Georgia Chioni - SKiN iT Fashion

Georgia Chioni is not your average designer—she is a visionary force merging cinematic storytelling with bold, sensual fashion design. The mind behind SKiN iT Fashion, Georgia has made waves across international runways with her avant-garde approach, sustainable ethos, and fierce devotion to creating garments that feel like wearable art. With accolades from the International Design Awards and Athens Exclusive Designers Week, her journey is one of passion, persistence, and power. In this exclusive interview, Georgia opens up about her inspirations, creative process, and what it truly means to be a modern designer.

Can you tell us about your journey into fashion design? What sparked your interest in this field?
For me, fashion design is about finding your own identity. It’s a two-itinerary journey οf a learning process: studying and gaining knowledge as well as diving into one’s self. I started this journey with personal styling, as I wanted to enrich my knowledge with regards to costume design and styling in the movies we were making. Although my grandmother was a sewing lady and I was spending time with her playing with patterns and yarns, I did not remember a lot. I was very young, so I had to start fresh again. I continued studying and participating at competitions that brough awards and recognition at international level, such as f.e. the Best New Designer Award at Athens Exclusive Designers Week as well as Bronze Award – Best runway collection at the International Design awards in 2022. Our brand, SKiN iT has since its birth -that is three years now- continues presence at international fashion shows and fashion weeks (Serbia Fashion Week, Budapest Fashion Week, Feeric Fashion Week, Sicily Fashion Week etc)


How would you describe your design aesthetic, and what influences have shaped it over time?
Dynamic, sensual with a flare of sexiness and mystery. I would say that in my collections I integrate various elements, such as f.e., glam rock, punk rock, goth, retrofuturism, atompunk, neoromanism and fetish. Since my first fashion sketch, I knew what I wanted to work on and the elements that would shape my style. A contemporary femme fatale of a neo noir film.


What is your creative process like—from concept to final garment?
For me it’s about crafting dreams, exploring, creating and inspiring. It’s a process of vision unleashing. First, I have the inspiration. What will the thematic be about? I am always looking for a solid and well built thematic. Then I am thinking how I will bring this thematic to life in the best possible way. It has happened once that I started from the fabrics, they were so incredible that I wanted to make a collection using them. This, I think, for a designer that wants to be fully sustainable, is maybe a better way, however it is not always possible. So, once I have the sketches, I imagine how they will look on the catwalk show and try to choose the best fabrics. I do a lot of research, as I aim to find the best. I have some providers I work with and their fabrics have never disappointed me. I check the fabrics closely.Then we work on the patterns. After the patterns are ready, we make pre-samples and a first fitting to see how they look on the model’s body. After that we make the corrections on the garments, this could last up to three weeks maybe. Then, we make another fitting and if the garments require more work, we need and a third fitting. Of course, for the shows we make extra fittings with the styling in order to find out which is the best combination and how they all look like. A tiring, but wonderfully satisfying process. Our own tailored dreams, weaving ideas into reality.



Where do you draw inspiration from for your collections?
I consider myself a quite creative person, who believes that inspiration can be found in anything, one just needs to closely observe. Since I come from a cinematographic background, my first collections were inspired by screenplays that I had written and films we had shot, as I was trying to “bring to life” characters from my plays. My two last collections have been inspired by our mythology (Nine Muses) and history (Byzantium Era). I like to praise female personalities and demonstrate their dynamism, drawing inspiration for crafting timeless collections.


How do you balance creativity with the commercial aspects of the fashion industry?
The collections of SKiN iT are high end fashion garments, bespoke, with a very high artistic vision. We are not a brand aiming at mass production, rather a demi couture, new brand, with an artistic vision that wants to merge the boundaries of cinematic art and fashion design.


What materials or techniques do you enjoy working with the most, and why?
A variety of materials and techniques, trying to be as sustainable as possible: from leather – we try to use ecco leather- to sequins, satin, organic cotton etc. We have also made garments using cork and seashell fabric. In addition, we are huge supporters of zero waste pattern making. There have been difficult garments that we have created, with moulage and sculpting, either on the doll or on the body of the model.


How do you see your designs contributing to conversations around sustainability or social issues in fashion?
Since the first day of my studies, I have been a huge supporter of circular economy, sustainability and social issues related to fashion. It is clear that our planet is over abused and the linear model of consumption that dominates, cannot longer be supported. Although it is difficult for a new designer to enter the fashion business as a sustainable designer, I have tried to embrace it as a dogmatic principle or the brand. To this end, we try to use sustainable fabrics, work with zero waste pattern technics, reuse rest over fabrics, instead of throwing them and work a lot with upcycling. In addition, I cooperate with various institutions here in Greece and have seminars and lectures on sustainability in fashion and how each one of us can contribute to a more sustainable environment. Moreover, we try to educate women on having a more sustainable lifestyle.


What has been the most challenging piece you’ve created, and what did you learn from the experience?
Last year we presented in Serbia Fashion Week a new collection having as a thematic the Nine Muses from our mythology, brought in the modern world. Fabrics were not easy to deal with, garments were difficult to sew and the styling was a huge challenge. As a consequence, the dress that one of the muses was wearing had a very high degree of difficulty, as the belt-skirt consisted of a lot of layers of draped organza. I had estimated that I could need one and a half day for it, it took me almost four, as I had to sew and unsew, until I managed to have the result I wanted. It was a difficult bet. Things don’t always end up as planned, there always have to be a plan B, in case plan A goes wrong. And always be prepared!


Can you talk about a moment in your career that felt especially rewarding or transformative?
Awards and international recognition, as mentioned above, were especially rewarding. The fact that international audience saw a value in my collections gave me joy and satisfaction. At the same time, it gave me the push to get better and improve myself in all ways. A true, powerful motive! If I needed to pick one moment, this would be the award at the International Design Awards in 2022 for the best runway collection-handmade apparel. I also felt extremely happy when I got an invitation for Paris Fashion Week, Haute Couture, and this would be my next dream plan!


What advice would you give to emerging fashion designers trying to make their mark in today’s industry?
In not an easy industry to step in. One would need to have devotion, patience, vision and commitment. It’s a multifold process, as one would need to work on issues related to showing the work to a wide audience as well as becoming commercially viable. But the effort is worth it one hundred percent. So, my advice would be to have dreams, never give up and follow small, safe steps.

Georgia Chioni is redefining what it means to be a fashion designer in the 21st century—fearlessly artistic, fiercely dedicated, and uncompromising in her values. With SKiN iT Fashion, she’s creating more than garments; she’s crafting legacies. As she continues to elevate fashion into an expressive, sustainable art form, the world is watching—and we can’t wait to see where her journey leads next.

Photo Credits:

Fashion: @skin_it_fashion

Model: @sofia_danai_

Assistant: @irenesochou

Assistant: @klairi_geo

Photo: @georgia_chioni

GABRIEL BROWN INTERVIEW

Photographer/Retoucher: Gabriel Brown / Chaotic Beauty Photography LLC @chaoticbeauty_photog

https://chaotic-beauty-photography.kavyar.site

Model: Kimberly Spicer @kimberspicer

Model/Makeup Artist: Celtic Beauty @a_celtic_beauty

Gabriel Brown is a visionary photographer who has mastered the art of storytelling through his lens. With a deep-rooted passion for capturing the essence of human emotion and the beauty in chaos, Gabriel's work transcends traditional boundaries. His signature style blends the glamour of meticulously curated portraits with the raw unpredictability of creative exploration, leaving a lasting impression on all who view his art. From his early fascination with cameras to his evolution as a studio and character portrait artist, Gabriel’s journey is as captivating as his images. In this interview, he takes us behind the scenes to share the inspiration, challenges, and creative processes that define his distinctive approach to photography.

How did you begin your journey into photography, and what drew you specifically to studio and character portraits?

I think my journey started when I was only 4 or 5 years old. I would see my mom shooting with her SLR camera and became fascinated with how focusing and zooming the lens would change whatever I was looking at. I became fully invested in it as an art form when I was about 15 and started taking photography classes in high school, learning about the concepts of depth of field, composition, and light and shadow, which ultimately led to earning a Bachelor of Arts degree in photography.

Studio and character portraits were just something that naturally spoke to me when it came to capturing emotions and creating a mood. I had originally been shooting street photography and candids, where you have no control over the scene and just have to observe and wait for the right moment. When I started working with people in the studio, I realized how much more you can create when you have control over the setting, and you can really tell a story your own way.

Your work blends the elegance of glamour with the unpredictability of chaos. How do you approach this juxtaposition in your compositions?

I embrace it. There is only so much that can be controlled in the creative process, so I fully expect there to be a lot of happy accidents when I start working on a new concept or lighting idea, especially if I don't fully understand how to go about doing it. The flip side is that there can be even more unhappy accidents that prevent me from capturing an image or a whole vision.

What inspires your creative vision when crafting portraits that tell a story or evoke deep emotions?

I think lighting plays the biggest role. When an idea comes to mind or I'm suddenly inspired by another photograph, it's really the finer details involving the light and shadows that stand out in my mind. The model really helps crystalize the overall idea, but crafting the story comes down to how to tell it, and the lighting is what does that.

Can you share a moment when a chaotic element unexpectedly enhanced a shoot's outcome?

When I first started using reflective material, specifically the silver mylar seen in a lot of my portfolio, I had a pretty narrow idea of what I wanted to create with it. But as soon as I turned the equipment on and saw how the light was bouncing all over the place, and how difficult it was to shape the material, I knew that I would just have to embrace it and hope for the best. It worked out so well in several shoots, and I still don't know exactly what I did in any of them.

Studio lighting and set design play a crucial role in your portraits. What’s your process for creating a compelling visual atmosphere?

Having a lot of space to work in is really the key element for me. It's extremely difficult, although not impossible, to shoot in a compressed environment. I like for myself and the models to feel comfortable, but the space also allows for the lighting and equipment to be placed, angled, and moved much more easily. Even though the final images tend to display a very tight composition, where there is the illusion of space, having an actual open environment helps with the mood.

On a technical level, I always approach it by employing the lighting one piece at a time, with a lot of test shooting. I move from focusing on the larger details, such as soft or hard light or lighting angles, to the absolute smallest, like the placement of the model's hand or how the lights reflect in their eyes.

Fashion and character photography often require collaboration. How do you balance your vision with the input of models, stylists, and designers?

I keep a pretty open mind to everyone's ideas, and trust is certainly key to the creative process. Even if I have a solid vision of what I want to do and how to do it from beginning to end, I'm always happy to shift a bit as long as it adds to the overall concept and doesn't involve abandoning the original idea or changing the whole concept right then and there. I've never been in a position where someone came to me with a fully fleshed out idea and I didn't want to do it, or where they didn't want to be a part of my own. But collaboration requires that everyone involved trusts one another with what their part will be.

“Beauty in Chaos” is a compelling theme. Can you share how you interpret this concept and how it influences your photographic style?

"Chaotic Beauty" came about when I was studying photography in college and found myself in a really deep headspace one day. I had been practicing macro photography and spending a lot of time looking at the extremely fine details of my photos, almost on a granular level. It got to the point where I wasn't even seeing the image anymore, just tiny points of light and color, and there was no discernible pattern. But as I visually zoomed out I started to see the image again. Ultimately, I realized that beauty can come from within a lot of things, especially when you don't initially see it.

What has been your most challenging shoot, and how did you adapt to achieve the desired results?

The most challenging shoot I did was just over a year ago with my wife, which is currently in my portfolio. We were trying to create a New Year's concept involving a lot of makeup, wardrobe, and a complex lighting scheme that I had never attempted before. I was basically trying to create a tunnel with reflective mylar, with my camera and a strobe pointed into one end, and my wife posed at the other end with a secondary strobe positioned behind her for fill light. The setup was tough, but persistence and adjustments led to some of my favorite images.

Are there any specific characters or themes you hope to explore in future projects?

I'd like to start exploring more complex lighting styles. I almost never use more than two lights at a time in the studio, but I'd love to step outside my comfort zone and experiment with more intricate setups.

What advice would you offer to emerging photographers looking to create their unique voice in the realm of fashion and studio portraits?

Don't ever consider yourself an expert in your craft; always strive to perfect it by practicing and refining it. Always remember your mistakes, especially if they end up working to your advantage. And don't ever think that better (expensive) equipment makes you a better photographer; it's just light and shadow – there is no right or wrong way to create it.

Gabriel Brown’s unique ability to capture the interplay of elegance and chaos in his photography speaks to his mastery of the craft and his deep understanding of storytelling through visuals. His dedication to continuous growth and his collaborative spirit set him apart as not just a photographer but an artist with a profound vision. As he continues to push the boundaries of creativity, exploring new techniques and narratives, Gabriel remains an inspiration to aspiring photographers and art enthusiasts alike. His journey reminds us that beauty truly can be found in the most unexpected places, and the stories we tell through art are as limitless as our imaginations.

Tatiana Drok Interview

Tatiana Drok is a visionary force in the world of fashion photography, known for her seamless transition from costume design to capturing breathtaking images that have graced the pages of high-end magazines and campaigns for prestigious brands. What began as a solution to a shortage of photographers who could capture her designs evolved into a thriving career that reflects her unique artistic sensibility and deep understanding of fashion. With an innate ability to interpret a client’s vision and a remarkable intuition for future trends, Tatiana has redefined the role of the photographer as both an artist and a storyteller. Her work stands as a testament to her dedication and her talent for bringing elegance, innovation, and soul to every project she undertakes.

What first drew you to fashion photography, and how did you transition into glossy magazine shoots and high-end fashion projects?

I became a photographer because, as a costume designer, I was sorely lacking professionals in the field of fashion shoots for my products. I decided to try to shoot my costumes myself as I see and feel them. I succeeded, and my work as a photographer has been highly recognized by designers and brands. I became so passionate about photography that I stopped being a designer. Now I only create images

Can you share a memorable story about a project where you were able to bring a client's vision to life in a unique way?

I consider all my work unique in some way. In order to create a good product, I let the brand philosophy come through my vision and feelings and get to know the client’s inner world more deeply through their profile and references. I find it important to discuss together the style in which the client wants to shoot. I bring the client to a “picture from their imagination.”

When working with well-known brands versus emerging brands, do you approach your shoots differently, or is your creative process consistent?

Usually, big-name brands have a clear set of requirements, and here it is important not to deviate from the set course. It’s essential to professionally hear the client’s desire, observing all the nuances and requirements—no amateurishness unless it’s asked for.

For a start-up brand, everything is not as strict, and the photographer often acts as an artist who comes up with the idea and concept. All in all, everything is individualized.

How do you generate fresh ideas for each shoot, especially with the fast pace and constant evolution in the fashion world?

Things work themselves out. I see a cool location, and immediately, in my imagination, I have an idea of what and how to shoot there. It’s all somewhere inside me, in the factory settings. I can’t explain it—I just feel it, and everything happens by itself.

What challenges have you faced in the international publishing world, and how have they shaped your approach to photography?

Many magazines exist through advertising, and that’s fine; only a few publications maintain some kind of identity and their own style without relying on monetization. I’m sure that the rating of a publication largely depends on the taste of the editorial staff. How popular a magazine is depends on the desire to get into it, which means there’s a contest basis or financial guarantee.

I prefer the contest! I love getting covers.

How does your background in design influence your photography style and creative direction on set?

Education and experience don’t just influence; they help you navigate your own style, finding what is particularly cool and in demand. It’s what they come to you for.

What role do trends play in your work, and how do you balance them with your unique vision to stay relevant in fashion?

I have an amazing ability to sense future trends. This is probably due to the fact that, during my time as a designer, I developed a keen eye for trends and am constantly learning about related trends.

How do you stay inspired and continuously push creative boundaries, especially when collaborating with top-tier brands and magazines?

My inspiration is inexhaustible, and while creating my work, I willingly share the result with everyone who lacks it. I would love to never run out of funds for creative projects and to find sponsors for them as well.

What are your aspirations for the future of your career, and are there any dream projects or brands you’d love to work with next?

I prefer to keep all plans and dreams a secret; otherwise, they are not destined to come true. But I really hope that I will be able to realize at least part of my plans.

Conclusion: As Tatiana Drok continues to evolve her craft, she remains a beacon of inspiration for aspiring creatives, and her work speaks to her rare ability to merge style with substance. Her background in design, combined with an unwavering passion for photography, has allowed her to push creative boundaries and cultivate a personal style that resonates globally. Tatiana’s journey is one of relentless creativity and vision, and her aspirations for the future promise even more groundbreaking work. Through her art, she invites us to see fashion not merely as an industry, but as a canvas for profound expression and beauty.

Photo: @droktata_photo_vibe

Fashion: @butaforfreak

MUA: @thepavlovaanna

Hair: @trend__hairstyles

Model: @mariaa.rodkina