Interview with Betty Moon

BETWEEN THE SHADOW AND THE SPOTLIGHT

Few artists have built a career with the conviction, independence, and unmistakable atmosphere of Betty Moon. From her early emergence in Toronto’s music scene and major-label beginnings with A&M Records to the creation of her own label, Evolver Music, she has consistently chosen creative freedom over easy categorization. Her sound moves effortlessly through alternative rock, electronic textures, sensual alt-pop, heavy guitars, and cinematic darkness—always held together by her fearless identity and magnetic sense of style.

With her latest EP, Strangely Beautiful, Betty Moon explores the beauty that can emerge from life’s darker, more complicated chapters, while the arrival of her 2003 album Doll Machine on streaming platforms reconnects listeners with the raw, rebellious energy that helped shape her artistic path. In this interview, she reflects on evolution, ownership, femininity, visual storytelling, and the enduring edge that makes Betty Moon entirely her own.

You first emerged from Toronto’s music scene and signed with A&M Records before forging your own path through Evolver Music. How did those early experiences shape the independent artist you are today?

Toronto gave me a backbone. Thankfully, I had music in the family already, but it was really when I was a teen that I figured out early on how to hustle and make it work as a musician in the city. It was where I learned how to be in a band, how to write, how to perform, and how to walk into a room and hold my own.

Signing with A&M Records was a huge chapter, and I’m grateful for it, but it also taught me very quickly how the machinery of the music industry works. There are a lot of opinions, a lot of expectations, and a lot of people trying to tell you what your lane should be. That may work for some people, but I had my own plans at the end of the day.

Ultimately, I think those early years made me tougher and also made me more protective of my own instincts. By the time I started building Evolver Music, I knew I didn’t want to wait around for permission anymore. I wanted ownership, freedom, and the ability to follow my own taste, even when it made things harder. That independent spirit really came from having seen both sides.

Your new EP, Strangely Beautiful, feels atmospheric, reflective, and cinematic. What emotional or creative world were you exploring while making it?

Good question. With this Strangely Beautiful release, I was exploring that place where things can be messy, dark, romantic, painful, and still somehow beautiful. The last few years have been very challenging on a personal level, and only recently did I see the silver lining and understand how there is beauty in the journey. I’ve always liked that contrast. Life rarely shows up in one clean emotion. It’s usually layered with elements like desire, nostalgia, frustration, confidence, sadness, humor—all of it mixed together.

Creatively, I wanted the music to feel a little cinematic and late-night. Not over-explained, not too perfect, but full of mood. There’s definitely reflection in it, but it’s not me sitting around feeling sorry for myself. It’s more like looking back, taking the good and the bad, and turning it into something that still has movement and style.

Your 2003 album Doll Machine has now reached streaming platforms for the first time. What has it been like to revisit that raw, high-octane chapter of your career?

It’s been wild, honestly. Doll Machine is such a raw, loud, fearless version of me. Listening back, I can hear the hunger in it. I can hear the guitars, the attitude, the speed, the chaos, and the confidence. It’s not a record that was trying to behave.

Revisiting it now feels like opening a time capsule, but one that still has teeth. I don’t listen to it and think, “Oh, that was some completely different person.” I hear the same DNA that’s still in my music now. Maybe it was less polished and more dangerous back then, but that energy is still part of me.

When you listen to Doll Machine alongside Strangely Beautiful, what do you hear as the greatest evolution in your artistry—and what essential part of Betty Moon has remained unchanged?

The biggest evolution is probably space and the natural evolution of my songwriting and genre interests. Doll Machinecomes at you hard. It’s fast, heavy, loud, and very direct. I was younger and had a lot of angst to get out there. Strangely Beautiful has more atmosphere and more restraint. I think I’ve learned that you don’t always have to hit someone over the head to make them feel something. Sometimes the mood, the silence, or the way a vocal sits can be just as powerful.

What hasn’t changed is the attitude. The darkness, the glamour, the melody, the edge—that has always been there and part of my brand. I still like songs that feel a little dangerous, cinematic, and off-trend compared to what is popular on the radio. I still like beauty with a bruise on it. That part of Betty Moon and my songwriting has never really gone away.

Your music moves between alternative rock, electronic textures, heavy guitars, alt-pop, and sensuality. Do you deliberately resist being placed in one genre, or has that freedom developed naturally?

I think it developed naturally because I never really thought or wrote in one genre. I grew up listening to everything, and in the ’90s, I was big into alternative rock, metal, pop, and so much more. As a writer, I think more in moods, images, energy, and attitude. I pick up a guitar, sit at a piano, or open Pro Tools to mess around with ideas. Sometimes a song wants guitars or a simple bass line. Sometimes it wants electronics. Sometimes it wants to feel sexy, glamorous, and seductive, and I take that energy and figure out how to bring the vibe to life. Sometimes my ideas simply want to kick the door open.

I’ve never been very interested in being easy to categorize or placed within one specific genre. That can be annoying for people who want everything in a neat little box, but I think it’s more honest—and less stressful—when writing new music. People are not one thing. Artists definitely aren’t one thing, right? I’d rather follow the song and its energy than follow a category.

Dark glamour and cinematic mood are central to your visual identity. How do fashion, imagery, and atmosphere influence the way you write and present your music?

Fashion and imagery have always been part of the world for me. In music, your identity, look, and brand matter more than people think. Throughout my career, my brand has always been a mix of glamour and fashion, but sometimes on the darker side, leaning into rock and alternative sensibilities more than pop and mainstream styles.

I don’t really separate the sound from the look or the atmosphere. A song has a color, a texture, a genre, a room it belongs in, a time of night, a season, or a personal memory. That might sound dramatic, but it’s true. I can usually feel what the song should look like before everything is even finished.

I’ve always loved that mix of darkness and glamour: something beautiful, but not too clean; something stylish, but with a little danger and grit underneath. The visuals help extend the song into a bigger world. It’s not about dressing something up after the fact. It’s all connected from the beginning.

You established your own independent path long before artists had today’s direct access to audiences and digital platforms. What did independence cost you, and what did it give you that a traditional career might not have?

Independence absolutely has its cost, and there are positive and negative aspects to going DIY. There’s no question about that. When you’re independent, especially before all the tools artists have now, you carry a lot yourself. You’re making creative decisions, business decisions, financial decisions, and marketing decisions—all while trying to stay inspired enough to make the actual music. It’s not always glamorous behind the curtain.

Especially back in the ’90s, if you didn’t have a major or independent label backing you with solid management, you were essentially screwed. You may as well stay home and get a day job—seriously. I think some of it was timing, and perhaps a little luck, but I think the work ethic and constantly moving forward are ultimately what made this all work.

What independence and having my own label gave me was priceless. It gave me ownership. It gave me freedom. It gave me the ability to evolve without having to sit in meetings and convince someone that I knew who I was. I’ve been able to build a career on my own terms, and that means a lot to me. I’d rather take the harder road if it means I get to keep my voice and do things on my own terms.

Having moved creatively between Toronto and Southern California, how have those two environments influenced your sound, identity, and outlook as an artist?

Toronto gave me my start, and it was a lot different back then. The city and its music scene gave me that early rock energy, the work ethic, the edge, and the hunger. Everyone—from friends and concert venue bookers to record-store owners and more—was part of the story. There’s a toughness to coming out of that scene. You had to prove yourself. You had to be good. You had to show up and not be a dick, while still sticking up for yourself.

Southern California and the Los Angeles area opened things up for me in a different way. There’s more space here, more light, more lifestyle, and more cinematic and music-industry energy. Los Angeles and Malibu have definitely influenced the atmosphere in my music. I think the combination works for me: Toronto gave me the bite, and California gave me the dreamscape. I love both areas equally—I must remind everyone of that.

The music industry often pressures women to soften, conform, or continually reinvent themselves for commercial reasons. How have you evolved without allowing the industry to define who you should become?

Another good question, and what the music industry was then is nothing like what it is now. I think the trick is knowing the difference between evolving and being remodeled by someone else or by the pressure of trends. I’ve changed a lot over the years, but I don’t think I’ve ever changed because someone told me I had to become easier to sell. I’ve changed because I was curious, because my taste changed, because my life changed, and because the songs took me somewhere new.

As an artist who has done this for a while, there is definitely pressure on women to be softer, younger, quieter, sexier, safer—whatever the trend of the moment demands. I’ve never had much patience for that. I like being feminine, glamorous, strong, strange, difficult, emotional, and independent all at once. I don’t think women should have to shrink themselves into one acceptable version. That’s so stressful, and at the end of the day, we want to be authentic and create because we are passionate about art and music.

After exploring the contrast between the raw intensity of Doll Machine and the shadowy refinement of Strangely Beautiful, where do you feel your creative instincts are leading you next?

I feel like I’m in a really interesting place because I can hear all these different eras speaking to each other now. There’s the raw rock side, the atmospheric side, the electronic side, and more—and I don’t feel like I have to choose only one.

I’m always working on new ideas, and I think whatever comes next will probably carry some of that full range. I’m always writing new music, and I have folders of ideas and demos from over the years that are waiting for the perfect or ideal time to take them to the finish line.

With my music, as always, I like the idea of something with teeth, but also beauty. Something cinematic and larger than life, but also not too polished. Perhaps something that feels like it has lived a little. That’s usually where I’m happiest creatively—somewhere between the shadow and the spotlight.

Betty Moon’s career is a powerful reminder that true evolution does not require an artist to abandon who they are. Whether she is revisiting the unapologetic force of Doll Machine or embracing the layered, late-night atmosphere of Strangely Beautiful, her work remains rooted in the same essential spirit: bold, glamorous, emotionally honest, and beautifully untamed.

After decades of following her own instincts, she continues to create from a place where darkness meets desire, strength meets vulnerability, and rock-and-roll attitude meets cinematic beauty. With new ideas already taking shape, Betty Moon remains an artist who refuses to stand still—and whose next chapter promises just as much edge, depth, and striking originality.

Model: Betty Moon @bettymoonmusic

Photographer: Lee Hanson

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

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

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