Interview with Dane Keil

The Vision Behind Danejurous Arts

Danejurous Arts is not simply a fashion label; it is a world of its own. Blending monster glamour, femme-fatale energy, comic-book fantasy, cinematic storytelling, and a fearless sense of individuality, the brand transforms imagination into something tangible, wearable, and impossible to ignore. At the center of that universe is designer and founder Dane Keil, whose unexpected journey into fashion began with a single experiment: a pair of monster boots.

Since then, Keil has developed a distinctive visual language built around what he calls the “beautiful beast” — the idea that darkness and beauty, softness and strength, femininity and danger do not have to exist in opposition. Through Danejurous Girls and an expanding body of work, Danejurous Arts invites people to embrace the parts of themselves that conventional ideas of beauty might ask them to suppress. In this interview, Dane Keil discusses the philosophy behind the brand, his fascination with powerful femininity, the influences that shaped his imagination, and his ambitions to take the Danejurous universe far beyond fashion.

Danejurous Arts has such a distinctive identity. How did the idea for the brand begin, and what inspired the concept of celebrating the “beautiful beast” inside everyone?

The name Danejurous Arts came first, both as the name of the brand and as its guiding philosophy. Besides having my name in it, I’ve spelled Danejurous the way I have because it evokes conjuring — taking something that exists in the imagination and bringing it demonstrably into the physical world, which is what art does. The name was intended to be all-inclusive for film or any other field of artistic endeavor I’d want to pursue.

Fashion wasn’t even a glimmer in my eye prior to making my first-ever pair of monster boots as an experiment. The right people saw them, and thus my fashion journey began. It’s been profoundly rewarding because I’ve found the right medium in which to bring the world I see in my head to life.

The concept of the beautiful beast is a way to integrate and synthesize the dark and light sides of human nature. It’s also a way to say that whatever society, family, or friends tell people about who they are inside, or whatever they’ve been forced to suppress, art can be a refuge and a place to externalize innermost feelings and truths.

Most importantly, people have the power to help create what they want to see in the world by tapping into their imaginations and even their beastly qualities to make something beautiful.

Your work brings together monster glamour, femme fatale energy, comic-book aesthetics, fantasy, irony, and absurdity. How do you balance all of these influences while keeping the Danejurous Arts identity cohesive?

It’s not as difficult as one might think because some of my favorite works of art are either multi-genre or acknowledge irony and absurdity even in the midst of otherwise serious themes. You need that kind of variety and integration of opposing elements.

Thankfully, the world I’m creating can survive many different emotional tones and potential audiences. Those elements are a potent mixture because the percentages of each can vary depending on the concept and the intended impact on the audience.

The common denominator is my own point of view: whatever ingredients I use, it still has to feel as though it came from the same imagination.

What does the phrase “beauty with teeth” mean to you, both creatively and philosophically?

Beauty with teeth is a very cat-like phrase because cats embody the concept so perfectly. They have claws and sharp teeth and can be deadly if they don’t like you. But if they do, their love is deep and pure because they willingly choose you.

Beauty also has more meaning if it isn’t passive or without the ability to leave an impact. My pieces that embody that philosophy do so knowing that the world is full of sharp objects, but you can wear them instead of having them wear you down.

The Danejurous Girls campaign feels like more than fashion — it has characters, attitude, and its own universe. How did this concept develop, and what qualities define a true Danejurous Girl?

I’m very appreciative that you noticed that. They are intended to feel like they exist in a coherent universe with its own projected attitude.

A Danejurous Girl is self-possessed, able to see through other people’s deceptions, and aware of her power and its many manifestations. My work often gets called “edgy,” which, though not inaccurate, is too limiting in my opinion.

It’s a critical distinction because a Danejurous Girl is free to be lighthearted, mischievous, cute, or playful if she wants to be. “Edginess” often gets falsely conflated with misery, dourness, and shock for its own sake, which misses the point.

A goal of mine is for the title of Danejurous Girl to become prestigious and to carry a certain mystique over time.

When designing a new look or collection, what usually comes first for you: the character, the story, the silhouette, the materials, or the visual concept?

The visual concept is probably the most comprehensive answer. I do think in terms of characters and what looks would be ideal for a particular model. Sometimes I’ll see a new material or technique I haven’t tried before, or something will simply come to me, like the rubber duck dress I dreamed up one day.

I’m ultimately guided by what I see in my head. I’m a big believer in the importance of having a vision and dreaming big.

Then the challenge is always to translate it as directly from my head into reality as possible, in as high a resolution as possible.

Your designs challenge conventional ideas of glamour and femininity. How important is it for you to create women who appear powerful, dangerous, seductive, strange, or even intimidating rather than simply beautiful?

In any film noir, the femme fatale is the most compelling character. She embodies the woman who attracts the usually male protagonist with knowledge he seeks, but will very likely lead to his destruction.

Critically, the same qualities that make her attractive are the same ones that make her a force to be reckoned with. Femme fatales tend to exude confidence, sex appeal, and the ability to see through the illusions of others while maintaining an air of mystery themselves.

The kinds of looks I create don’t apologize for their femininity, but they also don’t feed into the false assumption that femininity is tantamount to coded passivity, weakness, or lack of conviction. The women I’ve known have always been far more multidimensional than those stereotypes allow.

Pink is a useful go-to color because it instantly reads as feminine, but it opens the floodgates for irony, dimension, and hidden depth when paired with spikes, studs, monster boots, leather, claws, and other harder elements.

That’s the Danejurous Arts aesthetic at work.

Comic books, monsters, fantasy, and pop culture appear to play an important role in your creative world. Which artists, films, characters, designers, or cultural influences have had the greatest impact on your aesthetic?

Too many to count, but an obvious one is KISS. Gene Simmons’ boots on the cover of Destroyer gave me an early example of a monstrous face incorporated into a boot, but I took that concept and ran with it in my own directions.

Many of my biggest influences have been artists and properties with eye-catching designs that created worlds you wanted to enter. KISS understood that, as did ’60s Marvel Comics, the Universal Monsters, and something much more recent like Monster High, among many others.

My creative eye is most obviously inspired by comic-book-style body language and increasingly cinematic staging. I’m also deeply inspired by historical painting, from Renaissance and Baroque art to later Romantic, Academic, and fantastical traditions.

I want my work to evolve into territory that evokes and builds upon William-Adolphe Bouguereau, John William Waterhouse, William Blake, Alex Ross, and other painters who know how to make the fantastical come to life.

Fashion and entertainment are both central to Danejurous Arts. Do you ultimately envision the brand expanding beyond clothing into areas such as film, performance, comics, music, or other forms of visual storytelling?

Yes to all of the above. I’ve always seen the full scope of my vision for Danejurous Arts as multimedia. I want my work to exist in films, television, music, comics, performance, photography, and art galleries.

Fashion has become an extraordinarily effective gateway into that larger world because it allows people to physically inhabit the aesthetic.

I’ve also been pleased by the scalability of the style and amazed by how many different kinds of people it speaks to.

As an up-and-coming independent designer building such an unconventional brand, what have been the biggest challenges — and what has encouraged you to keep pushing the vision forward?

Believe it or not, I’ve only been doing this since November 2024, so the challenges include skills I still need to acquire and additional hands whenever I can get them.

There’s also a tremendous amount of raw doing that there’s simply no getting around: grommeting, spiking, attaching eyes and teeth to boots, putting safety pins into a shirt, and so on.

What keeps me going is how immediately people have wanted to participate in this particular creative world. That has happened almost from the beginning.

Each project expands upon the one before it and forces me to acquire new skills to push myself further.

If you could introduce someone to the world of Danejurous Arts through one unforgettable image, character, or fashion moment, what would it look like — and what would you want them to feel?

Monster boots are my most distinctive item and allowed many of the other pieces to come to pass in the first place, so any of my shoots featuring them would be a good place to start.

When people wear them, or any of my pieces, I want them to feel powerful, transformed, and capable of facing whatever life throws at them.

You’ll be seeing a lot more monster boots in the future, in increasingly intricate and unique stylings.

You could say those boots were made for walking, and that’s exactly what they’ve done. They carried me into fashion in the first place, and I intend to see how far they can go.

Conclusion

What makes Danejurous Arts compelling is not simply its bold imagery, extravagant monster boots, or collision of glamour and menace. Beneath the spikes, claws, teeth, and theatrical silhouettes lies a remarkably clear philosophy: imagination can be a form of liberation. Dane Keil’s work encourages people to take the qualities they may once have been told to hide and transform them into something visible, expressive, and powerful.

Even more striking is how quickly that universe has begun to take shape. Having entered fashion only in late 2024, Keil is already developing a visual identity that feels immediately recognizable while leaving enormous room for evolution. Fashion may have been the unexpected doorway, but his ambitions clearly stretch toward a much larger creative landscape encompassing film, art, comics, music, performance, and storytelling.

Danejurous Arts ultimately celebrates contradiction — beauty that can bite, femininity that refuses passivity, fantasy grounded in craftsmanship, and darkness that does not exclude humor, playfulness, or joy. If the monster boots were the first step into that world, it seems they have only begun walking. And wherever Danejurous Arts goes next, one thing feels certain: it intends to leave tracks.

AUDREY HOPE RINEHART

IN CONVERSATION WITH AUDREY HOPE RINEHART

Audrey Hope Rinehart is a photographer whose work is rooted in freedom, fearlessness, and the transformative power of self-expression. Having spent many years on the other side of the camera as an arts and glamour model, she brings a rare depth of understanding to every image she creates. Her photography is unapologetically bold—a visual celebration of individuality, identity, and the courage to be fully seen. Through vivid colors, striking textures, and meaningful collaborations, Audrey creates far more than beautiful photographs: she creates spaces where people can reclaim their stories, embrace their authentic selves, and exist without shame.

1. How did your journey into photography begin?

My journey into photography actually began on the other side of the camera. For most of my twenties and thirties, I worked as an arts and glamour model, traveling around the United States and posing for lighting workshops, instructional events, and group shoots focused on figurative photography.

Each trip or tour was different. Sometimes I did studio work all day; other times, I was suspended from railroad bridges for Shibari artists or hiking into desert locations to pose for groups of photographers. I also participated in many urban exploration shoots inside abandoned buildings, which required a certain level of daredevilry, since entering those locations was not always exactly legal.

In 2008, I flew to Los Angeles to work with a figure photographer who was well known within the community at the time, though he has since passed away. During that trip, I met other West Coast models and had the opportunity to work in Joshua Tree National Park. A year or so later, I was posing for group shoots in the extraordinary deserts outside Salt Lake City and Las Vegas.

I knew my path in life would be somewhat outside the norm when it came to work and career. I also knew that my happiness and long-term well-being would depend on pursuing creative goals rather than following the avenues traditionally expected of me.

Those years were amazing. My modeling work can still be found in books and has been displayed in galleries and exhibitions around the world. However, the modeling industry was far less inclusive at that time than it is today. I am very short—only five feet tall—and I was already considered “old” by the time I started. As a result, I was quickly pigeonholed into a particular niche.

Even as a veteran creative capable of portraying many different roles, I struggled to move beyond the ultra-feminine, “forest nymph” type of work. Back then, when a model was paid for a shoot, she often never even got to see the work she had helped create. It was considered a courtesy for a photographer to share even one finished image with a paid model.

I worked with hundreds of photographers and artists over the years, yet I only ever saw a small portion of the work we produced together. That is one of the main reasons I now try to deliver images to the people I photograph very quickly—often within 24 hours. I believe people deserve to have some sense of power over their own likeness and how it is portrayed.

Over time, the niche I felt forced into became oppressive. Even after all those years, I never felt I had been able to express the full range of my creative vision. I certainly could not do that while allowing other people—generally much older male photographers—to define what they saw in me.

At a certain point, I knew more about lighting than many of the people I was working for, but I had to remain quiet and simply do my job. Figure and art models also typically use aliases because of safety concerns and the need to maintain some separation between their professional and personal lives. Over the years, you begin to feel nameless—just a face and a body that appear randomly in different places.

I also did a great deal of stock photography modeling. Once, while driving through the Midwest, I saw myself on a billboard above the highway. In the image, I was wearing medical scrubs and “climbing the ladder of success.” I had earned $80 for shooting those stock photographs in Philadelphia several years earlier. Seeing myself on that billboard was both funny and surreal.

In my mid-thirties, I bought a digital camera. When I unboxed it, I cried because I realized that, for the rest of my life, I would finally possess the power to truly exist and fully explore the vastness of my creative potential. I had been living inside a chrysalis for more than a decade. In that moment, the shell finally cracked and released my new wings.

2. How would you describe your visual style in three words?

Freedom. From. Shame.

As human beings, I believe the most important thing we can do is live our lives as loudly, proudly, and bravely as possible. We should not allow others to define our goals, restrict our vision, or shame us for running headlong toward the things we know to be authentic.

Traditions and conventions are sometimes ways that dead people continue attempting to control the present narrative. Strict adherence to those “lessons,” often enforced through shame, can harm and hinder progress.

Fear and shame are closely connected. When we pursue our dreams fearlessly, shame begins to release its hold over us. We must rise above it and shed it like a worn-out carapace so that we can become the truest versions of ourselves.

3. What inspires you most when creating a new photoshoot?

I am deeply inspired by the wonderful people with whom I collaborate. By far, some of my most rewarding experiences as a photographer have involved working with transgender and non-binary people.

I want to create work that sets all people free—work that feels authentic, particularly when exploring identity and self-definition. Human beings are limitless when they are allowed to be fully themselves.

There is no greater compliment than hearing someone who has faced a lifetime of adversity simply to live their truth say that a photoshoot helped them feel seen, appreciated, and beautiful. That is when you know you are doing something right. By discovering your own creative wings and sailing fearlessly toward the future, you can open pathways for others to do the same.

4. When planning an editorial, what usually comes first for you: the concept, the location, the styling, or the model?

This particular editorial came together in a lovely way. Magic is very much aligned with Trollbinde’s design concepts, so perhaps all those beautiful talismans worked their own “magick” in bringing our collaboration together.

A couple of years ago, my longtime friend Skirt Vonnegut, a drag king and circus performer based in Chicago, introduced me to a jewelry booth in Asheville, North Carolina, where we were both living at the time.

I saw Hannah Wood’s designs and was immediately bewitched, so to speak. I was fascinated by the way she combined metals, gemstones, reptiles, and insects to create such reverent pieces of wearable art.

I contacted Trollbinde through the company’s website and asked whether Hannah might be interested in collaborating. I was absolutely thrilled when she said yes. She found our model, Sadie, and I invited makeup artist Kate to join the project. Together, we tried to bring all of that magic to life through a creative editorial centred on Trollbinde’s designs.

I only recently decided to release many of these images because I moved to New York City last year, where I have focused almost entirely on fashion and beauty photography.

In this particular case, I was deeply inspired by the product. However, I am equally inspired by the talented people I work with, and I am always grateful for the contributions of a strong creative team.

5. What do you want people to feel when they look at your images?

Feelings are subjective and highly individual. People are free to feel whatever they feel when looking at my work, and I neither can nor wish to control that.

What I want them to see, however, is a visual feast: colors, textures, and boldness. I often joke that I do not have much patience for subtlety. I like it when an image reaches out and slaps the viewer.

6. How do you build trust and connection with the model during a shoot?

During the first part of a shoot, I give very specific posing directions—even down to details such as chin placement and where the model should direct their eyes. Sometimes, I use tape to mark the area in which the model should pose.

I find that, after a certain amount of time, most people begin to relax naturally into their role and pose more freely. At that point, I adapt to their natural cadence. I begin listening to their movements and expressions rather than asking them to continuously listen to my directions.

That transition creates a more intuitive and collaborative rhythm between us.

7. What has been one of your most memorable photoshoots so far, and why?

My most memorable and rewarding shoots have been those in which the person in front of my camera felt genuinely seen.

Working with transgender and non-binary people has been particularly meaningful to me. When someone who has faced adversity simply for living authentically tells me that our shoot made them feel appreciated, beautiful, and fully recognized, that experience stays with me.

Photography can offer more than a finished image. It can give someone a moment of liberation and a chance to see themselves without the limitations, judgments, or expectations imposed on them by others. Those are the shoots I remember most because they reaffirm why I create.

8. How important is storytelling in your work?

I do try to tell stories, but people inevitably bring their own stories to what they see in an image.

Perhaps storytelling is not only about what the photographer and creative team set out to communicate. It may also be about whether the viewer is reminded of something beautiful, poignant, or even painful from their own life.

In that sense, perhaps editorial photographers are really telling other people’s stories—albeit indirectly.

9. What challenges do photographers face today in the creative industry?

People speak frequently about the new challenges photographers face today, and many of those concerns are entirely valid. For example, businesses are increasingly using artificial intelligence to create content rather than hiring creative teams for branding work.

However, a machine cannot truly see or understand the human element. Technology may be able to imitate certain visual styles, but it cannot replace the lived experiences, relationships, emotions, and genuine connections that shape meaningful creative work.

To survive in almost any creative industry today, we must return to the familiar themes of boldness and fearlessness. We have to keep moving headlong into the future. When we stop and dwell endlessly on our fears, we begin losing ground. When photographers believe they cannot compete with AI, they risk surrendering before the real creative work has even begun.

10. What advice would you give to new photographers who want to develop a strong artistic identity?

Be loud. Be bold. Photograph as much as you possibly can, and continue doing so regardless of what may or may not happen in some unknowable future.

Every profession and art form is being affected by technological development. Self-checkout systems and autonomous vehicles are doing to retail and taxi services what photographers fear AI may do to commercial and branding photography.

Whatever the future holds, we are all entering it together. We must adapt without surrendering the humanity, individuality, and creative courage that give our work meaning.

As the old saying goes, “The only constant is change.” Do not allow that change to silence you. Use it as a reason to become even more fearless in discovering and expressing who you are.

CONCLUSION

Audrey Hope Rinehart’s journey is a compelling reminder that photography can be both an artistic practice and an act of liberation. From her beginnings as a model searching for greater creative agency to her emergence as a fearless image-maker, she has transformed her experiences into a visual language that celebrates boldness, individuality, and human connection.

Her photographs refuse to whisper. They invite viewers into worlds rich with color, texture, identity, and unapologetic self-expression. Yet beneath their striking beauty lies something even more powerful: a sincere commitment to helping others feel seen.

In an industry continuously reshaped by technology and changing conventions, Audrey’s philosophy remains clear—move forward boldly, reject shame, and never allow fear to define the limits of your creativity. Through her work, she does not merely photograph people; she gives them room to spread their wings.

Valerie Bielovol Interview

Valerie Bielovol is a model whose work beautifully blends emotion, storytelling, and artistic presence. Passionate, versatile, and fearless, she brings a rare depth to every concept she takes part in, transforming each image into something more than a photograph. Drawn to gothic romance, historical elegance, cinematic moods, and emotionally rich narratives, Valerie approaches modeling as a form of visual storytelling. Through her authenticity, confidence, and creative sensitivity, she continues to create images that feel timeless, powerful, and deeply expressive.

How would you describe yourself in three words?
Passionate. Versatile. Fearless.

What first drew you to modeling?
I was drawn to modeling because it combines creativity, storytelling, and self-expression. I love collaborating with photographers and artists to bring an idea to life and create images that produce emotion. What began as curiosity quickly became a passion for artistic expression.

What kind of concepts make you feel most powerful in front of the camera?
I feel most powerful in editorial concepts that tell a story. I am especially drawn to Gothic, historical, romantic, and cinematic themes because they allow me to fully embody a character and create images that feel timeless and emotionally rich.

How do you prepare yourself before a photoshoot, both physically and mentally?
Physically, I focus on getting enough rest, staying hydrated, and arriving prepared. Mentally, I review the creative concept, gather inspiration, and think about the emotions or story I want to convey. I like to arrive calm, focused, and ready to collaborate. And obviously, having fun is very important too.

What does beauty mean to you?
To me, beauty is authenticity. It comes from confidence, kindness, creativity, and the courage to be yourself. A photograph becomes truly beautiful when it captures something genuine beneath the surface.

Is there a recent project or series that felt especially meaningful to you?
My recent “Gothic Romance” series was particularly meaningful. Working within historic landscapes and embracing themes of romance, mystery, and storytelling reminded me that modeling is about much more than appearance. It reinforced my confidence as a creative collaborator and visual storyteller.

How do you bring emotion and character into your poses?
I begin by imagining the character, mood, or narrative behind the image. Rather than focusing solely on poses, I think about what the person in the photograph is feeling. The emotion naturally influences my expression, posture, and movement.

What has been one challenge in your modeling journey, and what did it teach you?
One challenge has been learning to embrace my individuality rather than comparing myself to others. The experience taught me that authenticity is one of the most valuable qualities a model can bring. It has made me more confident, resilient, and appreciative of creative opportunities.

Where do you find inspiration for your work and personal style?
I find inspiration everywhere — from classic art and films to nature, architecture, and the people I meet. I love fashion that tells a story and allows me to express different sides of my personality while remaining authentic to who I am.

What do you hope people feel when they see your images?
I hope people feel something — whether it’s wonder, curiosity, nostalgia, strength, or connection. If an image encourages someone to pause, imagine a story, or see beauty in a different way, then I feel the work has succeeded.

Through her words, Valerie Bielovol reveals herself not only as a model, but as a true creative collaborator with a strong artistic voice. Her ability to embody emotion, character, and atmosphere gives her work a memorable and poetic quality. With a deep appreciation for authenticity, beauty, and storytelling, Valerie reminds us that the most powerful images are the ones that make us feel something. Her journey is a beautiful reflection of courage, individuality, and the art of bringing imagination to life.

Model: @ler4ita__99

Photo: @one_to_one_photography

AMY TAYLOR INTERVIW

AMY TAYLOR: THE QUIET POWER OF TIMELESS ELEGANCE

Amy Taylor possesses the rare kind of presence that never needs to demand attention—it draws the eye through intelligence, composure and quiet confidence. Her journey from studying biology to working in front of the camera reflects the curiosity that continues to shape both her life and creative career. For Amy, modelling is far more than the pursuit of a beautiful image; it is a way of exploring character, emotion and the many perspectives through which a story can be told.

Elegant yet adventurous, she brings equal conviction to impeccably tailored fashion and daring editorials photographed in the unforgiving beauty of Death Valley. Her approach is thoughtful, collaborative and grounded in the belief that authenticity will always resonate more deeply than perfection. In this conversation, Amy reflects on the value of professionalism, the freedom found beyond rejection and the timeless beauty of continually reinventing oneself.

How did you first become interested in modelling, and what inspired you to pursue it?

Modelling found me before I found it. I was studying biology in high school and planning to continue in that direction at UC Berkeley. Fashion seemed like a completely different universe, which may have been exactly what attracted me. I loved the idea that a single photograph could tell a story without saying a word.

What began as curiosity gradually became a career alongside the other professional and personal interests I pursued. Looking back, I realise that I have always been drawn to experiences that allow me to see the world from different perspectives, and modelling has given me countless opportunities to do exactly that.

How would you describe your personal style and the image you want to represent through your work?

I gravitate towards understated elegance. I love clothing with beautiful structure, impeccable tailoring and quiet confidence. Trends come and go, but style has a remarkable ability to outlive fashion.

Through my work, I hope to represent a woman who is intelligent, curious and entirely comfortable in her own skin. Confidence does not have to be loud. Sometimes, it is expressed through simplicity.

What has been the most memorable photoshoot or project of your career so far?

The projects I remember most are not necessarily the biggest ones. They are the shoots where everyone on set shares the same creative vision. Those are the moments when fashion stops being commercial and becomes artistic expression. Time seems to disappear, and everyone contributes to creating something that feels larger than any one individual.

Spending three days in Death Valley, California, wearing almost no fashion in some of the shots—implied, not pornographic—remains one of my favourite adventures. We worked with that gorgeous desert light and the starkly beautiful natural world surrounding us, without any cell phone reception, while taking a chance in conditions that could easily have ended us all. Everyone should shoot there at least once. There is a reason so many people do.

How do you prepare mentally and physically before a photoshoot?

I believe preparation begins long before arriving on set. Rest, movement, healthy food and taking care of myself create the physical foundation.

Mentally, I try to become completely present. Rather than worrying about how I look, I think about the story we are trying to tell. Once I become curious about the character instead of focusing on myself, everything becomes much more natural.

What qualities do you believe make a strong and successful model?

Beauty may open the door, but professionalism and kindness keep it open. A successful model is adaptable, observant, collaborative and respectful of everyone involved in the creative process.

The best models understand that they are helping to create an image—not trying to become the entire image. Humility and curiosity have sustained far more careers than perfection ever has.

How do you express emotion, confidence and personality in front of the camera?

I think every photograph contains an invisible narrative. Before the camera clicks, I imagine where this woman has been, what she desires or what she is thinking in that particular moment.

Once the imagination becomes active, expression follows naturally. The camera has an extraordinary ability to recognise honesty—or nonsense.

Have you faced any challenges in the modelling industry, and how have you overcome them?

Like every creative profession, modelling involves uncertainty. There are moments of great opportunity and moments when nothing seems to happen at all. Over time, I learned not to confuse rejection with failure.

Fashion is wonderfully subjective. Someone else’s decision does not define your value. That realisation brought me both confidence and freedom.

Which photographers, designers, models or artists have influenced your creative journey?

Peter Lindbergh’s portraits have always moved me because they celebrate authenticity. Richard Avedon captured movement and personality with extraordinary elegance.

Among designers, I continue to admire Giorgio Armani, Yves Saint Laurent, Valentino, Chanel and Dior for creating work that feels timeless rather than temporary. I also find inspiration outside fashion—in architecture, literature, cinema, museums and travel. Creativity is nourished by curiosity.

What type of editorial, campaign or creative project would you love to work on in the future?

I would love to create campaigns that explore the idea of timeless femininity—stories that celebrate confidence, intelligence and beauty throughout every stage of life.

I am especially drawn to cinematic shoots that feel emotionally rich, where the images invite the viewer to imagine everything happening just beyond the frame.

What message or impression would you like people to take away from your work?

I hope my photographs leave people with a feeling rather than simply an image. If they communicate elegance, curiosity, resilience and the quiet confidence that comes from experience, then I have succeeded.

Beauty evolves. Style evolves. We evolve. I hope my work reminds people that reinvention is one of the most beautiful parts of being human.

Amy Taylor’s story is a reminder that the most compelling models offer far more than physical beauty. They bring imagination, emotional intelligence and the courage to evolve. Her photographs may capture a single moment, but behind each one lies a woman shaped by curiosity, experience and an unwavering openness to discovery.

As she looks towards future projects celebrating timeless femininity in every stage of life, Amy continues to embody the very qualities she hopes her work will communicate: elegance, resilience and a confidence that speaks without needing to raise its voice. Fashion may constantly change, but authenticity never loses its relevance—and Amy’s enduring appeal lies precisely in her ability to make every image feel both timeless and unmistakably her own.

Model: @amytaylornyc

Photo: @ceoportrait

Photography Business: @lightstudionyc

Stylist: @iul_bask

MUA: @kimgrabowmakeup

Christos Charanas

Interview

Christos Charanas’ journey into photography is as unique as the images he creates. Before stepping into the world of portraiture and editorial photography, he spent years observing landscapes, horizons, silence, and atmosphere through his camera — all while building a life at sea as a Mariner Captain. Without formal photography seminars or prior knowledge, his path began through instinct, curiosity, and a deep emotional connection to the world around him.

Only two and a half years ago, Christos photographed a person for the first time, opening a new chapter in his creative life. Since then, his work has evolved into something cinematic, emotional, and deeply atmospheric. For him, photography is not simply a profession or a skill — it is passion, love, and a way of understanding people, places, and unspoken stories. In this interview, Christos shares his creative journey, his inspirations, and the emotional vision behind his growing photographic world.

1. How did your journey into photography begin, and what first inspired you to pick up a camera?

Photography started as a way to observe the world more deeply. Working for years at sea, surrounded by isolation, changing horizons, and long periods away from home, I became more aware of silence, emotion, and the stories people carry without speaking. Picking up a camera felt natural, almost like collecting moments that would otherwise disappear.

I began around five years ago, without any formal photography knowledge or seminars, photographing landscapes and learning through observation, instinct, and passion. Only two and a half years ago, I had my first photoshoot with a person, which opened a completely new world for me creatively.

What began as curiosity slowly became a need to create images that feel honest, atmospheric, and emotionally charged. My main profession is Mariner Captain, but photography is my passion and my love. In many ways, I feel I live between both worlds.

2. How would you describe your artistic style and the atmosphere you aim to create in your work?

I would describe my style as cinematic, emotional, and slightly dark. I am drawn to images that feel quiet but intense at the same time.

I often search for a balance between vulnerability and strength. Whether I photograph fashion, portraits, or conceptual work, I want the viewer to feel something before understanding the image intellectually.

Atmosphere is very important to me — mystery, tension, softness, nostalgia, and sometimes discomfort.

3. What inspires you the most when developing concepts for your editorials or photo series?

Inspiration usually comes from emotions rather than trends. Memory, loneliness, mythology, nature, human desire, identity, and personal experiences often become the starting point.

Living between the sea and places like Samothrace, Greece, has also influenced how I see isolation, freedom, and transformation.

Sometimes a project starts with a single feeling, and the visual world builds around it.

4. Do you prefer working with natural emotion and spontaneity, or carefully planned visual storytelling?

I think the strongest work exists somewhere between both.

I usually build a concept, mood, or emotional direction before the shoot, but I leave space for spontaneity. Unexpected expressions, movement, or silence often become the most powerful moments.

I don’t want people to simply pose. I want them to exist within the image.

5. How important are fashion, styling, and location in shaping the final mood of your images?

They are essential.

Styling, textures, jewelry, fabric, makeup, and location all contribute to storytelling. Even small details can completely change the emotional weight of an image.

However, I believe atmosphere comes first. Beautiful styling without emotion rarely stays memorable.

6. What has been one of your most memorable or challenging photoshoots so far, and why?

Some of the most challenging shoots were not technically difficult but emotionally demanding — projects where trust, vulnerability, or strong concepts were involved.

I remember realizing that photography is often less about equipment and more about creating an environment where people feel safe enough to reveal something real.

Those moments stay with me longer than perfect lighting setups.

7. How do you build trust and connection with models or creative teams during a shoot?

I try to create calmness.

I speak openly, listen, avoid pressure, and treat collaboration as something shared rather than directed. Trust usually appears when people stop feeling judged.

The best images often happen when someone forgets they are being photographed.

8. Are there any photographers, artists, films, or creative movements that have influenced your visual world?

I am influenced by cinematic storytelling, fashion editorials, and creators who use atmosphere strongly.

I admire work that combines beauty with imperfection and emotion with silence. Beyond photography itself, nature, mythology, music, and human psychology have shaped my visual language.

I often find inspiration outside traditional photography.

9. What do you think makes an image truly powerful or unforgettable?

Emotion.

Technical perfection alone rarely makes an image unforgettable. An image becomes powerful when it creates a feeling the viewer remembers long after seeing it.

Sometimes beauty attracts attention, but honesty leaves a mark.

10. What are your goals and dreams for the future of your photography career?

I want to continue building work with stronger artistic identity and collaborate internationally with magazines, brands, and creative people who value storytelling.

Beyond publications or recognition, my goal is to create images that remain meaningful over time — work that people remember because it made them feel something.

I also hope photography becomes a larger part of my life, not only professionally but as a way of understanding people and experiences.

Christos Charanas’ story is a reminder that powerful artistry does not always begin in classrooms or studios. Sometimes it begins quietly, with a camera, a landscape, a life filled with distant horizons, and the desire to preserve what words cannot fully express. His background as a Mariner Captain brings a rare depth to his photography — a sensitivity to solitude, movement, emotion, and the silent beauty of passing moments.

In only a few years, Christos has transformed a personal passion into a visual language marked by atmosphere, honesty, and feeling. His work proves that photography is not only about technique, but about connection — with the subject, with the viewer, and with the invisible story behind each image. As he continues to grow, collaborate, and shape his artistic identity, Christos stands as a creator driven by love for the craft and by the desire to make images that stay in the heart long after they are seen.

Photo: @chris_chrns

Model: @giulietta_kotsyurko

Via @officialkavyar

Elle Farrell-Kingsley’s

Elle Farrell-Kingsley’s work exists in that rare space where fashion becomes cinema, memory, and character all at once. In this interview, she reveals the layered process behind a striking editorial inspired by 1920s silhouettes, silent film presence, Art Deco atmosphere, and the romance of early train travel. As both designer and model, Elle does not simply wear the garment — she inhabits the world she has created. Through hand-beading, historical references, theatrical proportion, and a deeply cinematic eye, she transforms fashion into a scene from an imagined film, suspended somewhere between archive, fantasy, and dream.

Can you tell us about the original concept behind this shoot and what inspired you to create it?

Well, I was invited to a 1920s Murder on the Beijing Express mystery party, and the dress code sparked the initial idea. From there, I began curating visual and cultural artefacts rather than constructing a fixed narrative. I assembled snippets, such as silent film stills of 1920s actress Evelyn Brent, Paul Poiret’s cocoon silhouettes, and imagery tied to early steam travel.

I also spent time working through archival material and vintage fashion posters. This research stage is one I tend to stay with for a while. It gradually forms its own internal world before design decisions are made.

As both the model and the fashion designer for this editorial, how did you approach building a character and visual world through your design?

Because I was both creating and embodying the piece, I approached it almost like costume design for a film that didn’t yet exist. I built the world first, imagining a 1920s train in motion, travelling between places without a fixed destination. Then, I considered who might exist within that setting.

The character became someone suspended, not fully anchored to date or place. Like Brent’s on-screen presence, she isn’t meant to represent an everyday woman. Every design choice, from silhouette to beadwork, was made with that in mind, so stepping in front of the camera felt less like modelling and more like stepping into a role already constructed through the garment.

You mentioned inspiration from Paul Poiret’s 1920s cocoon coats mixed with the aura of silent film star Evelyn Brent — what drew you to those references, and how did you reinterpret them in your own way?

What drew me to Poiret was the shift away from restriction. The cocoon coat is structurally simple but conceptually radical, it replaced the Victorian corseted form with volume and movement. Brent inspired something different: control. Her stillness on camera feels deliberate and contained, which aligned with the restrained tone I was aiming for.

I wasn’t trying to recreate the 1920s literally, but more to translate its principles. The proportion is exaggerated, the detailing more theatrical, and I introduced my own language through the draping, lace and beadwork. Those elements aren’t really traceable to a single source, but I’d say they’re where the piece moves from history into interpretation.

What was the design process like for this garment, from the first idea to the final finished piece seen in the images?

It began with a vintage sewing pattern, which I used as the foundation. I widened the sleeves in response to late 1920s silent film silhouettes. And it was pretty daunting to take it in my own direction. The resulting shape took more of an open, draped sleeve structure, enhancing the theatrical stillness. From there, the coat and dress developed intuitively, based on draping, rather than following a fixed plan.

I was also thinking about the broader visual language of the 1920s — how Art Deco engaged with East Asian visual culture through stylised ornament and patterning, while in Shanghai, the qipao was being modernised into an iconic, fitted silhouette within its own evolving fashion context. Set within the fictional premise of Murder on the Beijing Express and photographed in Beijing, these references shaped the atmosphere.

Then, green and gold were selected for their association with Art Deco opulence and period glamour. The hand-beading stage is slow and immersive, so I often listen to history or philosophy lectures while working. After styling and hair, the piece fully came to life.

What details, shapes, fabrics, or embellishments were most important to you in capturing that vintage yet theatrical mood?

I often begin with the silhouette. For this, I returned to the cocoon form, volume replacing structure.

Material choice is equally important for me. I avoided mass-produced plastic sequins in favour of glass beads, which are closer to the materials used in this period and reflect light in a more uneven, lived way. For the coat, I used linen, while the dress features tulle, as is more common in older pieces. Tulle, however, is quite sheer, so ensuring it wasn’t see-through became an important construction challenge. This was resolved by layering multiple sections and adding lace, which provided the necessary opacity while enriching the texture.

Accessories also helped it come together. The headpiece draws upon Juliette caps, which were fashionable, while the heels nod to that old sense of glamour associated with train travel.

How did you balance historical inspiration with your own creative identity so that the design felt referential while still remaining original?

It was about letting all of these different influences come together to create something new. Some references remain in the research stage but still shape proportion and mood. Others are more visible in the final garment.

The beading and lace introduce my own language, so the piece feels like it could belong to that time, but isn’t trapped inside. It sits somewhere between archival reference and imagined memory, something that feels familiar, but can’t be placed exactly.

Did stepping in front of the camera while also knowing every detail of the design change the way you performed or embodied the look?

Yes, completely. Once you know exactly how a garment holds and releases shape, you stop posing in a traditional way and start reacting to it. In this case, the widened sleeves and softer structure meant movement was key. I tried to respond to the fabric's behaviour, as though it were a living extension of the character. Small shifts, such as how a sleeve falls back or how the coat opens, guided the gestures.

The shoot has a strong cinematic atmosphere, almost like a forgotten silent-era fantasy. How did you work as creative director to shape that mood visually?

I approached it like directing a scene from a lost silent film, something half-remembered and slightly out of reach. The train setting is visually dominant, so the challenge was balancing restraint with theatricality. I also considered lighting and texture, the aged exterior of the train against the richness of the materials. Together, they suggest a time without keeping it fixed, keeping the scene in motion.

I must also credit the photographer on this shoot, Mikhail, whose artistic eye was essential in creating what you see.

What do you hope viewers notice first when they see this design, and what feeling or story do you hope it leaves behind?

The first impression should be the silhouette, which was always the priority. Ideally, it should read immediately, even from a distance. Beyond that, I was hoping for a sense of narrative ambiguity, like something is happening just outside the frame — unresolved and still unfolding.

Looking back on this project, what did this experience teach you about your voice as a designer and creative director, and where would you like to take that vision next?

This project helped reveal my style as rooted in cinematic storytelling and couture world-building. Looking forward, I’m interested in expanding this into more spatial contexts. The project I’m developing, The Vintage Futurist, builds upon historical patterns but places them within experimental materials and environments, where garments exist as part of a larger, constructed story rather than as a single image.

Elle’s work carries the elegance of history, but never feels trapped by it. Every sleeve, bead, fabric choice, and gesture becomes part of a larger story — one that feels timeless, mysterious, and carefully constructed. Her vision is personal, atmospheric, and unmistakably her own. With projects such as The Vintage Futurist ahead, Elle Farrell-Kingsley’s creative voice feels ready to expand even further, moving beyond the garment and into full worlds of cinematic design, emotion, and imagination.

Model & MUA & Fashion & Cr Dir & Hair & Photo: @ellefkingsley

Photo: @fotomikhanix

Mar Jie Interview

Mar Jie brings a striking sense of depth, elegance, and dark individuality to the world of alternative modeling. Her work is rooted in gothic beauty, emotional intensity, and a powerful fascination with the mysterious side of life. Through her imagery, she embraces darkness not as something negative, but as a place of strength, creativity, and self-discovery. With a style that is both haunting and refined, Mar Jie represents the beauty of standing apart, creating visuals that feel bold, atmospheric, and deeply personal.

1. How did your journey into modeling begin, and what first drew you toward gothic and alternative aesthetics?

My modeling journey began gradually. I loved looking at the work of gothic models and photographers, and through that, I developed my own visual sense. This aesthetic drew me in because it embraces darkness, melancholy, mystery, decay, and the eerie — not as something purely negative, but as a way to face life’s challenges, find beauty in imperfection, and explore the “other” side of human experience.

2. How would you describe your personal style and identity as a goth/alternative model?

My identity and style come from my personal perception and character. I focus on self-confidence, creativity, and depth. Gothic, for me, is a way of thinking based on mystery, rebellion, and acceptance of the darker sides of life, which are reflected in my work.

3. What does gothic beauty mean to you personally?

For me, gothic beauty is a mixture of mysterious elegance and intellectual menace. I do not just wear the night — I question it, analyze it, and wear it better than it exists on its own.

4. Are there any subcultures, music scenes, artists, films, or fashion movements that inspire your visual world?

Music is what inspires me the most, especially gothic metal. I could never pick just one artist, because each of them holds a unique place in my heart. I am also very inspired by people who experiment with bold, multifaceted gothic styles in their photoshoots.

5. When you step in front of the camera, what kind of energy or story do you try to bring into the image?

It all depends on the specific image and the creative direction of the photoshoot. It could take on a Victorian Gothic style that emphasizes grandeur and allure, or lean into a horror concept where I recreate an iconic character look, fully embracing experimentation without hesitation. As a model, I try to bring a combination of professional, creative, and human energy to the image.

6. How do you balance darkness, elegance, rebellion, and femininity in your modeling work?

Through many years of hands-on experience and close observation, I have found a strong sense of balance. Each photoshoot becomes an opportunity to develop, review, and learn from previous missteps.

7. What has been one of your most memorable photoshoots so far, and what made it special?

The most memorable photoshoot I have done to date was my cosplay of Pinhead from Hellraiser. What made it truly special is that, as a five-year-old, I used to watch those movies on TV and was absolutely terrified of the character. Preparing for it felt like a big milestone. It was my first truly ambitious cosplay, and I approached it with a mixture of excitement and nervous trepidation.

8. Do you feel that alternative modeling gives you more freedom to express who you are compared to traditional fashion modeling?

Yes, alternative style offers me greater freedom for self-expression, as it extends well beyond the traditional fashion industry, where conformity to established patterns often takes precedence over showcasing individuality.

9. What message would you like people to feel when they see your work?

I want to inspire people through my art by showing that unconventional beauty can be just as enchanting and elegant as any other. Most of all, I strive to remain deeply authentic to myself.

10. What are your hopes, dreams, or creative goals for the future as a model?

I want to collaborate with multiple gothic clothing brands, starring in commercials and campaigns that push alternative beauty into the mainstream and inspire others to embrace their unique style.

Mar Jie’s creative presence is a reminder that beauty does not need to be soft, conventional, or easily defined to be powerful. Her work carries the essence of gothic expression: mystery, elegance, rebellion, and emotional truth. Through her modeling, she continues to challenge traditional ideas of beauty while creating a visual world that feels fearless, intelligent, and unmistakably her own.

Model: Mar Jie

Retoucher/Photographer: soulyourasblack

Jillian Pfennig Interview

Introduction

Jillian Pfennig approaches modeling with the eye of an artist and the presence of a storyteller. Her journey began long before she stepped in front of the camera, shaped by a childhood fascination with magazines, photography, and the quiet dream of one day creating images of her own. What makes Jillian’s work especially compelling is the duality she brings to every set: she understands both the vision behind the lens and the emotion required in front of it. As both model and photographer, she is not simply posing for an image, she is helping to build its atmosphere, its character, and its visual language.

Her presence is quietly commanding, elegant, and deeply intentional. Whether embracing a dark editorial mood, a romantic softness, or the complete freedom of self-portraiture, Jillian brings a strong creative instinct to her work. Through her images, she hopes to inspire emotion, confidence, and the belief that art belongs to every body willing to step into it.

Interview

1. How did your journey into modeling begin?
My journey into modeling actually started when I was a kid. I would flip through magazines and keep a binder of images that spoke to me, photos I dreamed of recreating one day.

2. What first drew you to modeling and fashion?
Photography was my first love, and fashion was the natural companion to it. I used to stage photoshoots with my sister and friends, and as I got older I started experimenting with a tripod, trying different angles and themes on myself. The crossover between photographer and subject felt inevitable.

3. How would you describe your identity and presence as a model?
I'd describe my presence as quietly commanding. I bring an art-first perspective to every shoot because I spend just as much time behind the camera as in front of it. That dual vantage point shapes how I move, how I pose, and how I collaborate. I want to be a creative partner in whatever we're making, not a passive subject.

4. What do you enjoy most about being in front of the camera?
I love transforming into whoever the shoot needs me to be. Channeling different parts of my personality is so fun, whether it's a dark and moody concept or something fun and bubbly. Slipping into that persona is what helps me get the best photos possible.

5. How do you prepare yourself mentally and creatively before a shoot?
Because I'm also a photographer, I usually have a mental library of images I want to create before I even step on set. I love collaborating with photographers and makeup artists to build on that vision, and I'm always open to trying a weird position or unexpected idea if it means getting the shot.

6. What helps you connect with a concept or mood during an editorial?
It comes down to fully immersing myself in the world of the concept. I love a wide range of aesthetics, so I try to find the thread in each one that I can genuinely feel, whether that's the softness of a romantic editorial or the edge of something darker. Once I feel it, the poses and expressions follow naturally.

7. How would you describe your personal style outside of modeling?
My personal style is rooted in simple elegance. I love getting dressed for the occasion, whatever it calls for. If it's Oktoberfest, I'm in a dirndl. If it's a black-tie night, I'm in a gown. I think there's something really special about leaning into the spirit of a moment through what you wear, whether that's a traditional outfit, an everyday look pulled together with intention, or a full editorial moment just because.

8. What has been one of the most memorable moments of your modeling journey so far?
I was modeling at an event, walking around in one of the designer's gowns, when Sharon Stone came up to me and told me I was gorgeous and to keep going. Earlier that day the designer had complained that my hips were too big and switched the dress I was supposed to wear, so I was feeling completely defeated. Having Sharon Stone approach me just to say keep going was the push I needed to continue on this journey.

9. What do you hope people feel or see when they look at your images?
I always want people to feel emotion from my photos, regardless of what that emotion might be. Also, as a plus model, I hope to inspire people to still create art and put themselves out there despite their size, etc.

10. What are your goals and dreams for the future as a model?
I want to keep pushing my boundaries, keep translating my visions into reality, and continue growing my community. Most of all I hope to keep getting opportunities to create magic with other artists!

Bonus Q: You do a lot of self-portrait work. What’s that process like for you?
I work as a self-portrait model often, which means I'm the creative director, photographer, and subject all at once. I love the freedom of simply creating on my own terms, though it can be hard being the only set of eyes on a project. Having full control and watching a vision come to life is incredibly rewarding, and I still love the shoots where I get to collaborate with other creatives and make something magical together.

Conclusion

Jillian Pfennig’s story is one of creativity, resilience, and artistic self-possession. From staging early photoshoots with friends to directing her own self-portrait work, she has built a modeling identity rooted in imagination, collaboration, and emotional honesty. Her memorable encounter with Sharon Stone became more than a beautiful moment; it became a reminder to keep going, to trust her presence, and to continue creating despite doubt or discouragement.

As she looks toward the future, Jillian remains focused on growth, community, and the magic that happens when artists come together with a shared vision. With her thoughtful approach, elegant presence, and art-first perspective, she continues to prove that modeling is not only about appearance, but about transformation, storytelling, and the courage to be fully seen.

Model: @jillianpfennig

Photo: @pixelflock

Helena Barbagelata

Helena Barbagelata embodies the kind of beauty and presence that feels both timeless and elusive. With an artistic sensibility shaped by fashion, movement, music, and emotion, she brings far more than a pose to the frame — she brings atmosphere, depth, and story. Her work moves gracefully between elegance and mystery, revealing a model whose presence is as thoughtful as it is striking. In this interview, Helena shares the inspirations, experiences, and creative vision that continue to shape her journey in fashion and beyond.

1. How did your journey into modeling begin?
My entry into modeling happened almost serendipitously. I was very young when a high-fashion photographer discovered me, and what seemed like a fleeting encounter unfolded into a world where image, movement, and emotion shape their own vocabulary. Signing my first contracts became the start of an unexpected but deeply instinctive path into fashion.

2. What first attracted you to modeling and fashion?
I’ve always seen fashion as a form of storytelling. It has the power to suspend reality, to shift identity, to create an atmosphere with a single gesture. Growing up immersed in music, painting, and dance, modeling felt like a natural extension of that artistic language, a way to express something beyond words.

3. How would you describe your personal style and identity as a model?
My style lives in contrasts: softness with structure, elegance with intention, minimalism with a hint of mystery. I’m fascinated by restraint, how much can be expressed by what is not revealed.

My identity draws from layered cultural influences and years spent between studios, cities, and different artistic worlds. I don’t define it too rigidly; I prefer to let it be sensed. What I offer is presence, grounded, clean, and slightly out of reach.

4. What do you enjoy most about being in front of the camera?
The camera creates a space where transformation becomes possible. I love the quiet just before a shot, when everything feels suspended. In that moment, I can slip into a character or mood and let something more poetic take over.

5. How do you prepare mentally and physically before a shoot?
Preparation for me is immersion. I absorb the concept through music, film, movement, and visual references. I read, I dance, I listen, and I let the tone of the project settle into my body until the emotion becomes instinct. It’s a way of inhabiting the idea from the inside out.

6. What has been one of your most meaningful shoots or projects?
The recent shoot for Neurodivergent Synergy was particularly significant. It blended fashion, art, and neuroscience into a unified narrative; a rare space where aesthetics and deeper emotional landscapes intersect.

The project included a bag I co-designed, conceived as both an artistic object and a symbol of the neurodivergent experience. Translating something invisible into a tactile form opened a new direction for me: integrating my multidisciplinary practice into fashion design and developing a line rooted in storytelling and sensory awareness.

7. Do you have a favorite type of modeling?
Editorial and artistic work resonate most with me. I love when imagery becomes atmospheric, symbolic, layered, when a photograph feels like a visual poem.

8. What challenges have you faced as a model, and how have you overcome them?
The challenge is remaining anchored in an industry defined by constant movement. I stay grounded through my artistic practices, dance, music, painting, writing. They help me maintain a sense of inner continuity, even as I shift and transform for the camera.

9. What inspires you creatively and helps you bring emotion into your images?
Inspiration is everywhere: culture, travel, human stories, mythology, landscapes, sound. But dreams influence me most. I’m drawn to that liminal space where reality blurs with imagination. I try to carry that feeling into my images, subtle, atmospheric, quietly emotive.

10. What are your goals and dreams for the future?
My goal is to continue exploring the space where fashion meets deeper narrative and artistic experimentation. I’m committed to developing concept-driven work that feels immersive and emotionally resonant, projects that merge image, sound, movement, and storytelling into a unified world.

Ultimately, I hope to contribute to a broader vision of fashion: one that embraces innovation, inclusivity, and artistic depth, and continues to evolve beyond its own boundaries.

Conclusion
Helena Barbagelata approaches modeling with rare sensitivity, intelligence, and artistic depth. More than simply stepping in front of the camera, she inhabits each image with emotion, nuance, and quiet power, creating work that feels immersive and memorable. With her refined vision and multidisciplinary spirit, Helena continues to carve out a space that is entirely her own — one where fashion, art, and storytelling meet in a way that feels both modern and deeply poetic.

Model: @helenabarbagelata

Fashion: BIBI | Boutique Martini | Vinicio

Photo: @franortfashion

MUA & Hair: Andrés Santiago

Via @officialkavyar

Syban Interview

Syban Interview

Explore dark glamour and avant garde fashion through striking photography, editorials, and exclusive interviews at Darkly. Embrace the beauty in shadows.

In the world of costume design, few creatives possess the ability to transform fabric, crystal, and embellishment into something truly mythic. Syban is one of those rare visionaries. With a design language shaped by opulence, symbolism, and cinematic imagination, her work exists at the breathtaking intersection of couture craftsmanship and otherworldly storytelling. Drawing inspiration from religion, mythology, transformation, and the tension between darkness and light, she creates wearable art that feels both powerful and transcendent. In this interview, Syban opens the doors to her richly layered creative universe, sharing the origins of her passion, the emotional and symbolic threads woven through her work, and the extraordinary vision that continues to define her as a singular force in costume design.

1. Can you tell us how your journey into costume design first began?
My journey into costume design began when my mother showed me Bram Stoker’s Dracula when I was about ten years old. I was completely captivated, it’s an incredible film with breathtaking costume design. Then, when I was 13, I came across The Cell on television late one night. I later discovered that both films featured costume design by Eiko Ishioka, and her work deeply and permanently imprinted on me. In that moment, I knew this was what I wanted to do: create extraordinary, wearable works of art that captivate and move people.
When I was 17, I secured an internship at a couture house in Belgravia, London, where I learned the fundamentals of couture construction and tailoring. That experience solidified my passion and everything grew from there.

2. How would you describe your design aesthetic and creative identity?
My design aesthetic is otherworldly and opulent, rooted in excess, ornamentation, and transformation. I’m drawn to the visual language of religion and mythology, where symbolism, ritual, and grandeur collide. My work is heavily embellished, richly textured, and designed to catch and reflect light, it is glittering, luminous, and lustrous from every angle.
I create from an obscenely lavish place: more is more, and then more again. Layers of crystals, beads, and intricate detailing build pieces that feel immersive and alive. Nothing is ever quite enough, and that sense of abundance is at the heart of my creative identity.

3. What inspires you most when creating a new collection?
My work as a costume designer is rooted in character creation. Rather than building a single collection around one theme, I create distinct figures that inhabit a dreamlike, cinematic universe, each piece acting as a chapter within a larger, evolving narrative.
My practice centres on making wearable art that renders the surreal corporeal, forging a bridge between the ethereal and the handmade language of couture. I create intricate, extravagant pieces that transform the wearer into powerful, otherworldly beings.
This act of transformation, this alchemy, is what inspires me. I am drawn to the space where the brutal meets the beautiful, where opulence borders on the obscene. That tension is where my work lives.
There is a universe within me that breathes through contrast and contradiction. My creations are born from these internal worlds and their conceptual stories—each one exploring the struggle between darkness and light, and bringing complex, imagined characters to life.

4. Can you walk us through your creative process from concept to final piece?
My process begins from a materials starting point. I work within a defined colour palette; black, silver, white, gold, and red, and I’m instinctively drawn to texture and ornamentation within those tones. I collect them, get inspired by them and use them much like a painter uses paint.
Travel plays a big role in how I gather inspiration. I collect objects, surfaces, and tactile references from different places, and through my work in film, television, and events, fabrics often find their way to me organically. Over time, this has created a kind of magnetic ecosystem where materials align naturally with my aesthetic, which I feel incredibly grateful for.
I’m particularly drawn to working monochromatically, layering as many textures as possible within a single colour to create depth and complexity. From there, I begin thinking three-dimensionally—considering how the piece will exist as wearable art, and what kind of space or world it will inhabit.
I then draw on the visual language of my existing body of work—identifying the signature elements that define my practice—and explore how to evolve them into something new, something that feels both cohesive and unexpected.
From that point, the piece is brought to life through an intense and meticulous making process, with an obsessive attention to detail. Every element is considered, refined, and crafted to ensure the final work feels powerful, immersive, and complete.

5. Are there any particular themes, emotions, or stories you like to express through your designs?
I believe all art is, in some way, autobiographical. We each carry our own truths, personal reflections of our histories, our dreams, our hopes, and our fears, and art becomes a vehicle allowing us to give form to those inner worlds.
My work is deeply informed by my heritage. I am half Italian, half Venezuelan, and Jewish, and my upbringing was shaped by a complex relationship with religion. My father’s family were very strict Roman Catholics and strongly opposed my connection to, and identification with, my Jewish heritage. This led to a period of intense religious pressure and trauma, which has left a lasting imprint on my creative language.
That influence is visible in my use of gold, ornamentation, and my reinterpretation of religious iconography. It also manifests in recurring themes of duality, heaven and hell, light and darkness, which run as a continuous thread throughout my work.
Another central theme in my practice is alchemy. Through the use of texture, metallics, and embellishment, I aim to transform the wearer into powerful, divine figures: Goddesses, Queens, mythological beautiful beasts, beings that embody strength, complexity, and transcendence.
Ultimately, my work exists to express the dynamic space between opposing forces—heaven and hell, light and dark, magic and mysticism—exploring tension, transformation, and the beauty that can emerge from both.

6. How do you balance artistic vision with wearability and functionality?
As I work in the realm of costume, the wearability aspect is one of the main parameters. As the pieces travel the world, their durability and functionality are of the utmost importance. I find by having these unviolable boundaries, it actually helps creativity flow. If it cannot be moved in properly, it cannot come alive. Durability, functionality, and artistic vision are the three pillars that must co-exist. It is like a three-legged stool, remove one and the whole thing comes tumbling.

7. What challenges have you faced as a costume designer, and how have they shaped your work?
Do you mean this from an emotional point of view or a practical one?

8. Is there a collection or design you are especially proud of, and why?
Every new piece becomes my favourite piece, as it is the evolution of everything that came before. Work that I am proud of is when I’ve worked on huge tours like Sabrina Carpenter’s UK tour, where I worked heavily on all the crystal embellishments. Being able to do that high-end embellishment and then having it seen by millions is always pleasing. I also designed and had my brand create the costume for Chappell Roan’s band on their last UK tour. Again, making something beautiful but also very practical that then gets seen by thousands and thousands is very gratifying. This kind of work also always has to be created very quickly and to a very high standard, and when you pull that off it is truly glorious.
One of my favourite designs was an incredibly embellished gold piece I designed and made that got worn by the lovely Chinese pop star Xin Liu for her Coachella show. I never got to meet her to take my own measurements or discuss exactly what the choreography was going to be, and created the piece with zero fittings, but somehow it fit her perfectly and on that stage it looked incredible. That’s when you know your design concepts translate to the big stages and that your craftsmanship knowledge can stand the test and work under any situation.
I have also been heavily inspired by the movie The Cell, particularly a scene in the Namibian desert. I had the wild idea to take some of my costumes and one of my best friends to Africa, fly to Namibia, then hire a truck to drive into the desert with a huge backpack of costumes and hike to the exact spot where it was filmed 20 years ago. In that killer summer heat, driving in the dark to get to the spot just for sunrise, wearing my pieces and performing in them whilst we filmed, was truly such a full-circle moment. And also slightly insane, but fortune favours the brave, and I was very proud that my passion managed to pull that project off.

9. How do you see costume evolving, and where do you see your work fitting into that future?
As AI and technology continue to evolve, costume will increasingly expand into digital spaces. Wearable design won’t exist solely in the physical world, there will be a growing demand for pieces that live across virtual environments, gaming, and immersive media.
This is something I’ve already begun exploring by having my work 3D scanned, allowing my pieces to exist within digital landscapes as well as physical ones. I’m especially excited by the potential for collaboration in this space, particularly with 3D artists, as it opens up entirely new ways of building worlds and characters.
That said, I believe there will always be a deep and ongoing need for real craftsmanship. The tactile, handmade quality of costume, especially for screen and stage, can never be fully replaced. It brings a level of depth, authenticity, and presence that is essential to performance.
I see my work existing in both of these worlds: bridging physical couture and digital creation, while continuing to champion the artistry of handcraft.

10. What would you like people to feel when they wear your designs?
Powerful, like Gods and Goddesses, eternal and beautiful and extraordinary and truly one of a kind. Wrapped in a beautiful dream that makes them feel electrically awake and alive.

Syban’s work is more than costume design, it is alchemy in motion. Through lavish embellishment, emotional depth, and an uncompromising devotion to transformation, she creates pieces that do not simply dress the body, but elevate it into something divine, cinematic, and unforgettable. Her ability to merge wearability, durability, and fantasy with such precision speaks to both her technical mastery and artistic power. As costume continues to evolve across physical and digital worlds, Syban stands as a designer whose vision feels timeless yet entirely future-facing. Her creations shimmer with beauty, but beneath the surface lies something even more compelling: a deeply personal language of strength, duality, and becoming.

Photo: @cmcdade

Fashion: @sybansyban

MUA: @alyona.artistry

Model: @monhublot

Steele Harden Interview

Steele Harden is a photographer driven by imagination, emotion, and the timeless pull of visual storytelling. With a style rooted in fantasy portraiture, his work invites viewers into worlds touched by magic, memory, and cinematic wonder. Whether inspired by dreams, films, or distant eras, Steele approaches each image with a deep desire to create something immersive and authentic. In this interview, he shares the journey that led him to photography, the importance of storytelling in his work, and the passion behind images that transport us beyond the everyday.

1. Can you tell us how your journey into photography first began?
My journey began in high school when I took a photography class. I fell in love with the whole process of taking pictures and developing them in a dark room.

2. What draws you most to photography as your form of expression?
I get visions or ideas in my head and I find that photography is the best way for me to express them.

3. How would you describe your visual style and artistic identity?
I would describe my visual style as fantasy portrait photography. I love bringing magic into the photographs — worlds long passed, fantasy, science fiction. All of that, I just love it.

4. Where do you usually find inspiration for your shoots and concepts?
I find inspiration in a lot of things like movies, museums, and dreams.

5. When you approach a new project, what is your creative process like from idea to final image?
Once I have an idea in my head, the first thing I do is start researching clothing of the period to make sure that I’m hopefully close to the era that I want to re-create. I really try to make things feel authentic so that you feel like you are in that world when you see the photo.

6. What do you look for when trying to create a photograph that feels powerful or memorable?
I look for the spark in the model’s eyes. The eyes are the window to the soul and sometimes they give a magic flicker, so I try to capture it if I can with the camera. Sometimes it happens right away, sometimes you can go through a whole shoot and capture it at the end. The model’s eyes are the key. You can have an amazing set and wardrobe, but if the model’s eyes are dead, there is no story.

7. How important are emotion and storytelling in your work?
It is the most important. Without it, you have nothing.

8. What has been one of the most challenging moments in your photographic journey, and what did it teach you?
I could not afford a camera, so I did everything on my phone until I saved up enough money to buy one. This taught me to appreciate every step in my journey, to learn from every failure, and to always try to stay positive.

9. Is there a project or image you have created that feels especially meaningful to you?
Two moments are especially meaningful to me. The first is having photos I took of my wife published in a magazine. The second was the first cover I ever had, which was for Darkly Magazine with an Athena shoot I did for February 2026.

10. What do you hope people feel or take away when they look at your photographs?
When people look at my photographs, I hope for a second they feel a sense of magic or fantasy, like when you're a child and you read a book or watch a movie. That fantasy realm that you can enter. I hope that I can bring that to people, even if just for a second.

Through his lens, Steele Harden reminds us that photography can be more than an image — it can be an escape, a feeling, and a doorway into another realm. His dedication to authenticity, emotion, and the quiet magic found in a subject’s gaze gives his work a distinct and captivating voice. From humble beginnings shooting on a phone to seeing his art published and featured on the cover of Darkly Magazine, Steele’s journey is a reflection of persistence, vision, and heart. His photographs do not simply capture a scene; they invite us to believe, even if only for a moment, in the beauty of fantasy made real.

Model/Makeup Artist/Hair Stylist: Ruby

@rubylgrossman

Photographer: Steele Harden

@lost_in_dungeon_photography

‍ ‍https://renderrush.digital.vistaprint.io/s/NT7zR8Vu2SGRjHn3hU5M5

Three Talents, One Vision

Some creative collaborations feel effortless from the very beginning, and this team is a beautiful example of that kind of artistic chemistry. Bringing together photography, modeling, and makeup artistry, they create images that are not only visually striking but also rich in mood, emotion, and storytelling. Their work reflects a rare sense of harmony, where each talent enhances the other and transforms a simple concept into something truly expressive. In this interview, they share how their connection, trust, and shared vision allow them to craft imagery that feels both cinematic and deeply personal.

1. How did your creative collaboration begin, and what first brought you together as a team?
Our collaboration began through a combination of friendship, admiration for each other’s work, and a shared passion for visual storytelling. Each of us comes from a different creative discipline, photography, makeup artistry, and modeling, but we quickly realized that our visions complemented one another naturally. What started as a simple desire to experiment creatively evolved into a collaboration where we could combine our strengths to create images that feel artistic, expressive, and meaningful.

2. Each of you brings a different talent to the process. How do photography, modeling, and makeup come together to shape the final image?
Each discipline plays a vital role in building the final image. Makeup establishes the visual atmosphere and character, while modeling brings emotion, presence, and storytelling through expression and body language. Photography then unifies these elements through light, composition, and visual direction. When these three creative languages align, the photograph becomes more than a technical image, it becomes a complete artistic expression.

3. When you begin a new project together, where does the first spark usually come from a mood, a face, a styling idea, or an emotion?
Most of our projects begin with a feeling or mood. Sometimes it’s something mysterious, cinematic, or emotionally intense. From that initial spark, we begin to imagine the textures, colors, expressions, and styling that could visually translate that emotion. The process is very organic, and the concept often evolves as we exchange ideas.

4. What do you enjoy most about creating as a team rather than working individually?
Collaboration allows ideas to expand beyond what any of us could create alone. Each person contributes a unique perspective and creative energy, which pushes the project further. What we enjoy most is that exchange of ideas, how one suggestion can inspire another and transform the project into something more dynamic and visually rich.

5. There is often a strong artistic energy in collaborative work. How do you inspire one another during a shoot?
A lot of inspiration happens naturally during the shoot itself. A pose, a lighting adjustment, or even a small detail in the makeup can open up new creative directions. Because we share a strong enthusiasm for the work, the creative energy flows constantly between us and keeps the process exciting.

6. How important is trust and creative chemistry in the way you work together?
Trust and chemistry are essential. Since our collaboration is built on friendship and respect for each other’s craft, we feel comfortable sharing ideas openly and experimenting creatively. That trust allows everyone to contribute freely, which ultimately leads to stronger and more expressive images.

7. When creating art as a team, how do you balance each person’s vision while still making the final result feel cohesive?
Communication and mutual respect are key. Each of us brings ideas to the table, but we always keep the central concept in mind. Instead of focusing on one individual vision, we aim to merge our perspectives into a unified artistic direction that feels intentional and cohesive.

8. What kind of mood, emotion, or story do you most love expressing together through your images?
We are often drawn to images that feel cinematic, introspective, and emotionally charged. There is usually a darker or moodier aesthetic in our work, where expression, gaze, and body language play an important role in conveying the story. Through these elements, we aim to create photographs that evoke emotion and invite the viewer to interpret the narrative.

9. In your eyes, what transforms a collaborative shoot into something truly powerful, memorable, or artistic?
A shoot becomes truly powerful when everything aligns, the concept, the emotion, the styling, and the light. Technical skill is important, but what makes an image memorable is the feeling it communicates. When a photograph can speak for itself and connect emotionally with the viewer, it becomes something truly meaningful.

10. Looking ahead, what kind of creative projects or visual worlds would you love to explore together next?
We would love to continue exploring more conceptual and storytelling-driven projects. Our goal is to create images that feel immersive and cinematic, visual worlds where makeup, styling, modeling, and photography work together to build something dramatic, artistic, and emotionally expressive. As we continue to grow creatively, we are excited to push our work into new directions and experiment with even more ambitious ideas.

This interview reveals the strength of a collaboration built on friendship, trust, and a genuine passion for creating meaningful art. What makes their work so compelling is not only the beauty of the final image, but the way each element photography, makeup, and modeling comes together with intention and emotion. Their creative bond allows them to shape visual stories that feel atmospheric, elegant, and memorable. As they continue to evolve and explore new artistic directions, there is no doubt that their future work will continue to captivate and inspire.

There is one tiny punctuation point I would tighten for publication: in question 2 and question 9, the sentence flows better with an em dash or colon instead of a comma before the explanation. I can polish the whole piece into a slightly more editorial magazine style too.

Photo: @abad.montoya

Model: Cristina Hernandez

MUA: @makeup_by_jessiica

Georgia Chioni - SKiN iT FASHION

Georgia Chioni, the mind behind SKiN iT FASHION, belongs to a rare generation of designers who do not simply create clothing, but build entire conceptual worlds around it. Her work exists at the crossroads of fashion, philosophy, narrative, and cultural inquiry, transforming garments into expressions of identity, tension, and resistance. Influenced by her studies across Greece, Italy, and Germany, Georgia has developed a singular visual and intellectual language, one that challenges conventional ideals of beauty through the evocative idea of the Anti-Muse. With an approach rooted in craftsmanship, slow fashion, and critical thought, she invites us into a universe where style becomes substance and fashion becomes a powerful form of dialogue.

1. Can you take us back to the beginning of your path in fashion and the moment you knew design would become your language?
My relationship to fashion began less as a career decision and more as a necessity to translate how I perceive the world. I have always been fascinated by the body as a moving architecture and clothing as a second skin that carries meaning. At some point I realized design was not simply about garments, but about constructing narratives and questioning systems. In addition, given my background as cinematographer and author, I became interested in creating fictional environments where garments would function like characters themselves — extensions of narrative worlds that could belong equally to film, literature, or the runway. This approach echoes the idea of Gilles Deleuze, who suggested that art creates “blocks of sensation” capable of generating new realities and perceptions.

Coupling with my theoretical studies on fashion, law and sociology, I combined theories of system governance and autopoiesis that led me to approach fashion not simply as an aesthetic field, but as a self-producing cultural system. All this culminated in creating the idea of the Anti-Muse. Instead of celebrating the traditional muse as an idealized figure, I became interested in the presences that disrupt ideals — those who reveal the fractures of the system itself. In a way, the Anti-Muse embodies the spirit of Michel Foucault’s observation that “where there is power, there is resistance.” Fashion, to me, became a language through which these tensions could be expressed, a space where garments operate as both aesthetic objects and subtle acts of critique, revealing how identity, beauty, and power are constantly negotiated.

2. Having studied in Greece, Italy, and Germany, how have these different creative environments influenced your aesthetic and way of thinking?
Each place shaped a different layer of my thinking. Greece gave me a deep awareness of history, symbolism, and the human body as a sculptural form. Italy introduced me to the discipline of craft and the sensuality of materials. Germany, on the other hand, encouraged conceptual rigor and systemic thinking. Through all this, I would say that I learnt to approach fashion almost as a cultural investigation, with a more analytical way of understanding it as a system that can be questioned, interrupted, and reimagined. Each environment had so many different things to offer, a plethora of challenges to the way fashion is perceived: a societal mirror and an echo reflecting desire.

3. Your brand has earned awards and international recognition. How have these milestones shaped your confidence and direction as a designer?
Recognition is meaningful not simply as validation, but as a signal that ideas resonate beyond our immediate environment. For me, these milestones reinforced the importance of continuing to experiment and to challenge the structures of the fashion system. So rather than pushing me toward conformity, they encouraged me to deepen my conceptual approach and to remain faithful to the idea that fashion can operate critically as well as aesthetically. I am very grateful for all awards that actually showed me the depth and the multidimensionality of fashion in society.

4. How would you define the essence of your brand today, and what makes it distinct in the world of contemporary fashion?
The essence of the brand lies in exploring the relationship between skin, identity, and system. Clothing becomes a locus where personal narratives meet broader cultural frameworks. In this concept, the thematic of the Anti-Muse, that runs through my collections, is crucial: figures that represent a breach in the dominant narrative of fashion. Instead of presenting an ideal of perfection, the collections explore tension, vulnerability, and transformation. The Anti-Muse is not a rejection of beauty, but a reconsideration of it. In this context, garments function almost like membranes between the body and the social system that surrounds it. They both protect and reveal, creating a dynamic interface between individuality and collective structures. Fashion becomes almost a boundary, where knowledge, existence and power interact, a living surface where identity and power continuously unfold. To this end, perfection becomes a myth and tension the truth of beauty.

5. Your collections have appeared in international fashion weeks and catwalk presentations. What does the runway allow you to express that other formats do not?
The runway allows fashion to become a living narrative. It is not only about garments, but about movement, sound, rhythm and presence. Fashion is not simply worn — it is inhabited, negotiated, resisted. In addition, the runway is a space of conceptual expression a moment where bodies, garments, and atmosphere form a temporary system that invites the audience to rethink familiar codes of beauty and identity. This is apparent in all my thematic collections: SKiNNERS, Oblivion and the Phoenix, Welcome to Dieselland, Wonderland I etc.

6. Slow fashion is deeply rooted in your philosophy. What inspired you to embrace a more intentional and conscious approach to design?
I grew up in an environment of domestic circular economy model, where nothing was wasted and clothes lasted for a lifetime. Great-grandmother and grandmother taught us respect for materials, for labor, and for the quiet value of longevity, that is respect the life of objects — their materials, their making, and the stories they carry through time. So, in this way, garments are not disposable things. Rather, I would say, companions. In this context, slow fashion emerged naturally from my desire to create work with depth and longevity as a way of life. The fashion system often operates through acceleration and constant replacement, but I became interested in the opposite: durability, reflection, and emotional connection. Garments that evolve with the wearer over time.

7. How do you weave sustainability into your creative process while maintaining the refinement and strong identity of your work?
For me, sustainability is not only a technical or material decision; it is a way of thinking. It begins with questioning why we create. By focusing on craftsmanship, thoughtful construction, and long-lasting materials, sustainability becomes embedded in the identity of the work rather than applied as an external label. To be more concrete, I focus a lot of applying zero patter techniques, deadstock, doing upcycling work and cooperating with local fabric suppliers to get unused fabrics. In addition, I respect a lot the ethical part of fashion in all my collaborations.

8. From your perspective, how can fashion evolve into a more thoughtful and responsible industry without losing its sense of beauty and desire?
Fashion has always been a space of imagination and desire. The challenge is not to remove that, but to redirect it. Desire can be connected to meaning, to craftsmanship, to stories that resonate deeply. If the industry begins to value cultural and emotional depth as much as novelty, fashion can remain seductive, while becoming more responsible. Actually, I would say that fashion should not eliminate desire — it should give desire meaning. True luxury is time, craft, and narrative.

9. What emotions, presence, or story do you hope your designs awaken in the people who wear them?
In a way, the wearer becomes an Anti-Muse themselves — someone who subtly disrupts expectations and carries a quiet narrative of individuality. Uniqueness, sensuality, dynamism. Clothing is where the body negotiates its place in the world and fashion is a living interface between individuality and structure.

10. As you look to the future, what vision do you hold for your brand and the legacy you hope to build through your work?
Looking forward, I see the brand evolving as both a design practice and a conceptual platform. I want it to remain a space where fashion intersects with philosophy, art, and cultural critique. The legacy I hope to leave is the idea that fashion can operate not only as decoration but as a thoughtful system of expression, where garments become tools for questioning and reimagining how we relate to our bodies and to the structures around us. Garments are the epidermal architectures of our identity.

Georgia Chioni’s vision reveals fashion as far more than adornment — it becomes a space of thought, emotion, and quiet rebellion. Through SKiN iT FASHION, she has built a universe where craftsmanship, philosophy, and artistic depth coexist with beauty and desire, creating work that feels both intellectually rich and visually arresting. Her approach challenges convention while preserving elegance, proving that fashion still has the power to question, transform, and endure. As her journey continues, she stands not only as a designer of garments, but as a creator of ideas, shaping a legacy that is as conceptually powerful as it is beautifully expressed.

Model: Danai Maria Chatzithoma @danaimarichatz

Creative Director/Photographer: Georgia Chioni @georgia_chioni

Lighting Designer: Teo K. @cinnamonbird

Retoucher: Konstantinos Christopher Nolan @konstantinosnolan

Fashion Designer: SKiN iT Fashion @skin_it_fashion

WB: www.skinitfashion.gr

Carrie Cannie

There is an undeniable authenticity to Carrie Cannie—an authenticity shaped not by surface aesthetics alone, but by lived experience, emotional resilience, and a fearless embrace of identity. With over a decade in front of the camera, Carrie has cultivated a visual language deeply rooted in the dark, the macabre, and the unapologetically unconventional. Her presence does not simply inhabit the frame—it transforms it. Drawing from a lifelong connection to horror, goth, grunge, and alternative culture, she embodies a rare kind of honesty that transcends performance and becomes something far more visceral.

What makes Carrie’s work so compelling is her ability to channel vulnerability into strength, turning personal history into artistic power. Her interpretation of dark fashion is not costume—it is truth. In this editorial, she steps into a narrative that reclaims and reshapes traditional archetypes, infusing them with raw emotion, rebellion, and autonomy. Through her collaboration with visionary creatives, Carrie brings forth an energy that is both haunting and empowering, inviting viewers into a space where darkness is not feared, but embraced as a source of transformation, identity, and beauty.

1. Dark aesthetics are central to this collaboration. What does the dark and macabre represent to you on a personal or artistic level?
The dark and macabre personally, to me, represent the outcasts—those who stand out and aren’t afraid to speak up. I developed this mindset through hardships and trauma growing up, like many others, and I’ve chosen to embrace my past and turn it into something meaningful. Dark does not mean bad. Artistically, it’s everything. It’s horror, suspense, mystique, and ethereal energy. It’s deeply inspiring and allows emotions to exist without restriction.

2. This project brings together creators drawn to goth, grunge, and eccentric high-fashion influences. How do these worlds intersect in your own visual identity as a model?
My visual identity as a model is honestly fully goth, grunge, and dark fashion. I’ve been modeling for 10 years and started acting in haunted houses 6 years ago. That experience naturally led my modeling further into macabre and goth aesthetics because it always felt authentic to who I am. I grew up surrounded by horror films and grunge, metal, and rock music, and those influences continue to shape my creative identity today.

3. How do you transform emotion into presence when working in darker, more atmospheric editorials?
For me, transforming emotion into presence is about letting go completely and embracing the rawest version of myself. Darker editorials allow space for honesty. The more raw and real the emotion is, the more powerful the image becomes. It creates that mystifying, emotional energy that allows viewers to truly feel something.

4. Do you approach posing differently for dark fashion compared to more traditional beauty or commercial shoots? If so, how?
Yes, absolutely. Dark fashion allows me to pose more emotionally. I don’t just pose physically—I feel with my body. It becomes a full emotional release rather than simply creating visually pleasing shapes. It’s very therapeutic and allows deeper storytelling through movement and expression.

5. Fashion can tell powerful stories. What narrative did you feel you were embodying during this shoot?
During this shoot, I wanted to portray the traditional housewife—but through a goth and grunge lens. Historically, women were expected to remain in the home, to serve and conform. Through this editorial, we transformed that image into something powerful, confident, and reclaiming control. It was about taking that symbol and reshaping it into one of autonomy and strength.

6. Which elements—styling, makeup, lighting, or mood—help you connect most deeply to dark or macabre imagery?
80s and 90s grunge and goth makeup always helps me connect deeply to dark imagery. Candlelit or darker red lighting enhances the atmosphere and emotion. Most importantly, allowing myself to connect fully with my raw, authentic emotions creates the strongest connection to the concept.

7. Goth and grunge aesthetics often challenge conventional beauty standards. How do you personally define beauty within this darker creative space?
Beauty, to me, is authenticity. It’s embracing what makes you different rather than hiding it. In darker creative spaces, beauty exists in emotion, honesty, and individuality. It’s about expressing truth rather than fitting into expectations.

8. Collaboration is essential in projects like this. How does working closely with photographers, stylists, and other creatives shape your final performance?
Working with Dan Seagull and ROTN Reviews played a huge role in shaping my performance. Dan is a lighting genius—I call him the magic camera man. Grim and Matt from ROTN Reviews create an environment where I feel safe, comfortable, and supported, which allows me to fully access that raw emotional state. That trust is essential in creating honest, powerful imagery.

9. Was there a particular moment during this shoot where you felt especially connected to the concept or energy of the project?
The moment I felt most connected was when I was setting the table like a traditional 60s or 70s housewife—but in a darker, macabre way. Reimagining that role and transforming it into something confident and empowering made me feel deeply connected to the concept.

10. What do you hope viewers feel or take away when they engage with this editorial?
I hope viewers feel the rawness and honesty of it. I pour parts of my soul into every project I’m part of. There are no facades—just truth, emotion, and embracing the macabre. I hope people see the beauty in darkness and feel empowered to embrace their own authenticity.

Carrie Cannie’s work reminds us that darkness is not the absence of light, but the presence of depth. Her ability to translate emotion into physical expression creates imagery that resonates far beyond the visual—it lingers, unsettles, and inspires. By embracing the macabre as a symbol of resilience, individuality, and reclamation, she challenges conventional narratives of beauty and replaces them with something far more honest and profound.

This editorial stands as a testament to her fearless creative spirit and unwavering authenticity. Carrie does not simply portray a concept—she becomes it, dissolving the boundary between subject and story. In doing so, she invites viewers to confront their own perceptions of darkness and recognize the strength that exists within it. Through her artistry, Carrie affirms that beauty is not defined by conformity, but by the courage to exist unapologetically in one’s truth.

Model: Carrie Cannie @carrie_cannie

Photographer: Dan Seigel @danseagullphoto

https://danseagullphoto.mypixieset.com/

Makeup Artist: ROTN REVIEWS @rotnreviews

Bianca Frusi

Photographer: Riccardo Dall'Amico @dallamico

www.dallamico.it

Model/Makeup Artist/Hair Stylist: Bianca Frusi @biancafrusi

https://wwe.bisncafrusi.com

Wardrobe Stylist/Creative Director: Nausicaa Frusi @nau_ph

In a muted space between shadow and softness, the gothic Japanese lolita aesthetic becomes an inner language.

Lace is not decoration, but shelter. Black is not darkness, but depth.

This vision moves through fragility without fear, embracing decay as a quiet form of beauty. There is innocence, but never naivety.

Each detail feels intentional, almost ritualistic, holding together grace and gravity.

The image lingers in a suspended moment, where elegance carries weight and delicacy becomes a form of strength.

A beauty that doesn’t ask to be understood, only felt.

Your style is deeply inspired by gothic Japanese lolita. What draws you to this aesthetic?

It feels like a safe structure for emotions. It allows softness and darkness to exist together without cancelling each other. I don’t wear it to escape reality, but to face it more honestly.

Fragility is a strong presence in your imagery. How do you relate to it?

I see fragility as awareness, not weakness. Being sensitive means noticing things others overlook. I try to protect that feeling instead of hiding it.

There’s a sense of decay in your work, but it feels gentle rather than tragic. Why?

Because decay doesn’t always mean an ending. Sometimes it’s just a quiet transition. I’m interested in that in-between state, where things are changing but still holding on.

Your beauty feels ethereal, yet serious. How would you define it?

It’s not light or playful. It’s calm, intentional, and a bit heavy. I like beauty that stays with you, not just something pretty to look at.

If this editorial had a feeling, what would it be?

A soft stillness. The kind that feels fragile, but very real.

Schakya Sinhara

In a world where photography often pursues perfection above all else, Schakya Sinhara offers something far more profound: emotion. His work transcends the purely visual, transforming light, color, and contrast into a language of feeling. Each image he creates carries a quiet intensity, inviting the viewer not only to see, but to experience. With a distinctive sensitivity to atmosphere and human presence, Schakya reveals the fragile space where vulnerability and strength coexist.

Guided by both instinct and discipline, and shaped by mentorship from some of the most respected figures in contemporary photography, Schakya has developed a visual signature that bridges fashion and fine art. His images balance precision with spontaneity, elegance with authenticity. Rather than imposing his vision, he enters into a dialogue with his subjects, allowing their essence to emerge naturally. In this exclusive interview, Schakya shares the emotional foundations of his work, his creative process, and the philosophy that continues to shape his evolving artistic journey.

1. Your work is known for its vibrant use of color, light, and contrast. How do these elements shape the emotional tone of your images?

Light and color are emotional languages to me. I use them to build atmosphere, to whisper rather than shout. Contrast brings rhythm, a kind of heartbeat, guiding the eye but also the mood. Together, they form the emotional skin of my images, that first layer through which you feel before you see.

2. How do you approach revealing the unique essence of a subject while maintaining your own artistic signature?

Every subject has a vibration, something silent that only appears when trust exists. My approach is to listen to that energy and filter it through my own perception. I never want to impose my universe, only to let it merge with theirs. The result becomes a dialogue, honest and instinctive.

3. You blend creativity with precision in your work. How do you balance spontaneity and control during a photoshoot?

I usually begin with words, ideas, sensations, or colors that form the core of a concept. From there, I build a moodboard that connects everything: light, textures, makeup, tone. But once on set, I let go. The plan becomes instinct. Spontaneity, even small “mistakes,” can bring unexpected authenticity. That’s what I look for, the fragile, human moment you can’t stage.

4. How has being trained by renowned photographers influenced your technique and visual philosophy?

My mentors taught me rigor and discipline, the ability to shape light and compose with intention. But beyond the technical aspects, some, like Nath-Sakura, opened me to art history and conceptual thinking. Others such as Lindsay Adler, Chris Knight, Gemmy Woud-Binnendijk, Félix Barjou, or Quentin Décaillet have inspired me with their mastery of storytelling, light, and emotion. I learned that rules matter only if you know how to break them, because photography, before being technique, is a language of emotion.

5. What role does emotion play in your creative process, from concept development to the final image?

Emotion is everything for me, both strength and vulnerability. When I was a nurse, I had to put emotions aside; now, as an artist, I have to face them. I create with them. They influence how I see, feel, and capture. Each image comes from that inner place, raw but honest. It’s my truest compass.

6. Fashion and fine art often intersect in your photography. How do you navigate the space between commercial intent and artistic expression?

I’ve always felt that fashion and fine art share the same roots. They both explore transformation, identity, and beauty in their own languages. I don’t separate them, they complete each other. Fashion brings precision and form; fine art gives depth and emotion. Together, they create the balance I love.

7. Can you describe your process when preparing for a shoot, from mood-boarding to execution?

It always begins with a feeling, sometimes a single word, a color, or an atmosphere that stays in my mind. Then I build around that: textures, references, light, styling, makeup. Preparation helps me set the rhythm, but once the camera is in my hands, I let instinct take over. I want the shoot to breathe and feel spontaneous, not rigid.

8. What makes a photoshoot feel successful to you—beyond technical perfection?

A shoot feels successful when there’s real synergy between everyone involved. When the atmosphere is light, respectful, and full of good energy, when everything flows. Each person brings their own spark, and together we build something greater than any of us could alone. It’s like a fluid exchange where ideas, emotions, and intuition merge naturally. Those are the moments that feel magical to me, human, creative, and deeply genuine.

9. How do you adapt your visual style to meet a client’s vision while preserving the integrity of your work?

Collaboration begins with listening, not to imitate, but to understand what emotion is expected. I reinterpret that through my own style and sensibility. I don’t really see myself as a service provider; I’m an artist first. My work comes from instinct and emotion rather than execution. There are many photographers, but what I bring is my inner vision, something that vibrates from within. That authenticity is what makes each collaboration meaningful.

10. Looking ahead, how do you hope your photography will evolve, and what kinds of projects excite you most at this stage of your career?

I want my work to keep finding its rhythm naturally, by staying curious and open. I’m drawn to collaborations that unite photography with other creative worlds: fashion, flowers, or materials like metal, fabric, or wood. What excites me most is when photography becomes more than an image, when it feels alive, textured, and imperfect, like a story captured between stillness and motion. For me, each photo carries a narrative, an emotion, a trace of life. It’s close to cinema in that way: every frame tells something intimate and real. I don’t want to force a path; I just want to explore and grow through genuine encounters, letting emotion guide my lens.

Schakya Sinhara’s work stands as a quiet yet powerful testament to the emotional depth photography can hold. His images do more than capture appearances—they reveal presence, atmosphere, and truth. With a rare balance of technical mastery and intuitive sensitivity, he transforms each collaboration into a moment of shared authenticity.

As he continues to explore new creative territories, Schakya remains guided by emotion, curiosity, and human connection. His photography reminds us that the most meaningful images are not defined by perfection, but by honesty. Through his lens, we are invited into a world where light becomes feeling, and where every photograph is not just seen, but deeply felt.

Model: Jem Athéna Wacheux @_.jem._w_

Photographer: Schakya Sinhara @schapicshow

https://www.schapicshow.com

https://www.tiktok.com/@schapicshow

https://youtube.com/@schapicshow?si=4W1DoRuLZAA02L4E

Earnest Joseph Odom

Photographer: Earnest Joseph Odom

@evrnest

Assistant: Tony De La Rosa

@tonythedirector

Model: Kira Waszak

@the_official_crimson_rose

Earnest Joseph Odom approaches photography as both an act of preservation and transformation. Grounded in personal history and shaped by collaboration, his work explores portraiture as a space where emotion, identity, and imagination intersect. With a growing pull toward dark, cinematic, and conceptual imagery, Earnest’s photographs feel intimate yet expansive—inviting viewers to look closer, linger longer, and question what lies beneath the surface. His journey reflects not only artistic evolution, but resilience, intention, and a deep commitment to creating meaningful visual narratives.

1. How did your journey into photography begin, and what initially drew you to the medium?

My journey with photography started with disposable cameras. I’d always use up what’s left of the roll taking random snaps throughout my day as a navy brat living in Yokosuka, Japan. Even if the camera was out, I’d still pretend to take pictures. Photography was always a part of my life in some capacity—from disposables, to digicams, to getting my first DSLR after I graduated high school and learning digital photography in college.

As a child, I think I just enjoyed the thought of a moment being documented when you press the shutter. As an adult now, I see photography as a magical opportunity to freeze time by capturing and composing light into visual pieces. What initially drew me further into photography was learning what the craft could expose me to, and harnessing those experiences to grow myself and the things I care about.

2. How would you describe your visual style, and how has it evolved over time?

I’m a portrait photographer, as simply as you can put it. My style consists of photographing people and what they have—and want—to show. Sometimes I have a story to tell, sometimes my models have a look they want to display, and sometimes collaborators bring a vision they want to materialize. I use what I know to bring those ideas to visual life.

We get better as we go. What I truly want to do full-time is dark, low-key, conceptual cinematic portraits—think fully finalized concept art you’d find in behind-the-scenes pre-production material for sci-fi, fantasy, dark thriller, or arthouse films.

3. What themes or emotions do you find yourself repeatedly exploring through your work?

Lately, I’ve been enjoying darker, slightly fantastical vibes in my portraits. When I put ideas together, I ask myself, “How can I make this feel not of this world without being too obvious?” I don’t associate these looks with negativity, but with deeper emotions instead.

Questions like “What’s in the shadows?” or “What feelings are hidden underneath?” are what I want viewers to ask when they see my work.

4. Which subjects or types of shoots make you feel most creatively alive, and why?

Having my own venue in Lakeland, Florida has been huge for me creatively. Professionally, I do a lot of branding work and event coverage, where I’m often at the mercy of the environment. That can be challenging.

Being able to dive into studio work has made me feel like the possibilities are endless—as long as I can afford it. Having control over my creative space is what makes me feel the most alive creatively.

5. How do you approach storytelling within a single image or a full series?

I take two approaches: either I create a production plan based on the needs of a concept, or I let things happen naturally.

Production planning is something I learned in the video world and have been applying loosely to photography. If a project requires specific talent or logistics, planning ensures we’re focused and respectful of everyone’s time. That said, some of my best work comes from sessions that feel more like meet-ups with other creatives—where we build something together in the moment.

Being flexible with both approaches gives me more opportunities to create meaningful art.

6. What role does collaboration play when working with models, stylists, or designers?

To me, collaboration is everything. I can confidently say it’s a major reason I’ve had any success in photography. My models, stylists, designers, assistants, and crew are collaborators in everything I do.

I understand my role as photographer, videographer, or director, but it’s just as important that my team feels heard, secure, and empowered. My photography journey has never been a solo one.

7. Has there been a particular project or moment that significantly shaped your career or artistic direction?

Most recently, my EVE photo series lit a fire under me to truly get my name out there. Before that, THE TOWER—a series I shot in 2025—was deeply emotional. It came after a relentless series of low moments in my life and allowed me to prove to myself that I could heal and rebuild into a stronger artist and person.

An honorary mention goes to a photo series I did with my wife, Kaley. That impromptu living-room shoot revitalized my passion when I was at my lowest and considering never picking up a camera again. If that session hadn’t happened, I probably wouldn’t be photographing today.

8. How do you balance technical precision with emotion and instinct while shooting?

Technical precision should be trained until it becomes instinctual. The more you master focus, exposure, composition, and light, the more space you create for emotion and storytelling.

Learning the hard rules gives you the freedom to bend—or even break—them in order to make more effective art.

9. What challenges have you faced in the industry, and how have they influenced your growth as a photographer?

I live in a city with small-town vibes and big-city energy in Central Florida. As a mixed Black, Asian, and Pacific Islander man, trying to push creative boundaries here hasn’t been easy. The local creative infrastructure isn’t where it needs to be, and sustaining momentum is difficult.

On top of that, I’m also a bar and venue owner. Balancing authority, community building, photography, and family—especially after becoming a father twice—has been incredibly challenging. But I’m driven to be more intentional, more focused, and better in both my craft and my responsibilities. I have something to show, and I want it to be seen.

10. What are you currently working on, and what can we expect from you in the next chapter of your creative journey?

I’m continuing to build my venue, The Barter Box in Lakeland, into a space that supports creativity—adding photo and video production amenities while expanding music performances and events.

I come from both video and music backgrounds, and I’m eager to bring those worlds together again. I see more collaborations ahead, more conceptual work, and explorations into short films, music videos, and promotional pieces. Ideally, one project will lead to another, and I’ll continue building creative spaces both within my city and beyond it.

Conclusion

Earnest Joseph Odom’s work is a reflection of persistence, collaboration, and quiet transformation. Through controlled environments and spontaneous creation alike, he continues to shape imagery that feels intentional, cinematic, and emotionally resonant. As his practice expands across disciplines and formats, his commitment to community, storytelling, and creative growth remains unwavering—marking the beginning of a powerful and purpose-driven next chapter.

Maryse Selit Interview

Maryse Selit is a rare presence at the intersection of intellect, resilience, and artistic expression. An American entertainment lawyer and fashion model based in New York City, she has represented celebrities and C-suite executives in complex media and corporate transactions, negotiating multimillion-dollar deals at globally recognized firms including Proskauer Rose, Hogan Lovells, and Reed Smith.

Alongside her legal career, Maryse has cultivated a modeling practice grounded in editorial and conceptual storytelling. Her work explores visibility, authorship, embodiment, and emotional truth — shaped by lived experience, personal loss, illness, recovery, and spiritual and artistic practice. Rather than chasing surface aesthetics, she brings narrative gravity and psychological nuance to every frame, creating imagery that feels intentional, layered, and deeply human.

Interview with Maryse Selit

1. How did you first enter the world of modeling, and what motivated you to pursue it seriously?
I entered modeling shortly before and during law school, initially as an act of pragmatism—to fund my education. But within that necessity, something else surfaced. Modeling became a counter-narrative to the intellectual austerity of legal training. It offered a space where the body was not incidental, but central—where meaning was conveyed through presence rather than oral argument or the written word. When I entered Big Law and began working eighty-hour weeks as an associate attorney, that space collapsed and modeling, like many other forms of my self-expression, was suspended in service of duty and expectation.

2. How would you describe your personal style, both on and off camera?
On camera, my style leans toward restraint—clean lines, shadow, and a certain emotional austerity. I’m drawn to fashion as structure, as architecture for the body. Off camera, that rigidity dissolves. My private aesthetic is playful, almost childlike. I paint, design, and rearrange interiors, experimenting with abstract color and texture without attachment to outcome. Even while working as a lawyer, those practices were a form of quiet resistance—ways to preserve imagination inside a profession defined by precision and control. That contrast between discipline and playfulness continues to inform how I move through both life and fashion.

3. What does modeling mean to you beyond posing for the camera?
Modeling is a form of embodied authorship—an act of reconnecting with self through movement, stillness, and expression. It is not about decoration, but interpretation—translating concept into corporeal language. Beyond posing, it is attentiveness to space, breath, and presence. It allows vulnerability without spectacle and emotion without explanation.

4. Which type of shoots make you feel most confident or creatively fulfilled, and why?
Editorial and conceptual shoots fulfill me most—particularly projects that embrace darkness, ambiguity, and psychological tension. Fashion is most powerful when it resists easy clarity. As someone who has explored Abstract Expressionist painting, I’m drawn to narratives that live between control and collapse, elegance and discomfort. Those spaces feel honest.

5. How do you prepare mentally and physically for a shoot or runway show?
Preparation begins with grounding—rest, hydration, and mental clarity. I take time to understand the concept and remove distractions so I arrive fully present. After experiencing serious illness and loss, my relationship with my body changed profoundly. It became a mode of survival. My focus shifted toward strength, health, breath, and consciousness rather than external markers of success.

6. Have you faced challenges or misconceptions in the industry, and how have they shaped you?
There are always assumptions—about age, intention, appearance, and trajectory. I’ve learned not to fight them directly but to move through them quietly. My life has included extremes: poverty, scholarship, elite legal education, global law firms, entrepreneurship, deep loss, serious illness, and rebuilding. That breadth removes the need for external validation. It has shaped my work around discernment and authorship rather than approval.

7. What role does collaboration play for you when working with photographers, designers, and other creatives?
Collaboration is foundational. Fashion is collective construction. The strongest images emerge when ego recedes and intention aligns. I see each project as a dialogue where meaning is developed together, not imposed.

8. Is there a particular shoot or project that marked a turning point in your career?
The turning point was not a single shoot but a return. After devastating personal events and illness, much of what I had built fell away. During recovery, modeling re-emerged not as ambition but as lifeline—a source of renewed presence and creative identity.

9. What message or emotion do you hope viewers feel when they see your work?
I hope viewers feel something unresolved—strength alongside fragility. I want the work to suggest endurance rather than perfection. Discomfort, stillness, or recognition are enough. I’m more interested in opening emotional space than providing answers.

10. What are your current goals, and how do you envision the next chapter of your modeling journey?
My goal is to continue working with publications and creatives who value storytelling and artistic risk. The next chapter is about intention and depth. After being diagnosed with severe diabetes unexpectedly, my priorities shifted decisively toward health, fitness, and meaning. Modeling became part of that reclamation—a reminder of life, agency, and creative voice.

Maryse Selit brings uncommon depth to the modeling space — a presence shaped by intellect, survival, discipline, and creative courage. Her work stands apart for its emotional weight and conceptual clarity, reminding us that fashion imagery can be more than visual — it can be reflective, interpretive, and transformative. As she continues to align with projects that honor narrative and artistic risk, her trajectory points not just toward visibility, but toward lasting impact.

Female Model: MARYSE SELIT

@msn_straight_talk_

Photographer: Larry Ulesson Alves

@msn_straight_talk_

Hair Stylist: Kuki Alrawi

@kukiny

Makeup Artist: Rachel Skincare

@rachelskincarenj

Jonah Mullins Interview

There is a quiet intensity to Jonah Mullins’ photography—an intimacy shaped by shadow, silence, and an unmistakable respect for the stories unfolding within each frame. Rooted in fine art portraiture and the vast, emotive landscapes of Appalachia, his work moves fluidly between human vulnerability and the stillness of the natural world. Drawn to black-and-white imagery, Jonah uses light and contrast not just as visual tools, but as emotional language, allowing each image to breathe, linger, and speak on its own terms. In this interview, Jonah opens up about his journey into photography, the power of authenticity, and the role storytelling plays at the heart of his creative process.

1. How did your journey into photography begin, and what first inspired you to pick up a camera?
I began shooting photography as a hobby eight years ago. My daughter, who is also a photographer, encouraged me to pick up a camera and go on photo walks with her. From there, I fell in love with the medium and have been shooting ever since.

2. How would you describe your visual style or artistic signature?
I would have to say that my artistic signature is moody photography with an emphasis on light and shadow, as well as rich tonal contrast. There is something about black-and-white imagery that lends itself perfectly to my style.

3. What themes or subjects do you find yourself repeatedly drawn to in your work?
I am drawn primarily to two distinct types of photography: fine art portraiture and nature/landscape photography. I have always been fascinated by human behavior, and exploring themes of vulnerability and authenticity has always been a sweet spot for me. I am also a child of Appalachia, and landscapes—particularly at golden hour—are my favorite.

4. Can you walk us through your creative process, from concept to final image?
It really depends on what I am shooting. For fine art or conceptual shoots, it begins with a collaborative discussion with my subject(s). As a photographer, I find that when we share a general vision for the tone and direction of the shoot, I do my best work.

For Days Gone By, the concept was inspired by the mask used in the shoot as well as the wedding gown. We discussed how to bring the idea to life and suddenly realized: what if the shoot was about capturing the isolation and loneliness of abandonment—creating a visual narrative that walks the viewer through the stages of realization the bride experiences before understanding the truth of her abandonment by her would-be groom? In that moment, we knew we had found the right direction.

For landscape photography, the process begins with capturing locations I find beautiful. I hike often, which is how I discover many of the places I photograph.

5. Which project or shoot has been the most meaningful or transformative for you so far, and why?
In November, we experienced a major aurora event here in Ohio, and we were able to see the Northern Lights with the naked eye. I grabbed my camera, set up in 20-degree weather, and shot until I couldn’t feel my fingers. To this day, those images are some of the most magical and memorable of my career. Seeing something so extraordinary this far south was an absolute gift—one I will treasure forever.

6. How do you build trust and connection with your subjects, especially in more intimate or expressive shoots?
The simple answer is authenticity. When I speak with a model—whether it’s our first shoot or we’ve worked together before—I am consistent in who I am. I don’t approach people with a slick sales pitch or empty promises just to secure a shoot. From our first conversation to the final shutter click, I want everyone involved to know exactly who I am. Consistency, to me, is a demonstration of reliability.

7. What role does storytelling play in your photography?
I like to think that before I was a photographer, I was a storyteller. Storytelling sits at the core of the art I create. Every day, the world offers us stories, and as an artist, my goal is to honor that truth. When creating fine art, I want the viewer to feel that the narrative is cohesive, while still leaving enough room for their imagination to fill in the gaps. A little mystery always makes for a good story.

8. What challenges have you faced as a photographer, and how have they shaped your artistic growth?
Initially, learning the technical aspects of photography was a challenge—understanding lighting, posing, and creating visually dynamic compositions. However, the biggest challenge I faced, and still face to some degree, is believing my art is worth being seen. Self-doubt has been difficult to overcome, but as I’ve grown more confident, it has become a tool for honest self-evaluation rather than discouragement.

9. Who or what inspires you—within photography, art, fashion, or beyond?
I am constantly inspired by photojournalists who travel the world telling the stories that need to be seen. When I was a child and first saw The Afghan Girl photograph by Steve McCurry, I was completely transfixed. Beyond its striking visual impact, the story behind her eyes conveyed the desperation of those displaced by war in a way that stayed with me.

10. What advice would you give to emerging photographers looking to develop their voice and stand out in today’s industry?
First and foremost, never stop taking pictures. Shoot whenever you can, explore the styles that resonate with you, and don’t be afraid to evolve. Reinvention and self-reflection are critical to discovering your voice as an artist. When your photographs begin to reflect the emotions you feel in the moment, you’ll know you’re on the right path. Once you understand yourself, the rest will follow.

Conclusion

Jonah Mullins’ photography reminds us that the most powerful images are not always the loudest, but often the most honest. Through a careful balance of light and shadow, emotion and restraint, his work invites viewers into quiet moments of reflection and connection. Whether documenting human vulnerability or the fleeting magic of the natural world, Jonah approaches each image as a story waiting to be told. His journey stands as a testament to the power of authenticity, patience, and the courage to let art speak from a place of truth.

Model: Amanda Snyder

@buckeyechickd

Photographer: Jonah Mullins

@jonah_mullins_photography

Jasmeena Azzo

Fire, Expression & the Art of Becoming

From early childhood moments shaped backstage at beauty pageants to a creative present fueled by fashion, performance, and fearless self-expression, Jasmeena Azzo embodies a new generation of multidimensional talent. Model, singer, and actress, she moves fluidly between art forms, guided by instinct, individuality, and a deep love for creative freedom. Her aesthetic blends pop culture influences with bold experimentation, while her mindset remains grounded in authenticity, persistence, and passion.

Singer, Actress, Model

In this interview, Jasmeena opens up about her journey into modeling, the inspirations that shaped her confidence and work ethic, and the importance of embracing imperfection as part of the art. What emerges is a portrait of an artist who is not only discovering her niche—but actively defining it.

Interview with Jasmeena Azzo

How did your journey into modeling begin, and what first drew you to the industry?
The journey initially started when I was a young child. My mother used to take me to beauty pageants and auditions for agencies. What really drew me in was my friends asking me if I could model products for them, as they liked my character. I ended up keeping up with it because I enjoy being expressive.

How would you describe your personal style, both on and off camera?
I would consider my styling choices to be more revolved around pop fashion, or similar to what R&B artists wear. I’m also very much inspired by a toy brand that shares a passion for fashion.

What has been the most defining or transformative moment in your modeling career so far?
So far, it’s been my friends finding out that I’m finally interested in pursuing modeling seriously. Since then, I’ve been getting contacted for collaborations, and I can’t wait to work with everyone to create some unique pieces.

How do you prepare mentally and physically before a shoot or runway show?
I like to make sure I have my outfit and makeup fully done in advance so I have time to look in the mirror, check my poses and facial expressions, and adjust anything that might become uncomfortable during the shoot.

Which types of projects or themes excite you the most creatively, and why?
I really enjoy using flames in my photos. I’ve always been somewhat of a pyro as a child. After my last shoot, I figured out how to set items on fire safely without causing damage to myself or the items, and I can’t wait for the next time I get to use this element.

Has modeling changed the way you see yourself or your confidence? If so, how?
Modeling has made me a lot more confident. It made me realize that I can involve myself in my own art and my own ideas, and that being creative is far more rewarding than simply being seen as cute.

Who or what inspires you within fashion, art, or everyday life?
My biggest inspiration is my mother. She shaped my style, allowed me to explore extracurriculars like choir and theater—which helped form my personality—and she is a very hard worker. Watching her helped shape my persistence and work ethic.

What challenges have you faced in the industry, and how have they shaped you as a model?
I’ve been denied a lot of jobs without ever really understanding why. Was it my look? My shape? My ethnicity? My age? I’ll never fully know. But you can’t sit and be upset about not being picked—you have to keep applying yourself. I’ve learned not to give it a second thought.

What do you look for in a collaboration with photographers, designers, or creative teams?
I look for passion—people who truly love the medium as an art form. I used to care a lot about the work being perfectly clean, but sometimes it’s the imperfections that add the sparkle you need to really feel connected to the photos.

What advice would you give to aspiring models hoping to carve their own path in the industry?
Don’t compare yourself to anyone and don’t let yourself down if you don’t feel like a model. Anyone can model—it’s just a matter of finding your niche and highlighting it.

Conclusion

Jasmeena Azzo’s journey is one of self-belief, creative courage, and quiet resilience. Through rejection, reinvention, and exploration, she has learned that true artistry comes from within—when expression outweighs approval, and individuality becomes the strongest signature. Her approach to modeling goes beyond aesthetics; it is about emotion, storytelling, and connection, even when that connection is born from imperfection.

With a foundation shaped by her mother’s influence and a future driven by passion rather than comparison, Jasmeena continues to carve her own path—one defined by fire, creativity, and authenticity. She is not waiting to be chosen. She is choosing herself.

Model: @jasmineena

Cr Dir & Business owner: @ammj.solutions

Photo: @hyder.alfalih