Sølve Sundsbo’s visionary approach has made him one of the most influential photographers working today. Known for pushing creative and technical boundaries, he has collaborated with fashion’s biggest names and consistently redefined the visual language of contemporary image-making. This year, Sundsbo takes the helm of the iconic Pirelli Calendar, bringing together a cast of extraordinary women – including Tilda Swinton, Gwendoline Christie, FKA Twigs, Venus Williams and the legendary Isabella Rossellini, in addition to supermodels Eva Herzigova and Irina Shayk – for a project that explores themes of nature, emotion, and imagination.
The 2026 edition was shot on location in Norfolk, Essex, London, and New York, with a creative team including stylist Jerry Stafford, set designer Robbie Doig, and casting director Piergiorgio Del Moro. As the full calendar imagery awaits release, Sundsbo sat down with DSCENE’s Zarko Davinic to discuss his creative process, the evolution of the industry, and what it means to capture human experience through photography.
Continue reading for the exclusive interview with Sundsbo talking about the evolution of the fashion world, Pirelli casting, and white backgrounds:
The fashion industry is evolving rapidly. How do you feel about where it stands today, and are there any changes that excite or concern you most? – When I started it was called the fashion world, then it became the fashion business and now it’s called the fashion industry. I think that tells a story. But it’s not only negative. There is a much wider range of outlets for showing both imagery and films. It’s a lot less elitist and more accessible for everyone.
Shooting the Pirelli Calendar is a career milestone for many photographers. Was working on this project something you’ve always aspired to, and how did it feel when you were selected? – It’s definitely a milestone and a great honor. It feels a bit like you have won a prize and then have to go out and earn it.
When I started it was called the fashion world, then it became the fashion business and now it’s called the fashion industry. I think that tells a story. But it’s not only negative. There is a much wider range of outlets for showing both imagery and films. It’s a lot less elitist and more accessible for everyone.
The Pirelli Calendar is renowned for its unique vision and casting. Can you share a bit about this year’s concept, who you’re shooting, and whether you were personally involved in the casting process? – I was deeply involved in the casting and chose to photograph and film women I admire, many of whom I’ve collaborated with before. The 2026 calendar features icons such as Tilda Swinton, Gwendoline Christie, FKA Twigs, and Venus Williams… My vision was to present these extraordinary women in a visually unexpected world, one shaped by poetry and magical realism. The imagery evokes sensuality and intimate mystery, inviting the viewer to connect emotionally and sensorially. The calendar’s theme focuses on nature, expressed through the elements.
Your post-production and retouching work have always been ahead of the curve. With the rise of advanced video and film editing technologies, how are you integrating these tools into your creative process? – For this calendar we have used technology to bring nature into the studio. We used enormous LED screens to project scenes of nature. I hope the combination of technology, sensuality and nature will create a portfolio of images that are both visually and sensorially arresting. These tools are a part of the creative process but only a means to an end. Not the focus as such.
The industry seems obsessed with white backgrounds lately. Why do you think this aesthetic has become so dominant, and what draws you personally to shoot on white backdrops so often? – A white background is a simple way of focusing in on what you want to tell. Remove everything except for the essential. It’s a clear canvas if you like.
Photography is so many things. If you want to do reportage, stay well away from AI. If you want to use photography in a looser way you must embrace it, one way or another. It’s here and it can’t be ignored. It’s how you use it that matters.
As someone with a reputation for innovation, how do you see the role of AI in photography? What advice would you give to emerging photographers trying to stand out and withstand the surge of AI-generated imagery? – It depends on what you want to do. Photography is so many things. If you want to do reportage, stay well away from AI. If you want to use photography in a looser way you must embrace it, one way or another. It’s here and it can’t be ignored. It’s how you use it that matters.
Nurturing new talent is crucial for the industry’s future. In your experience, what’s the most important thing established photographers can do to support and mentor the next generation? – To be honest about the whole process of photography and not see the new generation as competition but support and encourage their talent by recognizing it.
For 2026 Pirelli Calendar, creative team included stylist Jerry Stafford, set designer Robbie Doig, casting director Piergiorgio Del Moro from DMCASTING, hair stylists Syd Hayes, Ali Pirzadeh, and Bob Recine, and makeup artists Val Garland and James Kaliardos. The cast features Adria Arjona, Susie Cave, Gwendoline Christie, Eva Herzigová, Du Juan, Luisa Ranieri, Isabella Rossellini, Irina Shayk, Tilda Swinton, FKA Twigs, and Venus Williams.
Discover exclusive behind the scenes images by Alessandro Scotti from the calendar shoot in our gallery:
Finally, talking about the calendar, Sundsbo adds: For the 2026 Calendar, I want to capture emotions, instincts and states of mind that’s central to human life so: longing for freedom, curiosity, thirst of knowledge, I guess you can call it. Some kind of mystery, imagination, passions, the desire for emancipation, the connection with nature and our relationship with time and space. It’s a way of connecting us to something that we come from. Very big issues, but you know, let’s try to be ambitious.
Discover more of Sølve Sundsbo’s work in DSCENE’ archive featuring top covers, editorials and campaigns.
