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

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

Mimesis ’25: Anna Kosidło’s Circus of Shadows and Dreams

In the world of emerging fashion, few designers manage to so seamlessly merge narrative, artistry, and emotion as Anna Kosidło. With a vision that transcends clothing, their work exists at the intersection of theatre, cinema, and dreams—where garments transform into characters and fashion becomes a storytelling device. Their graduation collection MIMESIS ’25, created in collaboration with film director Femke Hamelaar, immediately caught attention for its daring blend of German Expressionist influence, surreal archetypes, and poetic silhouettes. What sets Anna Kosidło apart is not just technical mastery, but an ability to channel vulnerability, imagination, and raw sensitivity into wearable art. Through their designs, fashion takes on the role of fable—revealing hidden emotions, sparking curiosity, and reminding us that beauty is most powerful when it aches just a little.

1. Tell us about your graduation collection. What inspired the concept behind it?

‘MIMESIS ’25’ is a fashion project created in collaboration with film director Femke Hamelaar, where costume became a storytelling device.
Set in a stylized circus world, the narrative follows Juliette, a 20-year-old acrobat unraveling under emotional pressure. Each character embodies an archetype—the dreamer, the distant father, the paralyzed mother—expressed through exaggerated silhouettes, stylized textures, and symbolic contrasts.
Influenced by German Expressionist cinema, the collection embraces theatrical distortion and shadowed emotion. The garments heighten the narrative through visual exaggeration—sharp tailoring, flowing fabrics, and sculptural forms reflect the characters’ internal states.
Floral prints derived from hand-drawn sketches offer a delicate contrast to the bold silhouettes—softness within intensity. These motifs, reinterpreted into editorial visuals, blur the line between fable and fashion, making the characters feel both timeless and surreal.
My designs are meant to build a heightened emotional reality—where clothing reveals what words cannot, and each figure becomes a living symbol within an exaggerated world.

2. How has your time at Willem de Kooning Academy shaped you as a fashion designer?

Now, when I can look at it as a whole, after having finished my 4 years of study, I am realizing that I have, in a way, made a full circle in my journey—refining what I started with.
I came to study fashion full of enthusiasm, but with a false sense, that I already had my vision all-figured-out and I just needed to learn some technical skills to execute it. Like a naive child I assumed everyone would immediately understand and fall in love with my world—oh boy, it was not an easy journey, but surely a fascinating one!
At some point I lost my spark a bit; I felt discouraged and started comparing myself to all other talented designers. I doubted whether my interests were valid, I was almost ashamed of them and tried to fit into so many boxes by sticking with visuals and styles that did not truly represent me.
But that made me realize how determined I was, to learn, to make mistakes and take lessons out of them. And despite hardships, I could not imagine my life without art and fashion, it became an integral part of me. I later realized I needed to stay true to myself and my work would only stand the test of time, if I followed my intuition.
So I do, I revisit my childhood dreams, my fantasies, fables and fairy tales, and I give them a new form, in which they can exist and communicate who I have become.

3. What emotions or messages do you hope people feel when they see your designs?

I want spectators to have an experience, which is hard to put into words. That feeling of inspiration, curiosity, other-worldliness, as if you had butterflies in your stomach and suddenly trespassed different dimensions. Charm and love; purification of the heart.
I want them to feel connected to their secret dreams and the tender parts of their soul. Whenever an art piece makes me feel like that, even for a split second, it is a bit life-changing. I hope I can awaken this in people. Sensitivity is not an easy emotion, which we express commonly, in daily situations. I do not think it is even possible to ever understand, so I want people to be able to contemplate it within their hearts when they see my creations.

4. Can you walk us through your design process—from the first idea to the finished piece?

It is truly like a mozaic of inspirations, ideas, experiments, rejections... My process is like a big collage itself—so, funnily, I often start with mood boards or collages, all done physically, with magazine and book cut-outs, inspired by a mirage of my interests—they could come from books, films, literature, people I met, travels. I often dig for references in my past memories too.
Since I was two years old, I have been ‘noting’ my ideas by sketching, so that is how I collect my material—through concept sketches. Then I usually dress the message I want to convey in characters, as it helps me put certain elements into a frame—this is kind of how I think in general; I have a catalogue of characters in my head, with names and backstories, and I use them as tools to process different emotions within me. And to show the universe those characters reside in, I then go onto textile samples, I make small-scale moulages, I edit pictures in Photoshop to find interesting shapes—I tend to manipulate proportions especially. And then, when it is all abstract and whimsical—I try to somehow make it work! I just immediately go into sewing, allowing a bunch of ‘happy accidents’, as if I were sculpting, till I am satisfied. Finally, I decorate to the brim, with focus on small details (that might be my favourite part!). And to broaden the vision I find photographers who can re-frame my ideas and breathe a new life into them.

5. What materials, textures, or techniques do you love working with the most, and why?

I am a big lover of see-throughness—I think it reflects my passion for showing glimpses of my inner world; how tangled and complex it can be, but without ever revealing the whole picture. Keeping a bit of mystery in there. That is why I often go for organza, as you can print images on it and layer them like collages—then you get fantastic colors, slightly muddy, almost rotten, which reminds me of flower petals, nature, waves of the sea, earthly wonders. On top of that I would add some tulle, especially black or white, and then lace with many different patterns, perhaps some yellowish shiny latex, feathers, loose thread. I have injured my fingers so many times while burning my textiles or sewing on sequins by hand!
I like surfaces that you can decode piece by piece, which change in the light, which you can get fascinated by. Blocks of color and smooth expensive textiles are not for me, as for now. I also love to incorporate elements of second-hand vintage garments in my designs—old buttons, ribbons or embellishments—it is like putting a mysterious spirit from the past into the piece.

6. This photoshoot brings your work to life—how did you collaborate with the photographer to express your vision?

I can imagine that my garments without the wonderful work of photographers are like thoughts that remain in one’s head, but never expressed in action, are unknown to the world and eventually die a quiet death in the fields of imagination.
I love photography, for it captures a certain scene; like a movie still, and encapsulates that atmosphere in a picture, which is a physical proof of that dream.
I think of myself as extremely lucky to have come across Fred Baggen, as he himself is surely more of an expert in the field of expressionist silent cinema than me, and he is always enthusiastic and full of his own ideas. Our ‘fable’ therefore came to life very quickly—it was as if we were reenacting a movie scene. We used a beamer to reflect images on the structure of the garments; played with various set ups and images. I felt truly immersed in the character of an expressive bewitched heroine, as Baggen did his magic and then surprised me with a variety of different variations—blurry and dreamy, sharp and unnerving; bright and vibrant or focused on contrast of black and white—polar opposites. A true maestro!

7. Who are some designers or artists (past or present) that inspire your creative world?

I could really write an endless list of my influences, as I consume a lot! But I remember one of my first great inspirations was a Polish assemblage artist, Władysław Hasior, whose work is full of folklorist themes, often rooted in Slavic mythology and local culture. They are a bit scary but they truly pierce your soul, especially placed in the ambience of his gallery, which is located in an old wooden cabin in the mountains.
As I mentioned, I am a lover of German Expressionist cinema, but also, more whimsical, Georges Méliès. Tim Walker’s photography, Elizaveta Porodina. I think poems like ‘Les Fleurs du Mal’ by Baudelaire, ‘Master and Margarita’ by Bulgakov, all Dostoevsky’s novels, Chopin’s music, biblical themes, art deco buildings... It all shapes my soul day by day.
But to narrow it down to fashion, I have always admired Alexander McQueen, John Galliano, Betsey Johnson, Thierry Mugler, Christian Lacroix, Anna Sui. I am also happy to see the rise of Dilara Findikoglu, as I remember just a few years ago she was a niche inspiration of mine and now she seems to be thriving!

8. What challenges have you faced as a young designer, and how have you overcome them?

It is surprisingly easy to be very harsh on yourself, where instead of reflecting critically on your work and drawing inspirations from others, for the benefit of your own progress, you compare yourself and lose your own creative vision. I am definitely guilty of that; of becoming intimidated by all of those very talented creators in the field. I often felt that I did not fit into any of their boxes—I was afraid I was in the wrong place. I tried to squeeze in, but instead I needed to make my own box, outside of their world.
It is a long process and I am still working on my approach, but one method I like to use—to trick myself—is to imagine the childhood or teen version of me—the one who would be so proud of what I have already accomplished and would, probably, idolize a figure like the person I have become—so I need to look through the eyes of a child—and see it as a way to fulfill my dream and inspire others to search for that for themselves, instead of a ‘duty’ to fill just any niche in the field of fashion.

9. What do you hope to explore next in your fashion journey—any upcoming projects or dream goals?

I do not yet have a single clear idea—but I am used to my process being this way—initially, it is millions of small scraps of ideas, try-outs, concept work, and then the puzzles fall into place and it all suddenly clicks.
Since I have been occupied working with florals and a lot of delicate colors and shapes for many months, I have suddenly felt myself being drawn to more contrasted, androgynous strong silhouettes, old-fashioned sci-fi, robots, the fantasy of futuristic technology, ‘metropolis’, and the poetic language of geometry. Who knows, maybe I will create a science-fiction-robotic-tale?—very likely, judging by the hours I spent playing Kraftwerk in the background, whenever I work!

10. What advice would you give to other fashion students or emerging designers just starting out?

There are plenty, but I think it all comes down to one thing: stay true to yourself.
Be critical but do not be ignorant of what your heart is drawn to. Listen to your intuition and try to always stay passionate about what you are making—then no hardships will ever stop you, because you will feel like you are fighting for this grand goal—for your dream, which makes life worth living after all. Do something that will make you wake up full of excitement in the morning and will put you to sleep dreaming and planning, and looking forward to the next step.
Art is a beautiful and powerful tool—a key to hearts that not everyone can hold. You do not owe practicality to the business. If you create straight from the heart, your art will reach those who need it and it will fill them with hope and inspiration. Do not lose your heart, you will need it in life!
And most importantly, do not be afraid of mistakes—they teach you the most and you will look back on them with fondness!

What shines through Anna Kosidło journey is not only the artistry of the collections, but the resilience and sincerity behind them. Their designs are not meant to simply be worn—they are meant to be felt, experienced, and remembered. By fusing the delicacy of dreams with the drama of cinema, they invite us into a world where fashion becomes a mirror of the soul. As they continue to evolve, one thing is certain: Anna Kosidło is a designer whose work will not only define the present moment, but also inspire the future of fashion with imagination, vulnerability, and daring beauty.

Wardrobe Stylist/Model/Fashion Designer/Makeup Artist/Hair Stylist: Anna Kosidło@the_anna_kosidlo

Creative Director/Photographer/Retoucher: FredBaggenPhotography

@ fredbaggenphotography

https://www.fredbaggenphotography.com

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