Redefining the principles of image creation, Pirelli celebrates its return with the 52nd edition of The Cal.
Recognized as an annual highlight, the Italian tire manufacturer deeply explores the present, assembling an era-defining lineup that spans film, fashion, music, and literature. The year 2026 offers a new perspective, shifting its emphasis to the great outdoors – envision Norfolk and Essex infused with urban elements. Captured by Sølve Sundsbø, a Norwegian photographer based in London, ‘Elements’ presents a remarkable series of images that highlight generational female talent, blending nature with innovative technology. Throughout the project, Sundsbø experiments with texture, color, and movement, utilizing earth, wind, fire, ether, and light to expand his creative palette. Each image reflects Sundsbø’s personal connection to his environment, his subjects, and the overall theme. Visually, the artwork establishes a conversation between the self and one’s essence, creating a grounded yet revelatory experience with every turn of the page.
‘Elements’ features eleven women from diverse backgrounds who share a common spirit. In a selection of 22 photographs, Sundsbø’s vision for The Cal invites Tilda Swinton, FKA Twigs, Isabella Rossellini, Venus Williams, Susie Cave, Luisa Ranieri, Irina Shayk, Du Juan, Eva Herzigová, Gwendoline Christie, and Adria Arjona to the global spotlight.
To mark this occasion, CLASH engaged in a discussion with Sølve Sundsbø about the creative process behind his latest work, his diverse cast, and the influences that shaped it. Additionally, we had a meaningful conversation with British actress Gwendoline Christie, who shares her thoughts on The Cal’s themes, self-identity, and her relentless ambition that extends beyond the cinematic realm.
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Sølve Sundsbø
How do you interpret shooting the Pirelli Calendar in 2026?
Sølve Sundsbø: There’s a different responsibility regarding the calendar’s codes. Things have evolved, right? 2026 differs from 1986. People often envision the calendar as featuring naked women on the beach, yet its history is quite intricate. It encompasses a variety of concepts and perspectives, making it easy to fall into the trap of stereotypes. I researched this closely before I began. There’s a sensuality and connection to nature in the calendar, and I wanted to bring that into something personally meaningful, ideally collaborating with those I admire. The women we photographed are individuals I respect, have known, and with whom I’ve long collaborated. The modern approach to the calendar emphasizes personalization while honoring Pirelli’s traditions.
What led you to focus solely on women for The Cal, and how do you believe your work represents femininity, if at all?
Sølve Sundsbø: My preference was to shoot women. At 55, I didn’t feel it appropriate to capture a 20-year-old, not due to any misconstrued sexuality but because I relate better to women of my own generation. These are individuals I can engage with, and when they participate, I know they won’t feel coerced. They possess strong convictions and a clear sense of self, making it a comfortable process. It’s a collaborative effort reliant on trust; putting someone in front of your camera means they trust you with their image. This dialogue is about co-developing the project, and these are people I trust to create that with.
How have you put your own twist on this edition of The Cal, and what key influences or inspirations informed the planning process?
Sølve Sundsbø: I drew inspiration from various past projects, tapping into different ideas and compiling them. It’s like a collection of short stories or poems.
What attracted you to the forces of nature for this shoot, and why does it feel like the appropriate theme for 2026?
Sølve Sundsbø: There are many obvious reasons, including environmental responsibility. However, on a personal level, being from Norway and living in London for 31 years, I find nature sorely lacking here, which leaves a considerable void in my heart. Incorporating that into my work brings me immense joy.
We captured numerous images of nature, but then translated that into the studio. I sought to avoid a literal interpretation. After extensive research, I realized the abundance of existing photographs featuring naked bodies in natural settings, making it challenging to revisit without it taking an extensive amount of time, which wasn’t feasible with the people I wanted to work with. Therefore, we sourced beautiful elements from nature but adapted them back in the studio for our shoots.
Can you share any profound experiences you’ve had outdoors that strengthened your connection with nature?
Sølve Sundsbø: As a skier, every mountain visit shapes my connection. For this project, we spent a couple of days in Norfolk and a day in Essex,
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Redefining the guidelines of image creation, Pirelli celebrates its comeback with the 52nd edition of The Cal. Recognized as an annual highlight, the