged from the books it is based on. Before we get into that, I am curious, were you familiar with Dame Jilly Cooper and the ‘Rutshire Chronicles’ universe before you joined the show?
I wasn’t aware of it at all before that email came through about the audition, but then I picked up on the hype fairly quickly because my agent was very interested in it, and was talking like ‘it’s Jilly Cooper, it’s the Cooper universe’. At the time, I was thinking like ‘The Marvel universe? What are you talking about?’ But that’s what it was to them in the ’90s and 80s – everyone was reading it.
The world Jilly Cooper built is so deliciously addictive. Did you instantly fall in love with it?
At first, I thought, ‘Oh, this won’t be for me’ – maybe I was being a bit of a snob. But very quickly, I realised it’s a bit of a page-turner, and it’s very accessible.
You already touched upon it, the original books were published in the 80s and 90s, so there are certain characters that act in ways that society nowadays would – hopefully and rightfully – criticise and cancel almost immediately.
Absolutely, and it made people’s appetite for it even more interesting. There’s a darker side to it, and you don’t want people to just think it is funny. You want them to acknowledge that a lot of what is happening is not okay. That’s somewhat out of your control, but given the current political and social situation, with more conservative, right-wing movements popping up everywhere, it’s something we have to be sensitive to and keep an eye on.
tank top. Calvin Klein
opposite
jeans. Tom Ford
Was that something that concerned you when you first read the script?
There were definitely concerns, and it had to be handled carefully. I think the way we approached it was not by shying away from it, but by leaning into it. We’re not trying to present someone like Alex Hassell’s character Rupert as a moral figure – he’s a very troubled, dark man who most men probably wouldn’t want to be.
If they do want to be that man, then maybe that says something about them more than it does about the show. He’s depicted as pretty lonely, and so when he says certain things or touches someone inappropriately, it doesn’t reflect well on him. His riches and wealth might look desirable, but we make a decent effort to balance that with his sadness and loneliness.
Now, I obviously want to talk about your character, Patrick O’Hara. The way he is introduced, for a second, it almost made me think we’d have a mini Rupert on our hands.
The Rupert comparison is interesting. When I’ve talked to Jilly, one thing I’ve been pushing for with the character is softness and vulnerability, which I do get to explore quite nicely. In season two, there’ll be a lot more of that side of him. But he’s also an intellectual, which is the one difference I like to really push between Patrick and Rupert, because my character is a real philistine in my mind.
He went to Trinity, which feeds his intellectual side. He likes to think of himself as a bit of a writer, playwright, and poet from that long line of Irish literary greatness. But yes, he is set up in a way that looks like he could be kind of a stud, just a bit of an arsehole or a player. Yet very quickly, he just fixates on Cameron, and is actually a real romantic.
You’ve just brought up his pursuit of Cameron Cook, a much older TV producer who also happens to work with his father. It is that budding relationship and how instantaneously he falls for her that makes Patrick feel like a romantic anomaly to us nowadays, especially in a time when so much of dating has become transactional or largely online. Did it feel refreshing to play a character so emotionally earnest and unapologetically open?
It’s definitely old school romantic. That’s something I subconsciously really enjoy playing. As a person, I’m so anti the modern state of romance and dating apps. I think it’s a real shame that that’s how people have to interact now, and I think it’s only going to get worse, so for me to be able to absorb a character that is just like completely based on old school chivalry is a real privilege to play.
t-shirt. Talent’s Own
jeans. Tom Ford
opposite
suit. Edward Sexton
vest. Sunspel
On top of that, Patrick also comes across as incredibly self-assured, yet he rarely crosses over into arrogance, which is somewhat remarkable given his parents…
He’s super confident, but he isn’t arrogant, and I like that you picked up on that because it’s something I haven’t really thought about too much. He is someone who’s got some status, whose dad is a famous television personality, and also someone who’s had his privilege, went to a good university and all that stuff. On paper, he could very much be arrogant. To have confidence without arrogance is something you don’t really see that much now.
I feel like I’d probably slip into that a lot. I can be very confident, and I think people can sometimes mistake that for arrogance. Sometimes it blurs a little bit, especially in this industry. When you’re acting or auditioning, you just have to have confidence. If you turn up and you’re not feeling yourself, and you’re not exuberant, and you’re just not exuding confidence, casting won’t take a risk on you. We constantly have to either just have confidence or pretend we have confidence.
It’s one thing to be really confident and self-assured in a group of one’s peers, but Patrick seems just as sure of himself when he first meets Cameron.
His confidence, especially when he pursues Cameron, stems from the fact that he falls for her straight away. He’s such an outward, emotionally available guy. In a way, he’s a little bit naive, but for me, it’s like all I’ve got to do is believe in. All I have to do is try and fall in love.
You just said that your ‘only job’ in that scenario is to believe in the love, but how did you feel about the age gap when you first read the script?
Well, we are scared to admit that they happen, but they’re everywhere. Especially in celebrity culture, age gaps are everywhere. And for some reason, the bigger a celebrity you are, the bigger a green pass you get.
Societally, age gaps are something we need to talk a little bit more about. It’s too definite to be like, “Oh, well, you can’t love someone who’s a different age to you.” But of course, to an extent, it can be questionable. There’s always that looming question of: ‘well, what do you have in common with that person who’s 25 years younger than you?’ At least, with ‘Rivals’, we see it play out – and we see those conversations.
shorts. CHÉ Studios
opposite
shorts. CHÉ Studios
You mentioned Patrick sees himself as a descendant of a long line of Irish literary greatness – do you have something similar, a performance or a movie that made you want to become an actor?
I thought you were going to ask if there was a character that made me think of Patrick, which I would have said, ‘Cinema Paradiso’. The main character in that stands outside the woman he’s interested in every day for like a year. He will not give up; he’ll do anything to be with her.
That was someone who made me think of Patrick, but for myself, what really, weirdly, attracted me to performance was watching American comedy movies in the noughties, that golden era of comedy. I remember watching any Jim Carrey or Jack Black film as a kid. That kind of stuff always put a smile on my face, got me excited about movies, doing impressions, accents, and pulling funny faces. I think that was the start of my inspiration, and then it went down a more serious route with amateur drama, drama societies, and theatre. I’d say it started there.
Did you study drama formally?
No, I studied English and did some theatre, but I haven’t done any professional theatre in London yet. I’d love to at some point.
What is it that draws you to the idea of theatre?
People have paid their ticket, they’re sat down, and they’re ready to engage and listen. Nobody’s going to be on their phone while they’re watching. I know it’s a bit rich because I’m literally shooting a TV show, and I’m enjoying it very much, but there’s something less satisfying about doing that kind of work when you know someone will watch it while distracted – answering an email on their phone, eating a pizza, having their head down in a pizza box. You want people to see it properly.
And you have the hope that people still appreciate theatre more fully?
At least with theatre and film, there’s a ritual. You go to the place, you leave your home, you pay your ticket, and you invest in this time. Whereas TV — you know, I saw someone watching ‘Rivals’ on their phone on the tube the other day, getting banged around in a commute. I was like, it’s great you’re watching it, but you’re not really watching it. I like to think that at least good TV deserves more attention.
It’s something that has definitely changed over the years. I still remember when we all watched certain shows on a set day each week and then talked about them at school the next day.
People used to watch TV collectively. There were only a handful of shows, and everyone watched them. The viewing figures smashed current numbers because there was less to watch, and people talked about them. You had that sense of community. Now, a handful of shows dominate: one person watches Wednesday, one person watches Rivals, another re-watches ‘Sopranos’. The communal buzz is rare now.
suit. Edward Sexton
vest. Sunspel
opposite
suit. Edward Sexton
‘Rivals’ brought some of that back, though, and really started a conversation.
Absolutely, in the street, people want to talk about it all the time. I was working in a café after season one, before season two, and it was hard because every day I’d make coffees, and people would ask, “So what happens with Tony Baddingham?” or, “Are you going to end up with Cameron?” I was just trying to make a latte, and it really hit home. Everyone loves it, everyone knows it, and everyone wants to talk about it.
Did it surprise you, the fact that it started so many conversations?
In a way, we were all questioning why everyone was so obsessed, and people were talking a lot. And it wasn’t just because there was a load of sex. We’re in a post-shock era with TV; nothing shocks anymore. The real conversation comes from the politics of people and their decisions, not the explicit content.
What answer did you find? Why were people obsessed with the first season of ‘Rivals’?
I think ‘Rivals’ might have resonated because at the end of the day, everyone’s insecure, everyone’s trying to find love, everyone wants validation. Sure, the characters on the show have a lot of money and big houses, and that’s visually impressive on TV, but what you’re really seeing are those interpersonal relationships that everyone deals with at every level of society. I think the wealth side of it is just an aesthetic, kind of visually pleasing element. ‘Rivals’ isn’t just interesting because people are rich – it’s interesting because people are very fallible.
jumper. Prada
vest. MR PORTER
trousers. Zegna
opposite
t-shirt. Talent’s Own
I have one more question before asking you to give us a little insight into season two, but I just have to know: will we be seeing more of Gertrude, the O’Hara family dog?
Yes, the dog that plays Gertrude has been back. He’s one of the best actors on the show. You watch him work, get him to sit from behind the camera, without interfering, and he nails it. The trainer on set is also incredible. She has this whole pack of dogs, all with different jobs, and knows all the breeds and their temperaments. I’m a massive dog lover, so I always ask her, “If I got this breed, what would they be like?” She’s great to chat to.
Okay, but now… is there anything you’re already allowed to tell us about season two?
We’re running season two until early March, so we’re only halfway through. This time around, they’ve dialled everything up, which you expect with second seasons. They see what works, what doesn’t, and they listen to responses. They’re ramping up the drama and the energy.
jacket. Officine Générale
tank top. Calvin Klein
opposite
tank top. Calvin Klein
jeans. Tom Ford
photography. Guy Lowndes
fashion. Gary Salter
talent. Gabriel Tierney
interview. Jule Scott
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
