Of The Minute https://models.com/oftheminute Tue, 09 Jun 2026 15:41:23 +0000 en-US hourly 1 https://wordpress.org/?v=6.5.5 Dione Davis on the Art of Restraint in Styling https://models.com/oftheminute/?p=170476 Tue, 09 Jun 2026 15:41:23 +0000 https://models.com/oftheminute/?p=170476

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Dione Davis, Stylist Hometown: Mobile, Alabama Based In: New York City, New York & Paris, France Representation: Born Artists What sparked your interest in styling, and was there a defining moment that made you pursue… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Dione Davis | Image courtesy of Born Artists

Dione Davis, Stylist

Hometown: Mobile, Alabama
Based In: New York City, New York & Paris, France
Representation: Born Artists

What sparked your interest in styling, and was there a defining moment that made you pursue it professionally?
I always loved clothes, but growing up in Alabama, I didn’t really have access to fashion outside of vintage, so I learned to get creative through limitation. Honestly, this career fell into my lap through a chance encounter more than a deliberate pursuit. I was working retail when a stylist reached out asking me to assist on an editorial shoot, but she had actually mixed up the contact. It was a case of mistaken identity that somehow worked out perfectly.

You trained extensively in classical ballet, from the Vaganova method to Balanchine-influenced technique. How does that foundation inform the way you think about silhouette, proportion, and structure in your work?
I’m extremely body-focused when I style. Even when I’m working with layering, unusual silhouettes, or strange proportions, there’s still a line being created that has to make sense to me. When something feels off, it’s usually because the lines of the body are being interrupted or cut off in the wrong place. I’m also very conscious of how the body exists in space in relation to the garments. Movement direction ties into everything for me because it supports how a garment is experienced on the body.

How would you describe your work? What’s your trademark?
I like to play with restraint, whether that’s restraint in color palette, styling, or accessorizing. My work has been described as strange elegance. I never like something that feels too pretty or relatable. I think the most stylish thing in the world is to be unpredictable. I like the wrong shoe, I like an inappropriate accessory. My trademark is also clothing used outside of its intended purpose. I love to manipulate clothing to turn it into an entirely different piece, like a sculpture.

You’ve worked across styling, creative direction, and movement direction. How does thinking about the body in motion shift the way you build out a look?
It really depends on what I’m trying to communicate in the image. When I’m focused on complicated layering, I don’t think about movement much at all. I’m more interested in how the eye moves through the photograph than how the model moves physically. I know some models don’t love feeling limited, but with more intricate styling, precision matters. On the flip side, when a look has more freedom, I like to see how the model intuitively moves before giving too much direction. It’s a collaboration between everyone in the room, and sometimes a model will give me something I never would have thought of. But if the creative is hyper-specific, I’ll give very detailed direction.

There’s been a resurgence of ballet references, from Ferragamo to Simone Rocha. What has stood out to you in the way ballet is being translated into fashion right now?
Ballet feels much more polished in fashion than it actually is in reality. Ballet is sweaty, messy, chaotic, and dramatic behind the scenes. The representation of ballet in fashion reminds me a bit of how Indie Sleaze has been reinterpreted now. The current references feel cleaner and more polished than their origins. I came of age during the Indie Sleaze era, and the kids referencing it now are taking showers. Balletcore, to an actual dancer, looks more like that iconic Harvey Edwards image: feet in fifth position, torn warmups worn for years, tape on the shoes. I enjoy how ballet is being interpreted in fashion, but I’d love to see a more hyper-realistic version. I want to show the shadow side of ballet.

What’s your process for conceptualizing a look? Do you start with references, emotions, or something else entirely?
I think of styling as a form of self-indoctrination. I have a set of internal rules for what feels right to me, and depending on the project, I either want to completely subvert those instincts or refine them further through self-reference. Most of my references outside of myself actually come from outside of fashion. I love old films and the way people used to present themselves. People had wardrobes for occasions and lives that felt fully realized. That’s slowly disappearing now. Editorial shouldn’t feel hyper-realistic to me because we’re still selling fantasy. I always want the subject to feel like they’re going somewhere, even if that “somewhere” doesn’t exist in real life. I also really strive for a look to feel complete. I work until the look makes me feel something. Part of it is being neurodiverse, but I do think there is a right or wrong for me personally as a creative, even if it doesn’t make sense to others. I feel it in my body when a look is finished. I also get a lot of my ideas in my dreams.

What’s been the most challenging moment in your career, and what did you take away from it?
I think navigating success is something people rarely talk about. It can be lonely in a landscape of over saturation. It’s hard to celebrate myself when people are struggling in this country. Everyone talks about how to become successful, but very few people talk honestly about what happens after. A lot of it feels like fumbling in the dark, and getting what you want can be painful at first. Realizing I can be in a much better place than two years ago, but my life doesn’t feel dramatically different, has been hard.
The hardest thing for me has been navigating visibility and figuring out what boundaries make sense for me now that I’m more publicly known. Coming from ballet, I’m used to a culture where people only really see the finished product, not what’s happening behind the scenes, and I still believe in maintaining some separation there. Social media has complicated that. I take breaks from it pretty often because I need space to navigate it in a way that still feels healthy for me.

What advice would you give to aspiring stylists looking to break into the industry?
You need to be curious about everything, not just fashion. You can memorize every look number from every runway season and still not be a good stylist. A good stylist responds to culture and understands how to make looks that feel new. It’s hard to make things feel new now, but really pushing boundaries is so important. Comparing yourself to other people is also one of the fastest ways to lose momentum. Your focus should be on developing your own taste because no one else has your life, perspective, or backstory.
People always ask me how to develop a point of view, and I honestly think it only comes with time. Assisting is important, but you also need to give yourself opportunities to build your own stories and images. It’s expensive and difficult, but finding collaborators willing to grow with you is essential. I really agree with Michael Jackson’s idea that creativity is collective. If you sit on an idea too long, someone else will execute it. I don’t think there’s only one person meant to do something creatively. There are many people capable of arriving at similar ideas, so confidence and execution matter just as much as inspiration.

Who’s one to watch?
I’m usually most interested in stylists whose instincts are completely opposite to mine because I can appreciate the work without projecting what I would do differently. I really admire the work of Dominick Barcelona and Becky Akinyode. Their instincts are very different from my own, and the results are beautiful. Also, Michele Andrews has a similar ethos to mine that is executed very differently, and I love the contrast.

Selected Work


Adit Priscilla, Arnelle Slot, Alva Claire by Walter Pierre | Image courtesy of Born Artists

Vogue Netherlands September 2024 Digital Covers
This shoot is part of a triptych in my mind because Walter Pierre and Laura Yard were visiting NYC for two other shoots, so we did three in a row in one week. It was a marathon week of creativity with such solid teams. This was my first Vogue cover, and it still gets me work to this day. I really invested in this week of shoots, and this is when my career pivoted from chasing to attracting.


Akuol Deng Atem by Walter Pierre | Image courtesy of Born Artists

Shapeshifter for Heroine Magazine
This shoot was one of my favorites to date, and it’s when I started my obsession with volume. I had been pretty minimal and restrained for a while, and I pushed myself out of my comfort zone. Walter (Pierre) wanted to cancel this shoot because the key looks hadn’t arrived. I’m glad he trusted me enough to pull this off. I pulled some of my pillows and balloons from the dollar store to make the volume myself. I don’t believe in problems, only solutions. I was crying to DHL the night before, then pulled myself together.


Kris Grikaite by Walter Pierre | Image courtesy of Born Artists

Love Want Magazine December 2024 Beauty Cover
Our cover got bumped from September to January 2025, which was a shame because I loved this shoot so much. I don’t even have a copy of this in print, because it got stolen outside my house. I was really set on having a kiss print shoot. I’m including two here because the prop styling turned out exactly how I wanted in my head, thanks to Lousia (Fulkerson), our set designer, who used my vacuum sealer to pull this off. Walter (Pierre) shot it so beautifully. The team was so strong, and this was shot the same week as the other two. It really made me trust my instincts more as a creative director. Ledora (Francis) really made the wig exactly like I had in mind, which was a reference to Mila Jovovich playing Joan of Arc.


Lou Schoof by Nagi Sakai | Image courtesy of Born Artists

Pulchritude for Carnale Room
I am a sucker for a challenge, and I’m starting to realize how I sort of enjoy pushing myself off of a tree, a bit like a baby bird. Nagi (Sakai) is such a brilliant photographer, and I really trusted him with my first try at something a bit more erotic. It was done so tastefully and really felt like me.


Tracee Ellis Ross by Heather Hazzan | Image courtesy of Born Artists

Tracee Ellis Ross for Self Magazine
Tracee (Ellis Ross) is the blueprint and such an icon, making her the ideal celebrity to shoot. She has real taste and range as a model. We really wanted to focus on her figure and her ability to move. She is so in her body, more like a stage performer than a TV and film actress. I’ve had the pleasure of working with her using most of the same team for her own company. Tracee is not running a celebrity brand; she’s a very hard-working and decisive Creative Director. Seeing her wear multiple hats on set is so inspiring as she runs creative and is a talent at the same time.

]]> The CFDA/Vogue Fashion Fund Finalists Are Here, The Couture Calendar Is Out, and more news you missed https://models.com/oftheminute/?p=170461 Fri, 05 Jun 2026 18:09:33 +0000 https://models.com/oftheminute/?p=170461

The 2026 CFDA/Vogue Fashion Fund Finalists Are Here The CFDA and Vogue have announced the ten finalists for the 2026 Fashion Fund. Among those competing are Aisling Camps, Amir Taghi, Terrence Zhou of Bad Binch Tongtong, Emily Dawn Long, Jamie Haller, Julia Ferentinos of Juju Vera, Zane Li of LII, George Inaki of Milamore, Claire… More...]]> The 2026 CFDA/Vogue Fashion Fund Finalists Are Here
The CFDA and Vogue have announced the ten finalists for the 2026 Fashion Fund. Among those competing are Aisling Camps, Amir Taghi, Terrence Zhou of Bad Binch Tongtong, Emily Dawn Long, Jamie Haller, Julia Ferentinos of Juju Vera, Zane Li of LII, George Inaki of Milamore, Claire Sullivan of Miss Claire Sullivan, and Zoe Gustavia Anna Whalen. Notably, Zane Li of LII is also currently a 2026 LVMH Prize finalist. The winner receives $300,000 and two runners-up each take home $100,000. Designer presentations begin June 10, with the winner announced at a gala dinner in New York on October 20. New to the selection committee this year are American Vogue’s Head of Editorial, Chloe Malle, Bloomingdale’s chief merchant Denise Magid, Nordstrom’s Yumi Shin, and designer Christopher John Rogers. [Vogue]

The Haute Couture Calendar Is Out
Paris Haute Couture Week runs July 6 to 9, and this season’s provisional calendar has a few notable debuts worth marking. Pierpaolo Piccioli makes his couture debut for Balenciaga on July 8 at 11:30 a.m., and Duran Lantink presents his first couture collection as creative director of Jean Paul Gaultier that same afternoon at 5:30 p.m. Also, making a Paris couture debut is Indian couturier Manish Malhotra, best known as the go-to for Bollywood stars and stellar looks at recent Met Galas, closing the third day with an 8 p.m. show on July 8. Standing Ground, the London-based label of Irish designer Michael Stewart that won the Savoir-Faire Prize at the 2024 LVMH Prize, joins the official schedule for the first time, showing at 6:30 p.m. on the opening Monday. Calendar cornerstones Dior, Chanel, Armani Privé, and Elie Saab hold their usual slots. Schiaparelli opens the week on July 6 and veteran couturier Adeline André closes the week. Maria Grazia Chiuri’s inaugural couture show for Fendi takes place on the evening of July 9 in Rome. [WWD]

Alexander McQueen Has a New CEO
Kering has appointed Gianfranco D’Attis as chief executive of Alexander McQueen, effective June 3. D’Attis most recently served as CEO of the Prada and previously held senior roles at LVMH and Richemont. He comes into the role at a difficult moment for the house, revenue has fallen around 60 percent over the past three years, triggering a restructuring that has involved significant job cuts. Outgoing CEO Gianfilippo Testa, who has led the brand since 2022, will leave Kering later this year. D’Attis reports directly to Kering CEO Luca de Meo and will be based in London. “Alexander McQueen is entering a new phase focused on strengthening its distinctive positioning, supported by a leaner and more disciplined model,” Kering said. Creative director Seán McGirr, who took over from Sarah Burton in 2023, remains in post. [Reuters]

OTB Takes Full Control of Viktor and Rolf
OTB, the Italian fashion group founded by Renzo Rosso, has raised its stake in Viktor & Rolf to 100 percent. The group first acquired 51 percent of the house in 2008 and increased that to 70 percent in 2019. Founding designers Viktor Horsting and Rolf Snoeren, who established the brand in 1993, will stay on as creative directors for a further five years. Financial details were not disclosed. “Viktor and Rolf are two of the most visionary and influential designers in contemporary fashion,” Rosso said. “With this further step, we are strengthening even more our bond with a maison that continues to stand out for its creativity, artistic research and cultural relevance.” OTB’s portfolio also includes Diesel, Jil Sander, Maison Margiela, and Marni, as well as a stake in Amiri. [WWD]

Carré Otis Files Criminal Complaint in France Against Former Elite Agency President Gérald Marie
Model Alliance board member Carré Otis has filed a criminal complaint in France against Gérald Marie, former president of Elite Model Management Europe, for rapes and sexual assaults she says she endured when she was a minor. The filing follows a landmark May 7 ruling by France’s Cour de cassation that extended the statute of limitations for child sex abuse survivors, making it possible for Otis and others to pursue cases that had previously been dismissed on those grounds. In 2021, Otis was among a group of survivors who came forward with allegations against Marie, but their claims were blocked by the existing limitations at the time. “As more information comes to light about the web of systemic abuses in the modeling industry, including connections between my abuser and Jeffrey Epstein, I remain committed to seeking justice and accountability,” Otis said. “To any fellow survivors out there, please know that you are not alone. If you choose to come forward, there is a community here to support you.” The complaint was filed with the support of child protection organization Innocence in Danger. [franceinfo]

Monika “Jac” Jagaciak’s Documentary White Belt Premieres at Tribeca
White Belt, a documentary following Monika “Jac” Jagaciak in the months before her first Brazilian Jiu-Jitsu tournament, premieres at the Tribeca Film Festival this week. Directed by her husband Branislav Jankić and produced by Goran Macura, former photo director at V Magazine, the film traces Jac’s journey from modelling to martial arts, told in her own voice through unguarded interviews shot across competition days, travel, and immigration appointments. Discovered at 13, Jac went on to work with Peter Lindbergh, front campaigns for Chanel, Dior, Prada, Versace, and Calvin Klein, and walk as a Victoria’s Secret Angel. She trained for eight months under three-time world champion Gregor Gracie in preparation for the tournament. “It’s about choosing to start from zero,” Jankić says of the film. “To be nobody again.”

The Supermodel Project Brings the Industry to Coney Island for World Oceans Day
On June 6, The Supermodel Project hosts its annual World Oceans Day Model Beach Cleanup at Coney Island in Brooklyn, with 172 models and industry figures confirmed to attend. The event is held in partnership with Peace Boat, the New York Aquarium, and the United Nations World Oceans Day initiative. Confirmed attendees include Achok Majak, Angela Lindvall, Robyn Lawley, and Tianna St. Louis, alongside agents, casting directors, photographers, and creatives from across the New York fashion community. “Fashion has enormous cultural visibility,” says founder Greg Chan. “We wanted to create something that channels that visibility into real-world action.”

Industry Access: Nick Knight and Tom Wandrag Part 2
For the second installment of Models.com’s Industry Access conversation with SHOWstudio founder Nick Knight, and A New Plane’s Tom Wandrag, the discussion turns from AI’s possibilities to the deeper questions surrounding labor, beauty, ownership, and the future of fashion itself. Together with Models.com Editorial Director Irene Ojo-Felix, Knight and Wandrag examine whether AI can help create a better future for creatives and models or whether it risks accelerating the very forces that have already flattened culture, creativity, and opportunity. To view the complete interview click here.

Agata Serge On the Urge to Create and Trusting Your Instincts
It feels as though nothing else matters and the world pauses for a moment,” says photographer Agata Serge on the feeling of stepping onto set. She launched her book, The Fashion Flip Book, and has worked with top names like Anja Rubik and Milla Jovovich, and shot for Numéro France, Vogue Netherlands, and W Magazine China, her photography career is one to watch. In our latest Behind the image interview, she opens up about discovering fashion, what inspires her beyond the industry, and discovering her visual language. Read the full story here.

MDC Selects: These Rookies Are Into Surf Breaks and Solo Travels
These rookies are chasing surf breaks and embracing solo adventures. Meet four new faces from around the world as they share where they’re from, how they got discovered, and the passions that shape them beyond modeling. Find out whose favorite film is Nanny McPhee, who learned self-discipline at an early age, and more by clicking the link here.

]]> Agata Serge On the Urge to Create and Trusting Your Instincts https://models.com/oftheminute/?p=170436 Tue, 02 Jun 2026 19:39:48 +0000 https://models.com/oftheminute/?p=170436

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Agata Serge, Photographer Hometown: Lodz, Poland Based In: New York, New York How did you first discover your passion for photography, and what specifically led you into the world of fashion photography? I always had… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Agata Serge | Image courtesy of Agata Serge

Agata Serge, Photographer

Hometown: Lodz, Poland
Based In: New York, New York

How did you first discover your passion for photography, and what specifically led you into the world of fashion photography?
I always had an urge to be in a creative environment. Both of my parents were very encouraging and supportive from an early age. My dad, when he was younger, was a model and traveled often to Milan. It was a short chapter in his life, but it introduced me to the fashion world very early on. I still have images of him from that time in my apartment, and I even framed one because it’s such a beautiful reminder. My mom was also incredibly talented. She used to draw “models” in different outfits for me so I could color them. Those are really my earliest memories connected to the fashion world. Both of them realized quite early that I had an interest in art, though not photography specifically, as that came much later, when I was around 22 or 23. Before that, I spent a lot of time drawing, painting, and attending all kinds of courses my parents could find for me. I think that sparked something that eventually led me to this point. I started with black-and-white portraiture, which was probably connected to my love for pencil drawing, and fashion came later, when I decided I wanted to tell stories and create a series of images. That’s when I truly fell in love with it, and that love has stayed with me ever since. I think it’s even stronger now than ever.

How would you describe your work? What’s your trademark?
This is still the hardest question for me and one of the most difficult to answer, as I consider myself at the beginning of my photography journey. I would love to feel I have a distinct visual language, but I think that will come much later.

You launched your book Fashion Flip Book, featuring Helena Christensen, Tasha Tilberg, Hanne Gaby Odiele, Saskia de Brauw, Milla Jovovich, Alex Consani, Amelia Gray, Anja Rubik, Georgia Palmer, Lara Stone, and more. Can you walk us through the process of creating the book and what sparked the idea behind it?
Going back to my early childhood and my mom’s drawings, that’s really where it all begins. I had the idea for the flipped pages for a long time, but I never felt ready. It never felt like the right moment. There was a lot of self-doubt. Around six years ago, I started seriously thinking about pursuing the project, which at the time was simply an editorial idea. It felt almost impossible because of the cut pages. I doubted any magazine would want to do something like that, but the urge to create was much stronger than the production limitations. Putting the concept together, creating visual boards, and approaching creatives took almost a year. Then I moved into production, every image in the book was shot specifically for the project. That was probably the most challenging part because I wasn’t building the book from existing work. I committed to creating it entirely from scratch, knowing it would become a coffee table book. I wasn’t sure it would work, but I knew there was nothing I wanted to do more.

A big part of finally getting started was my relationship with Jean Cabacungan-Jarvis, my incredible producer from New York. She believed in me from the very beginning and reassured me that I was ready. Alessia Glaviano also played an important role by giving me her blessing before the first production and later writing a fashion essay for the book. And, of course, there were the incredible models you mentioned, who truly believed in the project and wanted to be part of it. Without them, none of this would have been possible. Halfway through the process, I met Federigo Gabellieri, an incredible artist, the Art Director of GQ Italy, and now one of my closest friends. He helped shape the book into something I could only dream of. Later, Piergiorgio Del Moro took over casting after I worked with Anja Rubik, who was my dream collaborator. Up until that point, I had cast all of the models myself.

Every image in the book was shot on medium format and hand-printed at my favorite lab in Warsaw alongside Tomek Orłowski. I scanned and retouched each print myself, which was also a significant part of the production process. The project felt deeply personal, and I wanted to be involved in every stage, from pre-production and shooting to post-production. I was present in the printing lab every day to oversee and coordinate the process.I think this is the most beautiful aspect of personal projects, and something I only truly understood through this experience. You learn an incredible amount about pre-production, casting, and collaboration, and you meet so many inspiring people who help shape your vision along the way. For that, I’m most grateful. I’m grateful for the journey, everything I learned, and the friendships I built throughout the process.

What non-fashion/beauty influences (art, film, literature, music, etc.) shape your creative perspective?
I would say all of it. Despite not having much free time between work and being a single mom, I try to stay very connected to culture because that’s what stimulates and inspires me. Whenever I’m retouching, I watch films. Thank goodness for the ability to do a few things at once. When I’m working on creative concepts, I listen to music. During my morning walks with my dog, I listen to podcasts, and with my morning coffee, I read. I’m very mindful of what I consume, whether it’s what I watch, read, or listen to, because it has such a strong impact on how our minds work throughout the rest of the day and where our thoughts ultimately go.

Do you ever imagine full stories behind your images, or do you prefer to let the viewer create their own interpretations?
I love this question. I had to stop for a moment and think about it, but honestly, it’s both.I’m always imagining stories. In a way, I write them before the shoot by creating visual boards and shaping each frame. At the same time, Fashion Flip Book is about giving the final interpretation to the viewer. In the world we live in today, everything is so digital and fast-paced that we often pay very little attention. With the flip concept, where the pages are literally cut into three parts, I encourage viewers to engage with the image, create their own version, and interpret it in their own way. I want to exist in a space where there is room for both my vision, my story, and my direction, as well as the viewer’s perspective.

What do you love most about what you do?
The feeling I get when I step onto a set. It feels as though nothing else matters and the world pauses for a moment. We have those few hours dedicated solely to creating something together. I feel incredibly privileged to call photography my profession. Even now, every time I’m on set, I can hardly believe it’s me standing there, with an amazing model in front of me and surrounded by creatives who help shape the final result and who I’m constantly learning from.

What have you watched, heard, or read lately that has inspired you?
I recently saw a promotional video for Marina Abramović’s opera installation Seven Deaths, where she talks about how we “die” many times throughout our lives. I immediately sent it to Federigo because it made me stop for a moment and reflect. It stayed with me, and I found myself wanting to learn more, so I started researching it further. The installation first opened on my birthday, March 14, and will run until Marina’s birthday, November 30, this year. I decided that I have to experience it in person. When something sparks that kind of reaction in me, I know it’s time to pack my suitcase and go.

What’s something outside of your work that you would like people to know about you?
That I make many decisions based on an inner feeling that is difficult to describe. Sometimes my choices may not seem obvious or easy to understand, but when I truly believe in something, it’s very hard to convince me otherwise. This applies to small, everyday decisions that don’t carry much weight, but also to much bigger ones. Whether it’s driving 20 hours from Łódź to Paris for a shoot or turning a cab around on the way to JFK after receiving a last-minute job offer for a shoot happening just two days later, I tend to trust my instincts. Both of those shoots became life-changing experiences for me, far more significant than simply another project I said yes to.

Who’s one to watch?
I would need days to list all the people I admire. I don’t want this to sound overly broad, but I truly feel that “everyone” is the right answer. We find inspiration in the most unexpected moments and from the most unexpected people. If I could give one piece of advice, it would be to listen to those around you. Take a moment to slow down and allow yourself to be inspired. Only when we truly listen and observe can something magical happen.

Selected Work


Anja Rubik | Image courtesy of Agata Serge

Anja Rubik for Fashion Flip Book
One of the 15 key flip images in the book features Anja Rubik (head), Amanda Murphy (torso), and Milla Jovovich (legs). Anja was my dream model to work with and an incredibly important part of the project, not only because of our shared Polish heritage, but also because of how deeply I admire her and her work. I still remember receiving the final yes from her team. I cried. I was overwhelmed with happiness. A few days later, I was in a car driving to Paris for the shoot, the same trip I mentioned in the interview. I would make that journey countless times for Anja.


Image courtesy of Agata Serge

Fashion Flip Book
Fashion Flip Book is a limited-edition photography book that explores identity and individuality through fashion. Built around a unique flip concept, the central section of the book is physically cut horizontally, allowing viewers to mix and match heads, torsos, and legs to create their own compositions. Alongside the flip section, the book unfolds through a series of standalone editorials, each centered on the presence and character of its subject. The project brings together fifteen iconic models whose individuality, presence, and personal narratives helped shape each chapter. Each was approached not simply as a subject, but as a collaborator in creating a body of work that reflects both identity and transformation. From the intimacy of the darkroom to the scale of international productions, I wanted to blend craftsmanship with storytelling. Every frame was shot on a Mamiya RZ67, and every selected negative was hand-printed in the darkroom before being carefully scanned and refined. Out of 3,920 frames, just over 300 were chosen to form a cohesive body of work. The result is a timeless visual narrative that captures a specific moment while remaining open to endless reinterpretation.


Colin Jones| Image courtesy of Agata Serge

Colin Jones for WWD
This was literally the very last frame of the shoot. Colin (Jones) had already gone to change, and we had officially wrapped for the day. I ran after her and playfully shouted, “One last one, Colin!” Not only did she do it, but she did it in the best possible way, and the image ultimately became one of the covers. I remember waiting for the rolls to be developed, wondering whether it had worked out, especially since I had only taken a single frame. When I finally saw it, it was the best feeling in the world.


Amanda Murphy | Image courtesy of Agata Serge

Amanda Murphy for Vogue Netherlands
I have a thing for “last frames of the day,” and this was another one. I thought it was important to include this image because it shows how valuable it can be to keep pushing until the very last moment. When Amanda (Murphy) and I discovered this hidden spot at the location, we both became genuinely excited. From the very beginning, I knew it had to be a black-and-white image, despite the incredible colors surrounding us.It remains one of my favorite memories, partly because it became my first Vogue Netherlands cover. At the very beginning of my career, I lived in Amsterdam and remember dreaming about shooting for publications like Vogue. At the time, I never imagined it would happen, let alone with Amanda, who remains one of my muses to this day and is also featured in my book.


Milla Jovovich | Image courtesy of Agata Serge

Milla Jovovich for Crash Magazine
I had the honor of working with Milla (Jovovich) eight years ago, and I remember how significant that moment was for me. I always hoped our paths would cross again, but I never imagined we would reunite not only for a magazine cover, but also for my book. Coming back together felt incredibly emotional. It was like revisiting a meaningful moment from the past with an entirely new perspective. It was a true full-circle experience, and one that I will cherish forever.

]]> DVF Taps Henry Zankov, The Face Magazine Returns, and more news you missed https://models.com/oftheminute/?p=170421 Fri, 29 May 2026 13:00:24 +0000 https://models.com/oftheminute/?p=170421

Henry Zankov Is Diane von Furstenberg’s First-Ever Artistic Director Diane von Furstenberg has appointed Henry Zankov as its first artistic director, a newly created role that puts him in charge of the house’s full creative output, from collections to visual identity. It is in many ways a homecoming, as Zankov first joined DVF in 2014… More...]]> Henry Zankov Is Diane von Furstenberg’s First-Ever Artistic Director
Diane von Furstenberg has appointed Henry Zankov as its first artistic director, a newly created role that puts him in charge of the house’s full creative output, from collections to visual identity. It is in many ways a homecoming, as Zankov first joined DVF in 2014 as design director of knitwear, spending four years there before launching his own label, Zankov in 2020. Just last year, in September he designed an exclusive capsule for DVF that debuted at Bergdorf Goodman, and the success of that project appears to have led directly to this appointment. He will debut his first full collection at New York Fashion Week in September, while continuing to run his eponymous label. Nathan Jenden, who returned to the brand in January 2024 as creative director, stays on and will now report to Zankov. “The DVF woman is a rebel — confident, curious and independent,” Zankov said. “It is an honor and privilege for me to build on Diane’s legacy.” Diane von Furstenberg herself offered her blessing saying, “I am excited to watch Henry’s designs, sense of color, and effortless sensibility seduce a new generation.” [WWD]

The Face Magazine Returns
Two months after Wasted Talent confirmed that The Face’s Spring 2026 issue would be its last, citing sustained financial losses and the difficulties of an advertising-led publishing model, the title has found a new home. C86 Holdings, the Singapore-based private investment vehicle founded by entrepreneur Kuok Meng Ru that also owns NME, has acquired The Face from Wasted Talent. The magazine’s website now carries a single message: “The Face will return.” No relaunch date has been announced. Founded in 1980 by Nick Logan, The Face was one of the defining cultural titles of the last century, covering music, fashion, and youth culture across two decades before closing in 2004. Wasted Talent relaunched it in 2019 as a quarterly, famously opening with Harry Styles on the cover, before financial pressure caught up with it again earlier this year. “Some brands matter more than others, and The Face is undeniably one of them,” said Kuok Meng Ru [Business of Fashion]

Camera Moda Fashion Trust Names Its 2026 Grant Recipients
Act N.1, Institution by Galib Gassanoff, and Materia are the recipients of the sixth edition of the Camera Moda Fashion Trust grant, announced at a gala dinner at Milan’s Fabbrica del Vapore this week. The three brands were selected from a shortlist of 11 finalists drawn from 80 applicants, each receiving a grant of 70,000 euros alongside a bespoke business mentoring programme from the Trust’s network. Act N.1 and Institution are both returning recipients, while Materia is a new winner. Founded in 2023 by Francesco Saverio Matera, a graduate of Milan’s Istituto Europeo di Design who previously worked on footwear at both Moncler and Stone Island, Materia designs garments built around ergonomic principles and utilizes regenerated wool from traceable supply chains. The jury included, Sara Sozzani Maino, Anna Dello Russo, Suzy Menkes, Edward Buchanan, Beka Gvishiani of Stylenotcom, Sabato De Sarno, and president of Camera Nazionale della Moda Italiana and a trustee of the Camera Moda Fashion Trust, Carlo Capasa. “Supporting young designers today means giving space to the future of Italian fashion.” said Capasa. [WWD]

Industry Access: Nick Knight and Tom Wandrag
Artificial intelligence is changing fashion image-making fast and not without controversy. As brands experiment with AI-generated campaigns, conversations around authorship, ethics, and the future of creative jobs continue to intensify. For the latest Industry Access conversation, legendary image-maker Nick Knight joins creative technologist Tom Wandrag at SHOWstudio in London to discuss the promises and limits of AI in fashion. With Knight’s groundbreaking work shooting stars like Björk, Kate Moss, Naomi Campbell, and Iman and A New Plane’s experiments with emerging technology, the pair explore whether AI can expand creativity without replacing the human instinct behind great images. Moderated by Models.com Editorial Director Irene Ojo-Felix, listen to the full conversation here.

MDC Selects: These New Faces Are the Next Wave of Asian American Representation
These new faces are the next wave of Asian American representation in modeling. From a software developer helping advance neurosurgical technology to a die-hard Los Angeles Lakers fan, these rising rookies arrive at Models.com to share interesting facts about themselves, their essential morning routines, and more. Click the link here to read the full interview.

Models.com x Mentoring Matters Presents an Industry Access Panel on “Who Gets In?”
Highlights from “Who Gets In?” an Industry Access panel at Soho Works in collaboration with Mentoring Matters. The panel, which included the founder of Mentoring Matters, Laura Edwards, and past Mentoring Matters mentors, top hairstylist and co-founder of Echelon Noir, Jawara, Executive Digital Director of Harper’s Bazaar US, Lynette Nylander, Director of Strategic Costing at Supreme, Jessica Lin, and Models.com host, moderator, and MM alum Anire Ikomi. Sparked insightful conversations about building creative careers in fashion, beauty, and media, about mentorship, and access.Thanks to everyone who came out and made the night a success! Stay tuned for the full conversation coming soon, here only on Models.com. Special thanks to Doladira, Diptyque, and Sohoworks.

]]> Cannes 2026 Was Its Usual Fashion Takeover https://models.com/oftheminute/?p=170380 Fri, 22 May 2026 21:20:42 +0000 https://models.com/oftheminute/?p=170380

Bella Hadid in Schiaparelli The South of France once again became Hollywood’s most fashionable stage as the 2026 Cannes Film Festival delivered another season of cinematic spectacle and red carpet dominance. Queen of Cannes Bella Hadid arrived in Jane Birkin vintage-inspired glamour by Schiaparelli, while Cara Delevingne brought sharp attitude and effortless edge with a… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

Bella Hadid in Schiaparelli

The South of France once again became Hollywood’s most fashionable stage as the 2026 Cannes Film Festival delivered another season of cinematic spectacle and red carpet dominance. Queen of Cannes Bella Hadid arrived in Jane Birkin vintage-inspired glamour by Schiaparelli, while Cara Delevingne brought sharp attitude and effortless edge with a gothic Tom Ford look. Hoyeon continued solidifying her position as one of Hollywood’s most magnetic faces in Louis Vuitton, while Alton Mason delivered polished tailoring in Vivienne Westwood. Model legend Carla Bruni returned in Roberto Cavalli with the kind of timeless elegance Cannes has long been known for, joined by a mix of supers, actors, musicians, and rising stars who turned every premiere into a showcase of fashion fantasy and baby announcements (Congrats Barbara and Tao!). See all the Cannes looks as they landed on the storied red carpet.


Alton Mason in Vivienne Westwood

Heidi Klum in Elie Saab

Meadow Walker in Alaïa

Sara Sampaio in Miu Miu

Malgosia Bela in Tom Ford

Cara Delevingne in Tom Ford

Tao Okamoto in Chanel

Barbara Palvin in Ella Mae

Carla Bruni in Roberto Cavalli

Hoyeon in Louis Vuitton

Liu Wen in Chanel

Kristine Froseth in Armani Prive

Grace Elizabeth in Michael Kors Collection

Cindy Bruna in Issey Miyake

Alexa Chung in Dior
]]> The Paris Men’s S/S 27 Calendar Is Here, Giambattista Valli Goes Independent, and more news you missed https://models.com/oftheminute/?p=170381 Fri, 22 May 2026 20:43:56 +0000 https://models.com/oftheminute/?p=170381

The Paris Men’s Spring 2027 Calendar Is Here The Paris Men’s Fashion Week calendar is here, running from June 23 to June 28. Saint Laurent is back on the official schedule for the first time in several seasons, showing on the opening day at 5 p.m. Michael Rider will present his first Celine men’s collection… More...]]> The Paris Men’s Spring 2027 Calendar Is Here
The Paris Men’s Fashion Week calendar is here, running from June 23 to June 28. Saint Laurent is back on the official schedule for the first time in several seasons, showing on the opening day at 5 p.m. Michael Rider will present his first Celine men’s collection on the final day at noon, and Sarah Burton will also debut her take on Givenchy menswear, albeit as a presentation on June 25. Hermès is swapping its traditional runway format for a presentation this season, designed by the house team ahead of Grace Wales Bonner’s January 2027 debut as creative director of Hermès menswear. Louis Vuitton, Dior, Comme des Garçons, Junya Watanabe, and Yohji Yamamoto, all hold their usual slots. KidSuper closes the week on Sunday at 5 p.m. after Jacquemus chose to skip the season. [Vogue]

Giambattista Valli Is Buying Back His Brand
Giambattista Valli is going independent again. The Roman designer has reached an agreement to acquire full ownership of his Paris-based house from Artémis, the private investment arm of the Pinault family that first took a minority stake in 2017 and assumed majority control in 2021. Artémis had been quietly running a sale process led by Rothschild & Co. for several months, during which Valli cancelled his couture show in January and did not present a ready-to-wear collection in March. “This agreement now enables me to fully regain control of my brand and to pursue its development with enthusiasm and energy,” Valli said. [WWD]

The Estée Lauder and Puig Deal Is Off
Two months after both companies confirmed they were in discussions about a potential $40 billion combination, Estée Lauder and Puig have walked away. Bloomberg reported the deal fell apart over Charlotte Tilbury’s take on her compensation in the transaction. Tilbury’s brand, which sits under Puig’s portfolio alongside Byredo, Rabanne, and Jean Paul Gaultier, has been one of the group’s most commercially valuable assets in recent years. Neither party commented publicly on the reason for the collapse. “We are more optimistic than ever about our ability to unlock significant long-term value through Beauty Reimagined,” said Estée Lauder president and CEO Stéphane de La Faverie. Puig CEO Jose Manuel Albesa said the decision does not change the group’s strategic roadmap and that it will continue to focus on profitable growth and improving margins. Estée Lauder’s shares surged more than 10 percent on the news. Puig dropped nearly 14 percent. [WWD] [Reuters]

Roberto Cavalli Has a New Home
Roberto Cavalli has been acquired by Marquee Brands, the brand management company behind Martha Stewart and Laura Ashley. Cavalli and Marquee Brands havr entered into a definitive agreement to acquire a majority stake in the Italian house through a strategic partnership with DAMAC Group, the Dubai-based luxury real estate developer that has been its majority owner since 2020. The house, founded in Florence in 1970 and currently helmed by Fausto Puglisi, will become the 22nd brand in Marquee’s portfolio. Milan-based The Level Group will lead its manufacturing and distribution, while DAMAC continues to develop Roberto Cavalli-branded residences and hospitality projects across global markets. The deal is expected to close in the second quarter of 2026. [Vogue]

Tomo Jidai Is Launching a Book About Youth
Hairstylist Tomo Jidai and photographer Mari Sarai are launching Fourteen, a book that began during COVID when Jidai was commissioned to create a hair story for Document Journal and decided to style the hair of his then eight-year-old son Rei rather than a mannequin, with Sarai photographing him on the terrace of their apartment. What started as a single shoot grew into an ongoing project documenting Rei and his friends through their teenage years. Rei is now studying at LaGuardia High School and training as a dancer at Alvin Ailey. “I myself dropped out of high school and feel that I left my youth unfinished,” Jidai says. “I’ve always been drawn to youth, to the unique brilliance, fragility, and emotional volatility that only exists in that period of life.” The book launches Friday May 29 at Blankmag Books NYC, 17 Eldridge Street, from 6 to 9 p.m.

How Gaming and Painting Shaped Theo Liu’s Lens
“Most of my work comes from pure instinct. I don’t want to kill anyone’s fantasy,” says Theo Liu, the Paris-based photographer featured in Models.com’s next Behind the image. With a background in professional gaming and painting, Liu found his creative language through photography, building a distinct visual world shaped by intuition and emotion. Today he collaborates with names like Irina Shayk, Anok Yai, and Devon Aoki for publications including Vogue Italia, Vogue Japan, and Dazed. In the full interview, Liu discusses what fulfills him most about image-making, the challenges of the industry, and the creatives he believes are ones to watch. Read more here.

Model of the Week: Hot Lister Isabella Pascucci Debuted as a Prada Exclusive
Model of the Week has arrived with Hot Lister Isabella Pascucci, who made her debut as a Prada exclusive. Photographed by Cristian Martinelli, Isabella opens up about how she was discovered, her passions beyond modeling, and the change she hopes to see within the industry here.

Models.com and Mentoring Matters Present “Who Gets in?”
On Tuesday May 26, Models.com and Mentoring Matters will present “Who Gets in?”, an Industry Access conversation about community, access, and what building a career in fashion, beauty, and media really looks like, hosted at Soho Works. The panel features Mentoring Matters founder Laura Edwards, hairstylist and Echelon Noir co-founder Jawara , Harper’s Bazaar U.S. Executive Digital Director Lynette Nylander, and Supreme’s Director of Strategic Costing Jessica Lin, moderated by Models.com features editor and Mentoring Matters alum Anire Ikomi. RSVPs are closed but stay tuned for when the conversation is available on Models.com.

MDC Selects: These Rookies Have Cinematic Minds and Fearless Ambitions
From Germany to Tennessee, these four new faces share more about themselves, winning acting awards, being street scouted, and seeing life through a cinematic lens. Find the full interviews here.

Marylore Heck at Louis Vuitton Cruise and Noor Mutsaers at amfAR
This week we followed two faces behind the scenes.Marylore Heck gave us a day in the life at the Louis Vuitton Cruise 2027 show, and Noor Mutsaers took us along to amfAR in Cannes.

]]> How Gaming and Painting Shaped Theo Liu’s Lens https://models.com/oftheminute/?p=170356 Tue, 19 May 2026 17:55:32 +0000 https://models.com/oftheminute/?p=170356

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Theo Liu, Photographer Hometown: “Oumuamua” Based In: Paris, France Representation: MA + Group You came from a background in professional gaming and classical painting before moving into photography. What prompted that shift? Gaming, painting, and… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Theo Liu | Image courtesy of MA + Group

Theo Liu, Photographer

Hometown: “Oumuamua”
Based In: Paris, France
Representation: MA + Group

You came from a background in professional gaming and classical painting before moving into photography. What prompted that shift?
Gaming, painting, and photography were like awakenings: the same thing arriving in different forms. There’s a saying from an older manuscript tradition of the Tao Te Ching: 大器免成 — “The greatest vessel needs no completion.” I believe that. I did not choose photography. I had a dream, picked up a camera, and something shifted, a so-called life-changing click, at least in retrospect. Photography fulfills me. Through the lens, I see the world, and somehow, at the same time, I see myself.

How does your background in art and gaming shape the way you build an image?
Gaming plays an operational Yin to the creative Yang of my painting experience. Gaming rewired me. What’s more resilient than someone who has died a thousand times and kept going? Every failure became a signal, every loss a recalibration. That’s neuroplasticity in action. It built something foundational underneath: execution, logic, spatial awareness, team rhythm, crisis management, and time pressure. All running at once, all under control. What gets built underneath is not technique, but will. That’s what I bring to every shoot. Painting taught me to decide in an instant, to trust intuition. Before anything happens, I already know where the image lives. In the time it takes to press a button, the entire frame is painted. When I studied murals, where your work sat ten feet above someone’s head, you learned quickly how to command a gaze. There was no room for doubt. Printmaking, meanwhile, feels like the ancestor of black-and-white photography, a discipline rooted in letting go: what stays, what disappears. Every mark is a commitment. That precision carried directly into the way I shoot.

There’s a distinctly dreamlike quality to your images, as if they exist slightly outside of reality. How would you describe your work, and what’s your trademark?
A voyant. A lucid dreamer. An Akashic reader.

What non-fashion influences shape your creative perspective?
The things that move me most are not aesthetic, but sensory. Gastronomy in all its forms. A sound sleep, ice cream, and making things with my hands. I’m equally drawn to the invisible: theology, feng shui, esotericism, meditation. Then there are the senses themselves, animation for the eye, experimental music for the ear. And finally, movement and connection: constant travel, not for sightseeing, but in search of origins.

With the growing presence of AI in image-making, where do you see its role within your own work?
It is a tool, and my feminine alter ego. I use it to amplify and to randomize. Instinct takes me somewhere. AI takes me elsewhere. The gap between them is where things get interesting.

Do you ever imagine full stories behind your images, or do you prefer to let the viewer create their own interpretations?
Most of my work comes from pure instinct. I don’t want to kill anyone’s fantasy.

What do you love most about what you do?
The career opens up a gateway to the beauty in itself. I feel blessed and want to cherish every moment of my life.

What are some of the biggest challenges you’ve faced professionally, and how have they shaped your growth?
Hindsight makes mountains into hills. Nothing in this industry comes close to dying a thousand times and getting back up. There’s always a bigger monster ahead.

What have you watched, heard, or read lately that has inspired you?
Loop Hero. A game about a warrior trapped in a loop, rebuilding the world from memory. To live means to die before.

Who’s one to watch?
All the talents from the MA+ Group.

Selected Work


Irina Shayk by Theo Liu | Image courtesy of MA + Group

Formula 1 for Vogue Italia
It was such a joy to shoot with Irina (Shayk) that day. We clicked like long-lost sisters.


Devon Aoki by Theo Liu | Image courtesy of MA + Group

Devon Aoki for Vogue US & Italy
It was a two-day shoot for Vogue in Tokyo. Everyone was exhausted, but the urge to create still remains. This photo with Devon (Aoki) appears like a siren, but everyone was impressed by the impact of it.


Amelia Gray by Theo Liu | Image courtesy of MA + Group

A Pop Quiz With Takashi Murakami for Dazed Magazine
We were lucky enough to shoot in Center Pompidou before its complete closure for a five-year renovation.


Caroline Trentini by Theo Liu | Image courtesy of MA + Group

Balmain F/W 24 Campaign
It’s one of my most iconic images ever.


Anok Yai by Theo Liu | Image courtesy of MA + Group

Anok Yai for Vogue Japan
In this picture, there is Anok (Yai) and a team of LOVOT, an adorable companion robot designed not to work but simply to be loved. They have been my favorite little companions lately, pure emotional support. They bring such joy, and since they don’t speak our language, there’s nothing to hold back.


By Theo Liu | Image courtesy of MA + Group

The 01 for Vogue Japan
This image reveals a prototype that exists alone in a cold, empty world. The two figures are me, which are left open for whatever the audience wants to see. Together, it reflects the creator’s current state: version 0.1.

]]> LVMH Is Selling Marc Jacobs, Louis Vuitton Is Heading to NYC For Cruise, and more news you missed https://models.com/oftheminute/?p=170341 Sat, 16 May 2026 13:00:35 +0000 https://models.com/oftheminute/?p=170341

LVMH Is Selling Marc Jacobs After Nearly 30 Years It has been an open secret for a while that Marc Jacobs and LVMH were potentially parting ways, and this week it became official. LVMH has entered into a definitive agreement to sell the label to WHP Global, the New York-based brand management firm behind Vera… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

LVMH Is Selling Marc Jacobs After Nearly 30 Years
It has been an open secret for a while that Marc Jacobs and LVMH were potentially parting ways, and this week it became official. LVMH has entered into a definitive agreement to sell the label to WHP Global, the New York-based brand management firm behind Vera Wang and Rag & Bone, bringing nearly three decades of partnership to a close. G-III Apparel Group, which already has Donna Karan, DKNY, and Karl Lagerfeld in its stable, will co-own the brand through a 50/50 joint venture with WHP and take on the global operating business. Jacobs himself stays on as creative director, which was reportedly a sticking point in earlier talks with Authentic Brands Group, a deal that collapsed last year over price and his own involvement. LVMH first took a majority stake in 1997, the same year Jacobs was handed the creative director role at Louis Vuitton. “I am forever grateful to Bernard Arnault for his support, belief, and trust in me over the last 30 years,” Jacobs said. With the addition, WHP Global’s annual retail sales are expected to surpass $9.5 billion. [Vogue]


Marc Jacobs (Photo by Kevin Mazur/MG26/Getty Images for The Met Museum/Vogue)

Louis Vuitton Is Bringing Cruise 2027 to The Frick Collection
Nicolas Ghesquière has always had an eye for his show venues, and this year is no different. He chose The Frick Collection in NYC, which reopened after a multiyear renovation last year, to showcase the Louis Vuitton cruise 2027 collection on May 20, making it the first time the museum’s galleries have been used for a fashion show. The show also marks the start of a three-year sponsorship between the house and the museum, which includes underwriting free public evenings on the first Friday of each month through May 2027 and supporting three upcoming special exhibitions. A Louis Vuitton Curatorial Research Associate will join the museum’s department for two years. “Surrounded by masterpieces spanning from the Renaissance onward, we enter into conversation with a place where art, history and beauty have long been preserved and celebrated,” Ghesquière said. [WWD]

The Milan Fashion Week Men’s Calendar for Spring 2027 Is Here
Thom Browne is heading to Milan for men’s fashion week. The designer will show his spring 2027 menswear collection on June 22 at the 18th-century Palazzo Serbelloni. Paul Smith and Ralph Lauren are also on the schedule, while Prada and Dolce & Gabbana hold their usual slots, Giorgio Armani will bring the week to a close, and Dsquared2 is stepping back from a runway in favour of a presentation. In total the calendar will be 75 events, with 16 runway shows and 44 presentations. [WWD]

Alexander McQueen Short Film Is Coming
One of fashion’s most compelling and ultimately tragic relationships is finally getting the screen treatment it deserves. Andrew Haigh, director of All of Us Strangers and 45 Years, is set to direct Wild Bird, a short film about Alexander McQueen and Isabella Blow, with Russell Tovey playing McQueen and Olivia Colman as Blow. Tovey also wrote the screenplay, which imagines the two on a road trip seeking something like emotional redemption. Commissioned by WePresent, the arts platform of WeTransfer, the film has BAFTA-winning producer Susie Hall on board and three-time Oscar winner Sandy Powell is doing the costume design and it is set to be released later in the year. [Variety]

At PUBLIC Editions, Alex McWhirter Lets the Images Do the Talking
“Each new issue begins as a completely blank slate, bringing with it new ideas and new collaborations. When you spend an entire year working on an issue, it becomes an integral part of your life.” states Alex McWhirter, founder and creative director of PUBLIC Editions. Growing up in South East London, McWhirter loved studying covers and typography. After some time at V Magazine, he joined Calvin Klein during Raf Simons’ era. Now on their ninth issue of PUBLIC Editions, he shares with Models.com about collaborating with photographers like Glen Luchford, Elizaveta Porodina, and Frank Lebon. For this Behind the Image, see what he is inspired by and who he thinks is the one to watch here.

These Rookies Are Poets, Psychologists, and Philosophers
These rookies are poets, psychologists, philosophers, and the latest new faces entering the fashion industry. Sharing personal stories, unexpected facts, and reflections on the places they call home, these talents are bringing more than just looks to the fashion industry. Discover more MDC Selects and rising stars here.

New Additions to the Models.com Top 50 and Hot List Rankings
The Models.com Top 50 and Hot List just got some new faces. See who made the cut here.

]]> At PUBLIC Editions, Alex McWhirter Lets the Images Do the Talking https://models.com/oftheminute/?p=170311 Tue, 12 May 2026 18:35:30 +0000 https://models.com/oftheminute/?p=170311

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Alex McWhirter, Creative Director Hometown: London, England Based In: Los Angeles, California & Paris, France What first drew you to fashion, and what shaped your path into the industry? I grew up in South East… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Alex McWhirter

Alex McWhirter, Creative Director

Hometown: London, England
Based In: Los Angeles, California & Paris, France

What first drew you to fashion, and what shaped your path into the industry?
I grew up in South East London. My mum was a nurse who loved painting and drawing in her spare time, and my dad was a journalist for a business travel magazine. Our house was always filled with books, old newspapers, and paintings, and I think that combination in my immediate environment drew me to fashion through magazines. I loved poring over interesting images and layouts, studying covers and typography. In the mid-2000s, there was such an incredible variety, from Vogue Italia to 032c, that it was hard not to fall in love with print as a teenager. I hoped that one day I might have the chance to work at a fashion magazine. Eventually, my creative journey brought me to New York, where I became Art Director at V Magazine.

What led you to launch PUBLIC Editions, and how do you define its identity within today’s independent magazine landscape?
After my time at V Magazine, I was lucky enough to join Calvin Klein when Raf Simons became the new CCO. Going from an independent magazine with 20 employees to a $7 billion company undergoing the most significant rebrand in its history was a huge shift. It was every bit as creative, but the sheer scale of the organization meant ideas took time to come to fruition, and I missed the immediacy of working on a bi-monthly magazine, where shoots were constantly coming in thick and fast. That love for editorial is what led me to start PUBLIC Editions, I wanted to create a fashion magazine focused on the public at large. If there were an interesting subculture, we would cover it. If there were an incredible talent, we would find them. We try to approach everything with purpose and meaning. I wanted to return to the basics and let the images speak for themselves. No text, just a pure visual exercise. A beautifully printed edition of no more than 250 copies, created for the people who truly wanted it. Publishing once a year also allowed for more intimate collaborations between ourselves and each artist. The first time I knew we had succeeded was when I saw our images referenced on other artists’ mood boards. That’s when I realized our visual identity had truly made an impact.

The ninth issue of PUBLIC Editions centers on the idea of Uniform. What drew you to that theme, and how did you want it to be interpreted across the issue?
Fashion Director Eline Hoyois and I have always been drawn to uniforms because they embody a fascinating contradiction. On one hand, they can be imposed upon you; on the other, they can be self-selected. Either way, they act as markers of the communities to which we belong, and that is how we wanted to explore the idea of uniformity throughout the issue. For example, I’ve always been interested in the distinct style of Australian cowboys and cowgirls, also known as ringers. Their uniform is shaped by both heritage and practicality, and photographer Derek Henderson captured this through a compelling series shot at a rodeo in New South Wales. At the opposite end of the spectrum, Vivienne Westwood represents a different kind of uniform, one that is self-selected and signals a sense of subversion to the outside world. We were fortunate enough to access ten seminal years of the Andreas Kronthaler for Vivienne Westwood archive and bring its spirit to life on the moors of Dartmoor with photographer Siân Davey.

You’ve collaborated with photographers such as Glen Luchford, Elizaveta Porodina, and Frank Lebon. What makes a strong creative partnership for you?
I love that you mentioned these three contributors because each collaboration was very different, yet every story they produced feels unmistakably PUBLIC. We always try to develop story ideas that haven’t been done before. As I mentioned earlier, we’re inspired by the public at large, and I think that naturally feeds into our creative partnerships.The starting points are usually personal experiences and observations from our everyday lives, which then get translated into stories. When you’re approaching a subject from a new angle, there’s no better feeling than having the entire team excited to rally around an idea.

As a creative director, what continues to excite you most about shaping a publication today?
Each new issue begins as a completely blank slate, bringing with it new ideas and new collaborations. When you spend an entire year working on an issue, it becomes an integral part of your life. There’s nothing more rewarding than finally seeing it out in the world and watching people’s reactions as they flip through it at a launch event. And as soon as that moment passes, you begin again.

What have you watched, heard, or read lately that has inspired you?
I’ve been listening to a band called The Crying Nudes, who I saw perform at a gig in London. I was drawn to the mysterious nature of their performance and the sense of ambiguity surrounding the band itself. I really like the idea of art existing for the people who are willing to seek it out and engage with it more deeply.

What’s something outside of your work that you would like people to know about you?
I actually studied car design for my degree, and I’m really into cars. I’m a huge fan of road trips and the unique places they can take you.

Who’s one to watch?
Our Fashion Director, Eline Hoyois.

Selected Work


Helena Olmedo by Siân Davey | Image courtesy of Alex McWhirter

PUBLIC Editions Spring 2026 Covers: Uniform
It was a huge honor to work once again with British photographer Siân Davey for the latest issue of PUBLIC Editions. Together with Eline Hoyois, we captured seminal looks from the Andreas Kronthaler for Vivienne Westwood archive against the backdrop of Dartmoor National Park. We wanted to tell the story of each individual piece through movement, and by working closely with Anita Bitton and her team at Establishment Casting, we discovered our cover talent, Helena Olmedo. As a contemporary dancer, Helena brought her own unique choreography to the story, interacting with the world around her from page to page.


By John Yuyi | Image courtesy of Alex McWhirter

A Slap-up Meal for PUBLIC Editions
I’ve always been fascinated by Japanese subcultures, and one of the weirder ones that I read about was the slap cafe – a cafe where you pay to receive a slap on the face by your server. Photographer John Yuyi and stylist Giulia Revolo are such amazing talents, and using their abilities to craft compelling narratives, they recreated our very own slap cafe in Tokyo, with local models cast by Taka Arakawa to play the role of server and recipient. The resulting portfolio of images is one of the most original and fun cover stories that we have ever shot.


Guinevere van Seenus by Guinevere van Seenus | Image courtesy of Alex McWhirter

Van Seenus for PUBLIC Editions
Guinevere van Seenus is not only an iconic model but also an incredible photographer. Myself and stylist, Roxane Danset worked on a self-portrait series exploring her personal views on womanhood, inspired by the work of Francesca Woodman. We shot at an abandoned loft space belonging to Guinevere’s friend in Brooklyn with just the three of us on location, framing poses and using whatever we could find as props. Guinevere wore Dries Van Noten pieces intimately styled by Roxane. This stripped-back way of collaborating is one of my favorite ways of working.


By Sean Baker| Image courtesy of Alex McWhirter

Nevada for PUBLIC Editions
Alongside fashion stories, we also commission art projects for each issue. For our fifth issue, we wanted to tell the story of America by letting each contributor choose their favorite state. We were beyond excited that Sean Baker wanted to contribute to the issue. He chose Nevada, and actually ended up traveling there to film a scene for his Oscar-winning film Anora. While there, he captured this amazing series of a newlywed’s car freshly decorated after tying the knot!


By Thomas Cristiani| Image courtesy of Alex McWhirter

Last Orders for PUBLIC Editions
London is my hometown, and I noticed that every time I visited, more and more pubs were shutting down due to the high cost of running them. Pub culture is such an inherent part of Britain, and I wanted to create a story that documented the locals in a community who recently lost their pub. Sarah Small, who runs Good Catch, did an incredible job helping us bring this story to life by casting locals all over London. The resulting portraits of locals paired with their shuttered pubs were photographed by Thomas Cristiani and styled by Cristina Firpo, and together, they created one of the most poetic stories we ever published.

]]> A.P.C. hires Ludivine Poiblanc, Chanel Is Heading to Rome, and more news you missed https://models.com/oftheminute/?p=170287 Fri, 08 May 2026 17:25:53 +0000 https://models.com/oftheminute/?p=170287

A.P.C. Names Ludivine Poiblanc as Artistic Director A.P.C. has appointed Ludivine Poiblanc as artistic director, stepping into a role that Jean Touitou held for nearly 30 years before stepping down in July 2024. Poiblanc is a stylist and creative director whose editorial work spans WSJ Magazine, Vogue, and Harper’s Bazaar, and whose commercial clients include… More...]]> A.P.C. Names Ludivine Poiblanc as Artistic Director
A.P.C. has appointed Ludivine Poiblanc as artistic director, stepping into a role that Jean Touitou held for nearly 30 years before stepping down in July 2024. Poiblanc is a stylist and creative director whose editorial work spans WSJ Magazine, Vogue, and Harper’s Bazaar, and whose commercial clients include Zara, Lanvin, and Calvin Klein. She will be responsible for shaping the brand’s image, and will present her debut collection at the Milan showroom on May 20, followed by the A.P.C. headquarters on Rue Madame in Paris on June 15. The appointment comes at a significant moment for the house: L Catterton took a majority stake in 2023, Stephanie Phair joined as president in October 2025, and reports surfaced over the winter of cash flow difficulties and a planned restructuring. “I’ve always been drawn to its radical simplicity, an archetypal wardrobe shaped by a quiet sense of dissidence and a distinctly French attitude,” Poiblanc said. [Vogue]

Chanel’s Next Métiers d’Art Show Will Be in Rome
Matthieu Blazy will present his Métiers d’Art 2027 collection in Rome on December 2 for Chanel. The exact location has not yet been announced. The news was accompanied by an archival photograph of Gabrielle Chanel with filmmaker Luchino Visconti, a nod to her longstanding relationship with Italy, which began in the summer of 1920 and informed her love of Renaissance painting, antique art, and Italian cinema. “Tackling Rome is always a challenge, because it represents a pinnacle,” said Bruno Pavlovsky, president of fashion at Chanel. The late Karl Lagerfeld last brought the Métiers d’Art show to Rome in 2015, presenting at Cinecittà. Blazy’s first Métiers d’Art show took place in a New York City subway station. [WWD]

Models.com Launches Its Editions Store
Models.com Editions is now live, our new store for limited releases and exclusive merch. The tagline says it best: wear the conversation. Edition 001 launches with a hoodie and a cap. Get 10% off your first order by shopping here.

Louis Vuitton Names Alysa Liu as Brand Ambassador
Louis Vuitton has tapped figure skater Alysa Liu as a brand ambassador. The 20-year-old California native made history at the 2026 Milano Cortina Winter Olympics by becoming the first American woman to win an individual gold medal in figure skating since Sarah Hughes in 2002, also taking home gold in the team event. Known for her halo hair with blond and brunette stripes and her self-designed skating costumes, Liu wore the brand to the Met Gala and attended the fall 2026 show during Paris Fashion Week. She joins an athlete roster that includes Carlos Alcaraz, Victor Wembanyama, and Yuto Horigome. [WWD]

Black Hair Reimagined Returns to New York
The second edition of Black Hair Reimagined: The New Era of Beauty returned to New York City last night during Met Gala weekend, bringing together a cross-section of the industry’s leading voices shaping the future of hair. Hairstylists Jawara, Malcolm Marquez, Fesa Nu, Vernon François,Issac Poleon, and Joshua Meekins were joined by beauty leaders Raisa Flowers, Jamal Scott, and Dawn Sterling, alongside stylists Solange Franklin, Ronald Burton III, Jan-Michael Quammie, Matthew Henson, Edward Bowleg III, and Yohana Lebasi. Models including Yasmin Warsame, Tami Williams, and Amilna Estevao took to the floor to reveal striking, transformative hair moments. We went backstage with photographer Bre Johnson for a behind-the-scenes look at the looks before the show went live. See the full images here.

The Met’s Costume Art Puts the Body First
Ahead of the Met Gala, we took a closer look at Costume Art, the Costume Institute’s spring exhibition that opened this week in the newly inaugurated Condé M. Nast Galleries. Curated by Andrew Bolton, Curator in Charge of the Costume Institute, the show pairs nearly 200 garments with artworks drawn from across the Met’s collection, organised around a series of thematic body types: the naked body, the anatomical body, the pregnant body, the corpulent body, the disabled body, and the aging body. Twenty-five new mannequins, each modelled from individual body scans and sculpted with mirrored heads by artist Samar Hejazi to shift attention from identity toward the body itself, were commissioned specifically for the exhibition. See more here.

Fashion Is Art, and the 2026 Met Gala Made Its Case
New York and fashion’s most anticipated evening of the year, the Met Gala, unfolded on the first Monday in May. From Anok Yai’s Our Lady of Tears look to Emma Chamberlain’s custom hand-painted Mugler gown and Beyoncé’s long-awaited return, we covered our favourite looks from this week’s Met Gala red carpet here.

Hailun Ma Is Reframing Central Asia Through Photography
“I didn’t discover photography in a dramatic way. It felt more like something that came naturally to me, almost instinctively,” says photographer Hailun Ma, based between China and New York City. Describing her work as intimate, instinctive, and rooted in personal memory, she moves between documentary and constructed imagery, photographing Rihanna for Vogue and shooting covers for T Magazine China among others. Check out the full interview here.

These Fresh Faces Talk Curling Clubs, Castings, and Coney Island
Learn how these four faces got their start in the industry, the scariest things they have done, and the essential parts of their daily routine. Find the full interviews with these model rookies here.

]]> Hailun Ma Is Reframing Central Asia Through Photography https://models.com/oftheminute/?p=170266 Wed, 06 May 2026 14:54:34 +0000 https://models.com/oftheminute/?p=170266

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Hailun Ma, Photographer Hometown: Ürümqi, Xinjiang, China Based In: Shanghai, China/New York City, New York Representation: East Photographic You studied at the School of Visual Arts in New York. How did you first discover photography,… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Hailun Ma| Image courtesy of East Photographic

Hailun Ma, Photographer

Hometown: Ürümqi, Xinjiang, China
Based In: Shanghai, China/New York City, New York
Representation: East Photographic

You studied at the School of Visual Arts in New York. How did you first discover photography, and was there a defining moment when you knew it would become your career?
I didn’t discover photography in a dramatic way. It felt more like something that came naturally to me, almost instinctively. Growing up in Ürümqi, I was surrounded by layered cultures, faces, textures, and contradictions. I think I was trying to understand that complexity before I even had the language for it, and photography became the tool. New York definitely sharpened that perspective. At school, I realized image-making wasn’t just about aesthetics or beauty; it was about authorship. There wasn’t one defining moment, but there was a quiet shift when I understood that I could use photography to build my own world.

How would you describe your work, and what’s your trademark?
Intimate, instinctive, and rooted in personal memory. It often moves between documentary and constructed imagery, while always staying close to real emotion. I’m interested in capturing people in a state of becoming, particularly within youth culture and communities that feel underrepresented. There’s a strong sense of atmosphere in my work, but it’s never purely about aesthetics. It’s about identity, where I come from, and how those experiences continue to shape the way I see. If there’s a trademark, I think it’s that sense of closeness, the feeling that I’m not observing from the outside, but existing within the moment itself. There’s often a tension between intimacy and distance, a quiet yet emotionally charged space.

You published your book Uruklyn last year, a title that plays on your roots in Ürümqi, Xinjiang, and Brooklyn. What inspired the project, and how does your background shape the way you build an image?
Uruklyn started as a playful word game, a way of merging the two cities that have shaped me and that I call home: Ürümqi and Brooklyn. But it quickly became something more personal, almost like building my own world. It’s deeply rooted in my background. I’m very proud of where I come from and of the cultural potential of Xinjiang and Central Asia, while also being shaped by a deeply international experience. Over time, those two places began to merge in my memory, not as opposites, but as part of one continuous landscape. For a long time, Central Asia has been visually underrepresented or misunderstood. Through my work, I want people to truly see us, not only aesthetically, but through the lens of cultural depth, complexity, and possibility.

Your work is often vibrant and immersive, inviting viewers into subcultures across contemporary China. What draws you to a subject, and how do you build trust with the people you photograph?
I’m drawn to a kind of beauty that feels raw and unpolished, something immediate and almost unresolved. It often brings me back to my hometown and to youth, to people who are still in the process of becoming and existing just outside fixed definitions. There’s a fluidity there that feels deeply honest to me. I don’t approach people as “subjects,” nor do I arrive with the distance of a photographer. I genuinely love people, and I’m deeply curious about how they move through the world. I need to feel a real connection, something instinctive and almost intuitive. I see the people I photograph as collaborators, sometimes even as reflections of something within myself. There’s usually a shared rhythm, something unspoken yet immediately understood.

Do you ever imagine full stories behind your images, or do you prefer to let the viewer create their own interpretations?
I love building a loose narrative framework for my shoots, a kind of story outline where certain things need to happen, or at least feel possible. But I’m not interested in resolving it into a complete narrative. I prefer to leave space for the world to unfold before me. That unpredictability is part of the magic of photography. The best moments are often the ones I could never have planned. I like it when viewers bring their own experiences into the work, when they project their own stories onto the image. In that way, the photograph keeps evolving. It doesn’t end with me.

You photographed Rihanna for Vogue China in 2024, focusing on her henna tattoo as a point of connection to your hometown. What was that experience like for you, both creatively and personally?
Photographing Rihanna was a special moment, but what made it truly meaningful was her openness to step into my world, something I deeply appreciated. The henna tattoo became a bridge. It immediately brought me back to my hometown, to something I grew up with and saw as part of everyday life, part of the visual language I come from. In that moment, the distance between us seemed to disappear. It felt like a rare and generous exchange. For me, it was a realization that something deeply specific and local to my own background could resonate on a global level and truly be seen. I’m genuinely grateful for that moment, and for the trust and openness she brought to the process.

What non-fashion influences (art, film, literature, music, etc.) shape your creative perspective?
Real life, memory, people, the textures of my hometown, old photographs, passing conversations, music, things that aren’t fully formed.

What do you love most about what you do?
What I love most is that photography constantly expands my world. If I weren’t doing this, I wouldn’t have gone to certain places, I wouldn’t have met certain people, and through those encounters, I’ve been given so many stories — fragments of lives I would never have experienced otherwise. Each person, each place, shifts my perspective a little. It makes my world feel larger. It’s something I don’t take for granted.

What are some of the biggest challenges you’ve faced professionally, and how have they shaped your growth?
One of the biggest challenges has been staying true to my visual language while working within the industry’s structure. There are always expectations from clients and from the market about how things should look or feel. Early on, there were moments when I questioned whether I needed to adapt more. Over time, I realized that what makes my work resonate is exactly what feels personal and specific to me: my background, my perspective, and the way I build images. Instead of trying to fit in, I focused on refining those qualities.

What have you watched, heard, or read lately that has inspired you?
I’ve been traveling a lot lately, so I’ve been revisiting documentaries I downloaded on my iPad. I’ve been really into Tyler, The Creator’s documentary, Very Ralph, and Stutz. They’re not necessarily visual references for me, but more about mindset.

Who do you think is one to watch?
Right now, I’m more interested in communities than individuals. There’s a new generation of Central Asian creatives building their own visual language, and that shift is something to watch.

Selected Work


Rihanna by Hailun Ma | Image courtesy of East Photographic

Rihanna: Beauty In Individuality for VOGUE +
Photographing Rihanna was already a milestone, but seeing her standing in front of the Atlas silk felt especially meaningful. It brought something deeply personal and cultural together in a very natural way, and that moment has stayed with me ever since.


By Hailun Ma | Image courtesy of East Photographic

Let‘s Dance for T Magazine China
I’ve always wanted to create a story centered around the music and dance culture of my hometown, Xinjiang. I’m really happy this idea came to life with the support of my stylist and editor friend, Evan Feng. What made it even more special was that the entire story came together with talent from Xinjiang, with me behind the camera, alongside models and extras from the region. In between setups, we even found ourselves dancing together. It happened naturally. It feels incredibly meaningful to finally tell our own story.


By Hailun Ma | Image courtesy of East Photographic

Yaxlar for Nike
At the beginning of 2026, Nike China supported me in creating a zine focused on China’s underground rap scene, featuring rappers from my hometown. It was a fully independent project. From concept to execution, everything was built by us.


By Hailun Ma | Image courtesy of East Photographic

Modern Weekly Style 中亚男性风格
I first explored a similar idea back in 2020, inspired by the aesthetics of Xinjiang and Central Asian masculinity. At the time, I wasn’t fully satisfied with the result. I don’t think I yet had the resources or experience to realize it in the way I envisioned. Five years later, I revisited the idea and pitched it again. This time, it came together in a much more complete and intentional way, eventually becoming the cover story for MWS.


By Hailun Ma | Image courtesy of East Photographic

A.P.C Carter Blanche series 07
I’m very grateful for the trust that A.P.C. placed in me to realize this project in my hometown. It’s a commercial story, but also a deeply personal one. I’m happy to show where I come from through a brand like A.P.C. For me, it’s always about finding a balance where the brand and my own perspective can coexist.


Jonathan Anderson by Hailun Ma | Image courtesy of East Photographic

T Magazine China March 2026 Covers
It was a privilege to photograph Jonathan Anderson. This image is one of my favorites, and in many ways, it reminds me why I’m so drawn to portraiture. It’s simple, yet it feels completely in the moment. It was a true collaboration with Mr. Anderson, and also a slightly unexpected moment. It’s something I’ll always cherish.


By Hailun Ma | Image courtesy of East Photographic

Life Magazine China × Louis Vuitton City Guide
I really love this image. It comes from a childhood memory, as well as an old photograph that stayed with me for a long time. There’s something about the movement that feels deeply personal yet warm. For me, fashion is never cold. It always carries emotion.

]]> Black Hair Reimagined Took Over New York at Full Volume https://models.com/oftheminute/?p=170216 Mon, 04 May 2026 12:30:38 +0000 https://models.com/oftheminute/?p=170216

Photography by Bre Johnson for Models.com Friday night in the Flatiron District, as fashion’s Super Bowl weekend reached its peak, the second edition of Black Hair Reimagined: The New Era of Beauty returned with clarity of purpose and cultural weight. Presented by Echelon Noir, the showcase has quickly established itself as a statement on authorship,… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

Photography by Bre Johnson for Models.com

Friday night in the Flatiron District, as fashion’s Super Bowl weekend reached its peak, the second edition of Black Hair Reimagined: The New Era of Beauty returned with clarity of purpose and cultural weight. Presented by Echelon Noir, the showcase has quickly established itself as a statement on authorship, community, and the evolving language of Black beauty within fashion’s global system. Helmed by creative directors Jrod Lacks and Jawara, the evening brought together a cross-generational network of image-makers who have long shaped, challenged, and expanded the industry’s understanding of hair. Names like Jawara, Malcolm Marquez, Fesa Nu, Vernon François, Issac Poleon, and Joshua Meekins anchored the presentation, each contributing a distinct point of view rooted in both technical mastery and cultural fluency. Alongside them, beauty artists Raisa Flowers and Jamal Scott, with manicures by Dawn Sterling, reinforced the allure of collaboration for a unified narrative.

Casting, led by Liz Goldson, was central to the show’s impact. Known for her precise eye, Goldson assembled a lineup that reflected both the history and future of the modeling industry’s Black diaspora. Opening the show, Yasmin Warsame set the tone with a commanding presence that underscored the evening’s reverence for icons who continue to define standards. She was joined by a dynamic cast including Anyelina Rosa, Tami Williams, Amilna Estevao, Nyla Singleton, and Divine Mugisha, whose closing moment during Jawara’s showcase brought the presentation to a climactic finish. Together, the lineup moved beyond traditional runway conventions, embodying a living archive of Black beauty across generations and geographies. On the styling front, contributions from Solange Franklin, Ronald Burton III, Jan-Michael Quammie, Matthew Henson, Edward Bowleg III, and Yohana Lebasi introduced a layered perspective on how hair exists within the total package. A few, stellar George Trochopoulos pieces were spotted and each look was treated not as a study on texture and movement. Backstage, the energy was equally deliberate. Captured by photographer Bre Johnson, Models.com caught all the behind-the-scenes magic, moments before the show.


Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com

Photography by Bre Johnson for Models.com
]]> Vogue Expands to Romania, Saks Makes Cuts, and more news you missed https://models.com/oftheminute/?p=170199 Fri, 01 May 2026 18:37:53 +0000 https://models.com/oftheminute/?p=170199

Vogue Expands East With Romanian Edition Set for 2027 Vogue continues its global expansion with the announcement of a Romanian edition slated to launch in 2027, signaling Condé Nast’s ongoing investment in emerging European markets. Issuing out six issues a year under licence by newly established publishing company, Aemme, the latest move reflects a broader… More...]]> Vogue Expands East With Romanian Edition Set for 2027
Vogue continues its global expansion with the announcement of a Romanian edition slated to launch in 2027, signaling Condé Nast’s ongoing investment in emerging European markets. Issuing out six issues a year under licence by newly established publishing company, Aemme, the latest move reflects a broader strategy to localize luxury media while tapping into regional creative economies that have increasingly influenced global fashion narratives. Mario Antico, chief executive and founder of Aemme, is also the co-founder of Mercedes-Benz Bucharest Fashion Week. As Eastern Europe continues to produce both talent and cultural capital, the launch positions Romania as the next frontier in Vogue’s international portfolio—one where editorial identity and market growth intersect. An editorial lead for the new edition has not been named as recruitment for the role is ongoing, said the company in a statement issued on Wednesday. [BoF]

Saks Global Restructures With New Round of Corporate Layoffs
Saks Global has initiated another wave of layoffs at the corporate level, underscoring the continued recalibration of luxury retail amid shifting consumer behavior and ongoing consolidation. The cuts follow a period of aggressive restructuring after the Saks-Neiman Marcus deal, as the company looks to streamline operations and offset mounting costs. The move reflects a wider industry trend of legacy retailers being forced to adapt quickly to a market increasingly defined by digital-first strategies and tightened margins. [WWD]

Devil Wears Prada 2 Opens Worldwide
After weeks of promotion (from Anna and Meryl’s American Vogue cover to their viral video to appearances on all the talk shows for the main cast members), The Devil Wears Prada 2 finally landed in theaters and opened in previews on April 30, and nationwide on May 1st. Thursday’s opening night took in $10 million and it’s projected to take in $75-100 million domestically for the weekend. [Variety]

Adwoa Aboah and Cou Cou Launch a Mental Health Capsule
Adwoa Aboah has partnered with London-based organic cotton intimates label Cou Cou on a capsule benefiting Gurls Talk, the mental health platform she founded in 2015 for young women. The collaboration centers on an “Out of Order” slogan T-shirt, available exclusively at Dover Street Market London from May 16 and online via Cou Cou’s website this week. All profits go directly to Gurls Talk. Alongside the drop, Aboah will lead a series of conversations on Cou Cou’s platform with guests including musician Missy Dabice of Mannequin Pussy and stylist Becky Akinyode, on the realities of women’s lived experience and what it means to feel out of order.[WWD]

Prada Group Sees Modest Growth as Miu Miu Momentum Stabilizes
Prada Group reported a 3% organic sales increase, a tempered but steady performance following a period of outsized growth driven by Miu Miu. While the label remains a key engine for the group, recent figures suggest a normalization phase after rapid expansion. External pressures—including geopolitical tensions and shifting tourist spending—have begun to weigh on performance, even as Prada maintains one of the strongest multi-quarter growth streaks among its peers. [VOGUE]

Ward Stegerhoek on How Instinct Became A Powerful Hair Tool
There are hairstylists who follow the moment, and then there is Ward Stegerhoek, who has spent over four decades quietly shaping it. The Dutch-born creative reflects on how intuition has shaped his approach to working across editorial and runway. Models.com spoke with him about growing up far from fashion, his inspirations, and why the best hair, like the best luck, is simply an opportunity well prepared. [Models.com]

Rachel Polycarpe on Creating Hair That Moves with Emotion
In the latest Behind the Image, hairstylist Rachel Polycarpe explores the relationship between movement, texture, and storytelling. Known for working with artists like Olivia Dean, Polycarpe expands on her creative process, key collaborations, and how she approaches hair as an extension of narrative rather than just styling. Check out the story here on Models.com.

These Rookies Were Shaped by Strong Ties and Serendipitous Beginnings
The latest MDC Selects spotlights a new generation of models whose paths into the industry are defined by both personal connections and unexpected discovery. From Lagos to Hyderabad, these model new faces are passionate about mentoring, volunteering, and the freedom of expression. Meet the next generation of model hopefuls and learn more about how they were scouted, their upbringings, and the essential parts of their daily routine. [Models.com]

Chanel Takes Fans to Biarritz for Resort 2027
Back where it all began, Matthieu Blazy returned Chanel Cruise 2027 to Biarritz, the birthplace of Gabrielle Chanel’s first couture house in 1915 at Villa de Larralde, and to celebrate 100 years of the little black dress. The collection captured freedom, effortless elegance, and bold reinvention while honoring the spirit of the Chanel woman. Models.com spotlights the Establishment New York casting, bringing together fresh new faces, top supers, and iconic industry legends. Discover the full show casting here only on Models.com.

]]> Ward Stegerhoek on How Instinct Became A Powerful Hair Tool https://models.com/oftheminute/?p=170165 Thu, 30 Apr 2026 16:00:10 +0000 https://models.com/oftheminute/?p=170165

Linda Evangelista by Steven Meisel | Image courtesy of Bryant Artists There are hairstylists who follow the moment, and then there is Ward Stegerhoek, who has spent over four decades quietly shaping it. The Dutch-born hair visionary is behind some of the most enduring beauty images in recent memory, among them the look he created… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

Linda Evangelista by Steven Meisel | Image courtesy of Bryant Artists

There are hairstylists who follow the moment, and then there is Ward Stegerhoek, who has spent over four decades quietly shaping it. The Dutch-born hair visionary is behind some of the most enduring beauty images in recent memory, among them the look he created for Björk in her “Big Time Sensuality” video and Milla Jovovich’s neon-tinged, texturized bob in The Fifth Element. Stegerhoek grew up in a small farming village just south of Amsterdam, dreaming of becoming an architect, and discovered haircutting entirely by chance at fifteen. After beginning his career in Amsterdam, where he first crossed paths with Christiaan Houtenbos, he eventually followed him to New York for the shows, finding himself backstage with Cindy Crawford, Christy Turlington, and Linda Evangelista before any of them were household names. The career that followed was as unplanned as the haircut that started it all: decades of Vogue covers and creative partnerships with photographers, like Inez and Vinoodh, a friendship rooted in the late 1980s, when Stegerhoek was doing hair for Vinoodh’s fashion shows while Vinoodh was still designing clothes, and Inez was walking in them. In parallel, he also spent seven years as Art Director and Product Developer at Bumble and Bumble, then co-founded Living Proof and, with a team of fresh graduates, developed 17 patented materials that had never existed in hair care. “I have been doing this for over forty years,” he says, “but tomorrow I will go to work as if it is still my first day, with that same enthusiasm.” That quality, is what runs through everything Stegerhoek creates. Models.com spoke with him about growing up far from fashion, his inspirations, and why the best hair, like the best luck, is simply an opportunity well prepared.


Gracie Abrams by Sebastian Faena | Image courtesy of Bryant Artists

Where did you grow up, and what were your first memories of beauty and hair as a child?
I grew up in a very small town in the Netherlands, about fifteen minutes south of Amsterdam, just to give people a sense of location. It was really a small village full of farmers and lots of cows. We had lakes and boats and a bit of summer tourism around boating. We did not talk about fashion at all, and it was not something we really concentrated on. Quietly, though, I was always observing things. I was always attracted to people who had more of an individual style, people who were creating their own world. Fashion was not in our family at all, to be honest.

So how did you eventually make that transition into the industry?
It happened completely unplanned. I wanted to be an architect when I was a teenager, but I happened to fix a friend’s hair with a buzzer one evening when we were fifteen, and I had no idea what I was doing. I did not know how to connect the long hair on top to the shaved hair in the back, so it was a complete disaster. We were supposed to go to the local disco that night, and I had ruined his evening because he ended up with a line from ear to ear, long above, and completely shaved underneath. He almost did not go out. But once we convinced him and got there, the girls at the party were the ones who loved it. It became a small trend in my village. By Wednesday, the first three boys came to get the same cut. From there, it just developed, and eventually, girls were getting similar little buzzed pieces too. I still did not own a pair of scissors. I did it all with my father’s ear clippers. What made sense about it from the start was that hair, in a way, has the same ingredients as architecture, structure, textures, scope. But it was more attractive because you are working with a living person. It is spontaneous. You have to react in the moment. I enjoyed it very much.

What happened after that first accidental haircut took off?
My mother eventually kicked me out of the house because of all the hair on the carpet. So I ended up going to a local salon, where there was a stylist called Ronnie Stam, who had worked as an assistant to Christiaan (Houtenbos.) Every time Christiaan was in Holland, he would work in that salon, and when Christiaan was in Paris or New York, Ronnie would be there with him. I managed to get Christiaan’s number from Ronnie and started calling him. I was told to call back, called back, and was told to call back again. Eventually, I was told to call back in September. I called in September, and on that last call, I was told to come in October for the shows in New York. At that point, I was not making much money, so getting there was a real commitment. I saved up for the trip and put myself up for nearly two weeks. I ended up assisting Christiaan, and it was very exciting because this was just before the 1990s supermodel era really took hold. On my first show, it was Donna Karan or Bill Blass, and then we did Calvin Klein and Antonio Lopez, who was still alive. That show became my favorite right away. I met Christy Turlington, Cindy Crawford, Tatjana Patitz, Elle Macpherson, and Pat Cleveland. Cindy is exactly my age. We all met when we were sixteen or seventeen. Backstage at Antonio’s show, it became a real party, that Studio 54 feeling, with Keith Haring, Andy Warhol, Grace Jones, and Blondie all there together. That was the moment when everything clicked for me, I realized I did not want to work in a salon, I wanted to work in fashion.


Björk by Stéphane Sednaoui | Image courtesy of Bryant Artists

What was the turning point that took you from assisting to working independently?
At the end of that first week, Christiaan told me I was not assisting material because I had too many ideas of my own. At first, that felt like rejection. One of the people I most wanted to learn from had turned me down. But in hindsight, it was a real blessing, because it allowed me to become self-taught, to develop my own style, and to leave behind a strong signature after forty years of work, rather than becoming someone’s understudy. Christiaan and I have since become very close friends. I did his hair for the Comme des Garçons show, and I even saw him recently at the Inez and Vinoodh exhibition opening at The Hague. I thank him for it now, he was right.

What was your creative world looking like before you made it to New York?
I had already been working before that trip, doing test photography every weekend with young photographers from the School of Photography in The Hague. I did hair for free for years. That is also how I first met Vinoodh. He was a fashion designer before he was working with Inez, and I ended up doing my first fashion show as lead hairdresser for him. Inez was actually one of the models walking in that show. So we have known each other since the 1980s, a good twenty years before most people became aware of our collaborations.

You have been working with Björk since early in your career. Can you speak to the visual direction behind the hair in the “Big Time Sensuality” music video?
At that point, I had already worked with Björk several times over several years, and we were like two kids playing around. She is already in a whole room when she walks in. She has this aura. So for me, it was never about proving a point or showing the world what I could do with hair. We were standing on a flatbed in New York with the Twin Towers behind us, and I just said, why don’t we do Tower Inferno, like the movie? So we ended up with these coils on the hair, inspired by the towers. That is as simple as it was. It was not a preconceived concept worked out days before. Up until the very last minute, we were just hanging out, and then it was like a jazz musician reacting to the moment. That coil hairstyle became a huge thing, but it certainly wasn’t part of the plan. It was an accident again. I think that is why you have to be patient, keep working hard, and always stay present. Luck is an opportunity well prepared, as they say.

“You have to be patient, keep working hard, and always stay present. Luck is an opportunity well prepared, as they say.”

Who were your cultural and creative references growing up?
I was not aware of idols in the traditional sense. I was more inspired by people who created their own world, whether through music, art, film, or even a biologist who had discovered something incredible in nature. Very ordinary people with very personal style also inspired me. Amsterdam was already a very liberated city in the 1970s, and there were lots of colorful people around who dressed outside the norm, and those people really spoke to me. At the time, I was quite country, doing a lot of water sports, trying to keep up with school. Of course, I loved Iggy Pop and Blondie and listened to all of that, but the cultural shifts felt so organic back then. If you think about punk, it did not arrive in the shops. It came from the street, and it was a year or two before you could even find punk shoes in a store. Every five years, there was a real cultural change, from ska to reggae to disco, and it came from genuine sentiment. Styles grew out of that. We did not have social media, so we actually acted it all out instead of experiencing it on a screen in a private room.


Karen Elson by Steven Klein | Image courtesy of Bryant Artists

Your approach seems deeply intuitive. How would you describe your process when working with a subject?
I have never had the nerve to be so presumptuous as to say I know exactly what to do with someone’s hair before I get there. I am more someone who works with feelings rather than fixed ideas. I get to know my subject carefully. I work with them at the mirror. Sometimes very little needs to be done. But when a big transformation is happening, it is essential that it be done together with the person, because she is the one transforming. The psychology has to change alongside the hairstyle. The body language, the attitude, the mindset. The subject herself has to really believe in the new character she has become, because she will project it. That is ultimately what makes the image stand out. Of course, there are all the other elements on a shoot, makeup, styling, and the client’s vision. In the end, it is about the whole image working together rather than any one element in isolation. You want a character who leaps off the page, someone the viewer wants to dress like, not just a photograph of a hairdo or a handbag.

How do you approach finding the character in a subject?
A person with style is born from their character. Björk is someone you do not need to add anything to. It is more about working with who she already is than adding something on top. When something is very styled up, wigged out, done to the nines, you stop seeing a character, and you just see style. There is nothing wrong with that approach, but it is not my perspective. When I was in my twenties, I did all of that too, the big arts-and-crafts hair, and that is actually a good thing because in the process, you become a master of your craft. You could build a table out of hair if you go far enough. But as I matured, I came to understand that what actually walks in the street is the simple haircut. The difference of half an inch, or a fringe that is just slightly wider, it is always the small things that add up. The big yellow wig only gets applause from other hairdressers. That is how you do hair for hairdressers instead of for people.


Imaan Hammam by Inez and Vinoodh | Image courtesy of Bryant Artists

Can you speak about your creative process works with collaborators you have known for decades, like Inez and Vinoodh and Fulvia Farolfi?
Between the three of them, there is so much shared history that not everything needs to be explained. I first met Fulvia (Farolfi) when I moved to New York in 1991 or 1992 because we had the same agent and kept getting booked together. With Inez and Vinoodh, there has never been a mood board on set. No computer. No printed references from books. We still work in that old-fashioned way, completely in the moment. I am the same. I do not bring references to a shoot. Fulvia neither. We receive our subject for the day, and the first thing is a sit-down. A coffee, whatever it takes to put someone at ease. We start really looking carefully, and from there it is gentle, maybe something here, a slight texture adjustment there, a small chop. We work together quietly. We also make mistakes and have to undo things, and I think that is important. If you only ever do what you know will work, you just keep doing the same things. There is value in trying a different technique, because a different technique gives you a different result.

Where does your inspiration come from?
From people and from nature. It is not the big wild effects or the trending things. It is more the small things that stay with me and accumulate over a year or two, and then instead of doing something trendy, I end up doing something timeless. That takes patience. If you refuse to follow what just came down the catwalk, you are on your own, swimming in deep water. Editors often come in with a reference from the last show they loved. But if you do that, the whole team becomes the punchline because everyone knows where it came from. It is better to do the opposite if you want to be original.

You have also spent years in product development, with Bumble and Bumble and then Living Proof. How did that part of your career come about?
When Bumble started, I helped them build their entire line, and through that, I learned how lab work functions, how the industry around it operates, and the real value that comes from owning the copyright on a new material. After Bumble, I decided to try again with my own line. Everyone was going green at the time. I brought together some investors and some people who wanted to start the business with me, but they still wanted to spend a fortune on marketing companies to forecast where to invest. Both companies came back and said, Go green. I had a different idea. I said to the group: “Do you want to go to Central Park with all of New York and try to find a private spot to picnic on aloe vera and tea tree oil, things you cannot own and have no real market value? Or do you want to go in the completely opposite direction, walk into a deep scientific laboratory while the rest of the industry is not doing any real research at all?” That is how Living Proof started. We did six years of discovery work before we ever formulated a product. I asked for six recent graduates, not a single person who had ever worked in hair care before. I wanted people who would find new ways of doing things rather than people who already knew the standard approach. Over sixteen years, we developed 17 patented materials that had never existed in hair care, including antidotes to silicones. When Unilever eventually bought Living Proof, what they were buying was not a brand name. It was the intellectual property. They already had 60 haircare lines. They needed real estate, meaning materials they could actually own. My materials are now in all of those products, and they will be in people’s bathrooms for hundreds of years.


Lindsay Lohan by Chris Colls | Image courtesy of Bryant Artists

What qualities matter most to you in a product?
I like products that can be dialed, a small amount gives you a subtle effect, and a larger amount gives you something strong. That is very different from what the market generally wants; a hairspray that sets in the morning and holds all day. Set products are more like a foundation from a high-end beauty counter, where you can still see the skin underneath, as opposed to a theatrical foundation that fully covers. You need to be able to brush the product out and reapply it repeatedly throughout a shoot without it going sticky or gluey. One product I have never been able to do anything good with is silicone. Anything with silicone in it ruins my day. It is too heavy, too syrupy. It coats the hair too much. I prefer to work transparently, with as little coating as possible. To me, it is like dipping hair in honey.

Looking back across forty years in the industry, what are the major shifts you have witnessed?
The biggest change is the pace. We are going so much faster, sometimes there are three sets in a single day, social content, film, and photography all at once. The way we consume images has accelerated, and so the demand for images keeps accelerating with it. Budgets stretch thinner. The quality of the work spreads thinner, too, because of the pace. The second major change is where style comes from. When I was growing up, styles came from within culture, from the street upward. Punk arrived because people were angry. The hippie movement, disco, all of it. These were real eras, each about five years long, each genuinely descriptive of its time. I do not really see that now. We are manufacturing styles rather than culturally producing them. I miss the club kids in New York who started gluing foam under their sneakers in the East Village, that whole group around Patricia Fields. That was culture. It became platform shoes and an entire clothing movement, but it started in Tompkins Square Park and the clubs. I hope we find our way back to something real. I am hopeful that what comes next is not just manufactured pop culture.

What advice would you give to an aspiring hairstylist who wants to work in this industry?
Do not follow the trends, try to create the trends. Be patient, and be perseverant. It takes time to build something substantial, there are no shortcuts that lead anywhere worth going.


Ward Stegerhoek by Inez and Vinoodh | Image courtesy of Bryant Artists
]]> Rachel Polycarpe on Creating Hair That Moves with Emotion https://models.com/oftheminute/?p=170149 Tue, 28 Apr 2026 17:46:54 +0000 https://models.com/oftheminute/?p=170149

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Rachel Polycarpe, Hair Stylist Hometown: Brooklyn, New York Representation: Forward Artists How did you first discover your passion for hair? Was there a specific moment? Honestly, it started really young. I would raid beauty supply… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Rachel Polycarpe | Image courtesy of Forward Artists

Rachel Polycarpe, Hair Stylist

Hometown: Brooklyn, New York
Representation: Forward Artists

How did you first discover your passion for hair? Was there a specific moment?
Honestly, it started really young. I would raid beauty supply stores, trying to recreate the looks my hairstylist did on me. I was always drawn to more unconventional styles in hair magazines. But the real turning point? I remember helping a friend who was leading a fashion show and thinking, “This is where I belong. The adrenaline, the excitement, the looks, having my love for fashion and hair all in one space, I knew I needed more of that.”

How would you describe your work? What’s your trademark?

I’d say my work lives somewhere between structural and effortless. I love engineering looks, figuring out shape and balance, but I also enjoy when things feel a little undone, like you woke up looking chic and cool without even trying. I’m not sure what my trademark is just yet, but I’m obsessed with creating hair that moves, catches the light, and feels like it has a life of its own, something that sparks a bit of emotion. Even when it’s sculptural, there’s always a softness within it.

You’ve worked with artists like Olivia Dean and Chappell Roan. How do you translate their artistry into hair?
I’ve learned that it can’t just be about what looks good; it’s about what feels true to them in that moment. With musicians, I always start with the world they’re building. What does their music feel like? Is it nostalgic, theatrical, raw, or a little more chaotic? Then I think about silhouette, texture, and references that align with that. For red carpets, it’s about distilling their identity into a single, striking image. For tour, it’s more layered; it has to evolve, hold up under lights, and move through sweat and emotion.

What non-beauty influences shape your creative perspective?
Films are a major source of inspiration for me, especially those with a strong visual identity. I’m constantly pulling from cinematography, color grading, lighting, and different time periods. People-watching also plays a big role. Hair is such a personal form of expression, and it’s always interesting to see how someone approaches their own styling. Paintings and sculptures, in particular, are incredibly inspiring because hair is essentially sculpting in real time. Often, I’m trying to create hair imagery that evokes the same emotions you might feel when looking at a painting. Structure, balance, negative space, it all translates.

What other jobs have you had?
Oh, everything. Retail, office jobs, assisting, sweeping floors in salons, doing hair for free, just to build something. I even interned at a record label and worked as a wardrobe assistant. I think it’s important to explore all your interests and absorb everything. It all shapes your perspective and the person you become. Each role taught me something essential that I still use today.

What do you love most about what you do?
The transformation process, but not in a superficial way. I love watching someone become another version of themselves, seeing someone who may not be feeling their best grow in confidence and attitude. And the collaboration of it all. That moment when everything clicks, the stylist, makeup artist, photographer, the artist themselves. It’s electric. You can’t really replicate that anywhere else.

What have you watched, heard, or read lately that inspired you?
Honestly, watching the women I’ve been so lucky to work with go after what they want, work tirelessly to master their crafts, and champion other women while holding space for others has been both beautiful to witness and deeply inspiring.

Who’s one to watch?
I’m always drawn to people who have a point of view, not just talent, but identity. There are so many emerging artists right now who aren’t trying to fit into anything existing, and that’s where the magic is. The ones building their own worlds.

Selected Work


Olivia Dean by Daniel Jackson | Image courtesy of Forward Artists

Vogue Australia December 2025 Cover
This was my first Vogue cover, and I felt so honored to do it with Olivia (Dean) at such a monumental moment in her career. It felt really special.


Gabriette by Aidan Zamiri | Image courtesy of Forward Artists

Nothing Precious by Marcelo Gutierrez
Working with Gabbriette was amazing, and it was fun to create a look reminiscent of the 90s bombshell updos I loved growing up.


Hody Yim by Yanran Xiong | Image courtesy of Forward Artists

Blanc Magazine #27 July 2024 Cover
This Blanc cover always makes me smile. So many small details went into ensuring the hair’s shape worked in harmony with the clothing and makeup angles.


Olivia Dean by Damien Maloney | Image courtesy of Forward Artists

Olivia Dean for New York Times
I love the hair we did for the NY Times. It was soft, but there was a purposeful effort to still sculpt it around her face shape.


Elsa Majimbo by Abdul Ibrahim | Image courtesy of Forward Artists

Elsa Majimbo for Okay Africa
We had so many hair changes for this shoot, but this one was my particular favorite because it felt exaggerated in a way that still complemented the close and the space effortlessly.


Minami Gessel by Enmi Yang | Image courtesy of Forward Artists

Personal Project, 2024
This shoot was a beautiful collaboration with friends. The absence of clothing made me feel free to go for it and create shapes and angles that almost draw your attention right up to the face.

]]> The 2026 LVMH Prize Finalists Are Here, The Met Rethinks the Mannequin, and more news you missed https://models.com/oftheminute/?p=170106 Fri, 24 Apr 2026 19:46:52 +0000 https://models.com/oftheminute/?p=170106

The 2026 LVMH Prize Finalists Are Here Nine designers are now in the running for one of fashion’s most coveted prizes. The LVMH Prize announced its 2026 finalists today, a global shortlist spanning Belgium, Sweden, France, the U.K., Spain, Georgia, China, the U.S., and, for the first time, Kenya. Among them: Julie Kegels, Petra Fagerström,… More...]]> The 2026 LVMH Prize Finalists Are Here
Nine designers are now in the running for one of fashion’s most coveted prizes. The LVMH Prize announced its 2026 finalists today, a global shortlist spanning Belgium, Sweden, France, the U.K., Spain, Georgia, China, the U.S., and, for the first time, Kenya. Among them: Julie Kegels, Petra Fagerström, Gabriel Figueiredo of De Pino, Harry Pontefract of Ponte, Daniel del Valle of The Vxlley, Galib Gassanoff of Institution, Zane Li of Lii, Colleen Allen, and Anil Padia of Yoshita 1967. Several have honed their craft within major houses before launching their own labels: Figueiredo freelances for Dior, Pontefract is part of Glenn Martens’ Maison Margiela artisanal team, Kegels trained at Alaïa, and Allen previously worked at The Row and Calvin Klein. The final will take place on September 4 at the Fondation Louis Vuitton in Paris, where a revamped 17-member jury will award a €400,000 endowment. New additions include Celine’s Michael Rider, Loewe’s Jack McCollough and Lazaro Hernandez, and Pucci’s Camille Miceli, with Maria Grazia Chiuri returning in her role as chief creative officer of Fendi.[WWD]

The Met Rethinks the Mannequin
With the Met Gala just ten days away, this year’s exhibition, Costume Art, is already generating conversation for something beyond the red carpet: its mannequins. Curator Andrew Bolton has commissioned 25 new figures modeled after real people across a range of body types, pointing to the ways certain forms have been historically excluded from art, including the corpulent, disabled, and aging body. The typical fashion mannequin is roughly a women’s size 2, these figures challenge that standard. Nine individuals underwent full-body photogrammetry scans to create the figures, among them disability activist Sinead Burke, presented in a custom Burberry trench and a Vivienne Westwood dress, musician Yseult in a Maria Grazia Chiuri for Dior look, and designer Michaela Stark, whose corsetry-based work centers bodies fashion has often edited out. Stark’s three mannequins, dressed in her own designs, appear in the Reclaimed Body and Corpulent Body sections of the new Condé M. Nast Galleries, a 12,000-square-foot space inaugurated by the exhibition. The exhibition opens to the public on May 10, and the mannequins will not be retired afterward, they will enter the Met’s permanent collection. [AP News]

Chanel Taps Jacob Elordi as Ambassador
Chanel has tapped none other than Jacob Elordi as the newest ambassador for the Bleu de Chanel fragrance. The brand teased the announcement on Instagram, posing the question, “Who is Bleu?” Elordi joins previous ambassadors, including Timothée Chalamet. Thomas du Pré de Saint Maur, Head of Global Creative Resources for Fragrance & Beauty at Chanel, said, “I had been following Jacob Elordi’s career for several years, since Euphoria. I first met him on the set of the See You at 5 film for N°5, in which he stars alongside Margot Robbie, and it was a revelation. He perfectly embodies Bleu de Chanel, expressing freedom, mystery, magnetism, and a masculinity that blends modernity with a certain classic elegance.” [V Magazine]

Victoria Beckham x Gap Is Here
Victoria Beckham is partnering with Gap on a collection that reworks everyday staples through her signature lens, blending her refined aesthetic with some of Gap’s most recognizable pieces. Fleece sets, khakis, tees, and a strong offering of denim anchor the collection, finished with subtle details like Beckham’s VB signature in red stitching. Logo hoodies, sporty jackets, and jeans draw from Gap’s ’80s and ’90s silhouettes, bringing a slightly vintage edge to the lineup, while co-branded logos appear across key pieces. The campaign, photographed by Mert Alas and Marcus Piggott and directed by Troy Tyler, features creative direction by Isaac Lock and styling by fashion image consultant Alastair McKimm, with models Mica Argañaraz and Lina Zhang. “I love to elevate essentials, and there are so many in this collection,” Beckham said. “I often style a great pair of jeans with a heel, or combine a casual T-shirt with a strong tailored silhouette.” Prices range from $34 to $328, and is already selling out. [Vogue]

Teyana Taylor Is the New Face of Revlon
Teyana Taylor has joined Revlon as the newest ambassador for its Super Lustrous lipstick range. The singer, director, and actress, who took home a Golden Globe in January for her performance in Paul Thomas Anderson’s One Battle After Another, will front the brand’s ongoing Be Unforgettable campaign, a reference to Revlon’s original ’80s print series that featured Christy Turlington, Cindy Crawford, Oprah Winfrey, and Liza Minnelli. “Revlon has always championed women who define their own path, so stepping into this next chapter of ‘Revlon Be Unforgettable’ is an honor,” said Taylor. The Super Lustrous lipstick was originally launched in 1939 and sells around 11 units a minute today. Taylor joins a growing roster of ambassadors for the brand that includes Madelyn Cline, Ashley Graham, and country singer Megan Moroney, who was added earlier this month. [WWD]

i-D Launches Dedicated Beauty Vertical and Zine
i-D Magazine is expanding its beauty coverage with the launch of its first-ever print beauty zine, a new vertical spanning print, digital, and social. The initiative is led by editor-in-chief Thom Bettridge alongside makeup artist Marcelo Gutierrez, who was appointed global beauty editor-at-large in November 2025, and beauty features editor Nellie Eden. Tyla fronts the inaugural issue, exploring her cultural heritage through a series of beauty looks created with Gutierrez. The 50-page zine also includes a reworked version of i-D’s “Straight-Ups” franchise, shifting the focus from outfits to faces, with Londoners reflecting on their relationships to beauty. A second print zine is set to follow later this year. Gutierrez said, “i-D has managed to create a space that’s aspirational, letting both legends and newcomers create images that stand the test of time. In terms of collaboration, that’s what I’m really excited about.” [BoF]

Dior’s Crafting Fashion Exhibition Lands in Atlanta at SCAD
A Dior exhibition is coming to Atlanta, and rather than focusing on the finished image, Dior: Crafting Fashion turns its attention to the process behind it. On view at the SCAD FASH Museum of Fashion + Film, the show brings together nearly 100 haute couture looks alongside muslin prototypes, sketches, and mood boards, tracing how the house’s identity has been built as much in the atelier as on the runway. Spanning seven sections, the exhibition follows Dior from its founder through successive creative directors, including Yves Saint Laurent, John Galliano, Raf Simons, Maria Grazia Chiuri, and Jonathan Anderson. Rather than presenting a single narrative, it highlights how each designer has reworked the house’s codes through their own lens, drawing from art, architecture, and contemporary culture. Highlights include the Atelier room, where annotated muslin samples reveal the technical precision behind couture, and sections like “Dior Gardens” and “Head to Toe,” which explore the house’s enduring motifs and early ambitions around total look dressing. Accessories are also given focus, with the Lady Dior bag reimagined by contemporary artists and tied to the brand’s broader cultural impact. The exhibition runs from April 16 to August 23 at the SCAD FASH Museum of Fashion + Film in Atlanta. [Harpers Bazaar]

New Super Kit Butler’s Day Off
Kit Butler enters his New York era at a defining moment, fresh off being named Models.com 2025 Model of the Year. After a decade of top-tier bookings shot by photographers like Steven Meisel, Alasdair McLellan, and Luigi & Iango, the New Super has built a reputation for consistency, versatility, and trust. In an exclusive behind-the-scenes with director Will Pippin, Models.com joins Butler on a rare day off between fashion capitals to talk runway adrenaline, industry sacrifices, and the mindset required for long-term relevance. Watch the interview here.

Gideon Ponte on His Cerebral Approach to Set Design
Models.com’s next Behind the Image spotlights set designer Gideon Ponte, whose work helped shape iconic films like Mary Harron’s American Psycho and I Shot Andy Warhol—the latter marking his breakthrough realization that set design could be a career. Today, Ponte collaborates with leading luxury houses including Saint Laurent, Gucci, and Valentino, with a strong focus on the collaborative effort behind every image. In the latest Behind The Image, discover how technology has changed the process, who’s one to watch, and more. Read the interview here.

Model of the Week: Silvia Arenas Went From Shanghai to Paris To Debut at Chanel Couture
“Going from Shanghai to Paris and making my debut with Chanel Haute Couture… come on! It was a moment I had been waiting for my entire life,” says Silvia Arenas, Models.com Model of the Week. Originally from Barcelona, Arenas always wanted to be a dancer, but her path shifted at 16 when she stepped into the world of modeling. Now, over 15 years later, her client list includes powerhouses like Chanel, Givenchy, and Tom Ford. Don’t miss this interview by Rosie Daly, where she shares the one song she has on repeat, something that might surprise people about her, and a change she hopes to see in the industry. Click the link here to read the full interview and view images by Zoe Karssen.

From Vilnius to Costa Rica, These New Faces Are Writing Their Own Playbooks
From Lithuania to New York, Models.com brings you six new rookies this week! See who’s an epic fantasy nerd, who’s been collecting vinyl since they were 13, and who has travelled around the world solo. Check out the full interviews here.

]]> Gideon Ponte on His Cerebral Approach to Set Design https://models.com/oftheminute/?p=170062 Tue, 21 Apr 2026 14:44:18 +0000 https://models.com/oftheminute/?p=170062

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Gideon Ponte, Set Designer Hometown: London, England Representation: Magnet How would you describe your work? What’s your trademark? 1. Import and export – fracture, craft, theft. 2. Discarded images, orphaned images 3. We have GPS,… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Gideon Ponte | Image courtesy of Magnet

Gideon Ponte, Set Designer

Hometown: London, England
Representation: Magnet

How would you describe your work? What’s your trademark?
1. Import and export – fracture, craft, theft.
2. Discarded images, orphaned images
3. We have GPS, but we can no longer get lost.
4. Bad art, ad hocism.
5. Interesting or wrong.
6. High and low art. Taste, no taste.

I’ve always liked the Jane Bowles quote, “Nothing original about me except a little original sin.”

I read that you began your career as a researcher in production design. What initially drew you to set design, and was there a defining moment when you realized you wanted to pursue it professionally?
I went to art school in London in the 1980s, which felt like a real moment of cultural rupture. I moved to New York in 1987 to try my luck, and it was an extraordinary time when the art world, fashion, film, and music were all bouncing off each other. I started out working for galleries, but I gradually realized I was missing the act of making things. I can be quite cerebral, but I am also drawn to the process of discovery that comes through building and experimenting. My break came when Mary Harron made I Shot Andy Warhol. I initially worked as an art department researcher, and that eventually led to recreating all the artwork for the film. That was the moment when it really clicked that this could become a profession.

You designed American Psycho, a film that remains endlessly referenced for its aesthetic. Could you walk us through your collaboration with Mary Harron on that movie? What conversations shaped the visual language of Patrick Bateman’s world?
Mary (Harron) and I were friends long before we worked together. She’s incredibly smart and very clear about what she wants, and my job is to take ideas that might exist as just a line in the script and turn them into an architectural space. With American Psycho, a lot of our conversations were about absence. Bateman is essentially a void. His world is all projection, surface, and image, with no real trace of personality underneath. The spaces needed to reflect that blankness. To be honest, it was a massive leap of faith for me, and I’ll always be grateful to Mary for giving me the opportunity. The process was really about research, looking very broadly at everything from bad commercial imagery and snapshots to strong documentary sources. Somewhere between those references, we found the film’s visual language and point of view.

Much of your work involves building environments that frame and elevate a narrative. When you approach a shoot or project, where does your inspiration typically begin?
I’m usually working from a brief, and my first response is often to come back with references. Part of the process is building consensus, making the invisible visible, and building imaginary worlds, the beautiful, the ordinary, and the stupid. At the same time, I have to collaborate closely with other filmmakers and creatives so that the set is not only visually interesting but also functional and practical to shoot. One way I do that is by drawing and producing 3D imagery of the set, thinking through how the space will actually work. This kind of previsualization is relatively new. It can, at times, take a little of the performative, live nature out of the process, but the scale of the fashion industry has grown enormously since many of us started. Now it’s normal to run multiple sets consecutively and produce far more material, campaigns, social content, behind-the-scenes, and still life, all within the same project.

You’ve collaborated with different brands like Saint Laurent, Gucci, and Valentino through the years. What’s your collaborative process like?
The process has changed a bit over time. When I started, I very much worked for the photographer, and in my mind, I still do. They are usually my first call when I hit a wall or am trying to solve something. More recently, designers like myself are often brought into conversations earlier, sometimes directly with the creative directors at the brands, which is great and very inspiring. It makes the collaboration broader from the beginning. In the end, we are relied on to create. Our skill set is taking inspiration and running with it, turning ideas into something physical. And it is always a collective effort. I work with collaborators all over the world, including my art department producer, Jenn Lee; construction teams; set decorators; lead men; greensmen; set dressers; and FX teams. And importantly, my agent at Magnet, who truly built my career.

You’ve spoken about the evolution of craft on Instagram from hand-drawing sets to working with CAD and Vectorworks. How has technology changed your process, and do you feel anything has been lost or gained in that shift?
We’re at an inflection point, and I’m not sure any of us fully know what comes next. Moving from hand drawing sets to CAD and Vectorworks has made the process faster, more explicit, and easier to communicate. But something has been lost, too. When you drew everything by hand, there was room for the ideas to breathe, grow, and evolve. It’s ironic because the ideas that shaped the 1990s, cyberpunk, William Gibson and the notion of simulacra, imagined a world where reality would be mediated through images. That’s essentially the world we live in now. As image makers, we’re reflecting that culture, but sometimes I wonder if we’re also circling back to an older mindset, the 1980s “greed is good” era, and Patrick Bateman for president.

Who’s one to watch?
As for who of the younger generation I’m looking at, there’s a whole new generation coming up, and it’s great. It’s their turn. I’m so lucky to have come across so many wildly talented people along the way, who brought so much to the sets and then went on to have their own amazing careers. I think this time is an inflection point, and I’m very interested in how artists start to reflect it. The whole world feels like it’s under a psychological experiment. Engineers may have built these new modern systems, but artists are needed to make sense of them. There is a real difference.

Selected Work


Vilma Sjöberg by Glen Luchford | Image courtesy of Magnet

Bold for Self Service
A photograph is a flat 2D space that you can play with to fool the eye. The trick is visible, and that is what makes it charming. The background is a painted backdrop. We built the balloon basket out of rope, an old laundry basket, and a hoop. We had a box underneath to support the weight, which was removed in post. It is fun to create these playful images that sit between imagination and the real.


By Glen Luchford | Image courtesy of Magnet

Gucci Pre-Fall 2018 Campaign
Working with Glen Luchford and Gucci, we rode a wave. Each season, the campaigns grew bigger and more extravagant. It was a great ride.


Eugenia Volodina by Steven Meisel | Image courtesy of Magnet

Exclusivity Couture for Vogue Italia
Photographed after 9/11, I was, in my own way, trying to express what I had seen. I was living in NYC on that day, and one of the planes flew overhead; it sounded terrible. I built a few structures and had no idea what to do with them until I got the studio and assembled a kind of assault course.


By Glen Luchford | Image courtesy of Magnet

Gucci S/S 19
Gucci showtime peak extravaganza, a fever dream, it was a love letter to a kind of filmmaking that is almost extinct, not sure I know how to unpack it.


Eugenia Volodina by Steven Meisel | Image courtesy of Magnet

Dolce & Gabbana F/W 2003
The set is inspired by Kubrick’s 2001: A Space Odyssey; rather than using milk glass on the floor, I used transparent glass so the viewer could see all the cables, construction materials, and the fluorescent tubes. This made it more utilitarian and stripped back, which I really like.


Christian Bale by Mary Hannon | Image courtesy of Magnet

American Psycho
I finished work on Buffalo 66 and went into American Psycho, very grateful for both projects, both very different.

]]> A Kate Moss Biopic Is Coming, Stella McCartney Partners With H&M, and more news you missed https://models.com/oftheminute/?p=170041 Fri, 17 Apr 2026 20:18:53 +0000 https://models.com/oftheminute/?p=170041

A Kate Moss Biopic Is Coming A new biopic about Kate Moss is coming out, centering on her relationship with artist Lucian Freud in the early 2000s. Titled Moss & Freud and set for release on May 29, the film takes an intimate approach, honing in on the period when Moss sat for Freud while… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

A Kate Moss Biopic Is Coming
A new biopic about Kate Moss is coming out, centering on her relationship with artist Lucian Freud in the early 2000s. Titled Moss & Freud and set for release on May 29, the film takes an intimate approach, honing in on the period when Moss sat for Freud while pregnant with her daughter. Famously, Freud first approached Moss after she shared in a conversation with i-D that one of her ambitions was to be painted by him, despite the fact that he rarely took on celebrity subjects. Their relationship went on to be transformative for both, with the finished portrait later selling for £3.5 million at a Christie’s auction in 2005. The film stars Ellie Bamber as Moss and Derek Jacobi as Freud, and is written and directed by James Lucas. Moss, who is also closely involved as an executive producer, has lent* legendary fashion pieces from her own archive to Bamber to wear in the film. [British Vogue]


Ellie Bamber and Kate Moss by Kate Green/Getty Images for BFI

Stella McCartney Partners With H&M
Two decades after her first collaboration with H&M, Stella McCartney is partnering with the retailer once again, revisiting a moment that helped define the high-low model in fashion. The original launch drew crowds around city blocks and followed closely behind Karl Lagerfeld’s headline-making debut with the Swedish giant. This time, the collection leans into McCartney’s ongoing commitment to sustainability and accessibility. Key pieces include an oversized trench coat made from Regenerative Organic Certified cotton, a faux snakeskin cropped bomber finished with recycled materials, updated versions of her signature Falabella bags priced between $99-$219, and a reissue of her Rock Royalty t-shirt first worn at the 1999 Met Gala. “I’m not an elitist designer, and I’ve always really struggled with the fact that the majority of people who love my stuff can’t get my stuff because of the price point,” McCartney said. [Vogue]

W Magazine Launches WYouth
W Magazine is launching WYouth led by Ava Nirui, former creative director of Heaven by Marc Jacobs, alongside W eidtor-in-chief Sara Moonves. Nirui said, “The idea for WYouth came from a conversation with Sofia Coppola and Sara Moonves, where we were thinking about the magazines we grew up with when we were teenagers,” says Nirui. “They were so influential and shaped all of the things we were obsessed with. We want to bring back that spirit, but for today—through pop culture experimentation and physical media, inspiring the next generation on style, beauty, and fashion history through the perspective of W Magazine.” The first print issue will debut in September 2026 and will publish biannually. [W Magazine]

Condé Nast Shutters Self Magazine
Condé Nast is shutting down Self Magazine, its women’s health title, after 47 years as part of a broader effort to streamline operations and focus on more scalable brands. In a memo, CEO Roger Lynch cited shifting audience behavior and said there is no clear path for the publication to continue in its current digital form. Despite reaching more than 20 million monthly readers and earning major industry recognition, Self remained unprofitable. Its health and wellness coverage will now be folded into Allure and Glamour, reflecting a wider move toward consolidating content under fewer, stronger titles. The media giant is also shutting down Wired’s Italy edition and winding down Glamour’s publishing operations in Germany, Spain, and Mexico. At the same time, Samantha Barry is stepping down as editor in chief of Glamour, and said on Instagram, “After eight phenomenal years at Glamour I’m stepping away. As the title’s business model evolved, I made clear to Anna and leadership at Conde that this was the right moment to leave and pursue new projects. It’s something I’ve been thinking about for a while and with changes to our global operations now is the time. I’m enormously proud of what we built together and the amazing people that make up the Glamour teams around the world.” [NYT]

Bella Hadid Is Releasing a Memoir
Bella Hadid is set to release her first memoir, Between Us, on October 6, 2026, offering a deeply personal look at her life through images, notes, and shared memories. Created in collaboration with her longtime friend and photographer Yasmine Diba, the book unfolds as a dual narrative that traces Hadid’s journey from her childhood in Malibu to stardom. Blending previously unseen photographs, handwritten captions, and text messages, Between Us captures both the public and private sides of Hadid’s life. Alongside major career milestones, including runway shows and campaigns for brands like Saint Laurent and Fendi, the memoir highlights more intimate moments, from her upbringing with Gigi Hadid and Yolanda Hadid to her experiences navigating fame, mental health, and her ongoing journey with Lyme disease. [Rizzoli]

The Art of Collaboration: Maxine Leonard and Valerie Wickes
In an industry that often treats beauty as something to be corrected, Beauty Papers has spent the past decade resisting perfection. Founded by Maxine Leonard and Valerie Wickes, the biannual title pushes image-making into something more confrontational and subversive. From Alex Consani transformed through Givenchy makeup compacts to a Dua Lipa zine and Cate Blanchett cinematic reinvention, the magazine continues to challenge how beauty is seen and understood. In this Models.com video interview, Leonard and Wickes reflect on creative freedom, independence, and redefining beauty today. Click here to watch the interview.

How Ariella Starkman Produces Immersive Experiences
“When we’re planning an experience, before any details are set, the first question is: What is the goal?” says Behind The Image creative Ariella Starkman, executive creative producer and founder of Starkman & Associates. Working with leading brands like Luar, Kim Shui, Timberland, and HommeGirls, Starkman has crafted immersive, world-building experiences that extend far beyond the event itself. In conversation with Models.com, Starkman reflects on breaking into the industry, what defines a successful event, and the creative talents she’s watching now. Read the full interview here.

At Nearly 50, Stephanie Cavalli Is Redefining the Runway
Since Matthieu Blazy took the reins at Chanel, one of the defining shifts of his era has been the presence of mature models on the runway. Typically seen as a rarity each season, Blazy has instead built a growing roster of recurring faces. Among them, Stephanie Cavalli stands out. At nearly 50, the Guadeloupean-Italian model opened Chanel’s F/W 2026 show after also opening the Spring Couture show earlier this year. With a career spanning over two decades, Stephanie Cavalli embodies a new vision of the Chanel woman. In conversation with Models.om, Cavalli discusses her journey, evolving ideas of beauty, and her connection to The Art of Joy as a guiding reference for life. Find the full interview here.

MDC Selects: These Rookies Were Scouted by Fate, Luck, and a Lash Appointment
These rookies were scouted by fate, luck and a lash appointment. See the full interviews on these new faces, whats one surprising thing about them, where they are from and much more. Click here for the full interview.

And don’t forget new additions to the Legends rankings, Adriana Lima, Karen Elson, and Laetitia Casta.

]]> At Nearly 50, Stephanie Cavalli Is Redefining the Runway https://models.com/oftheminute/?p=169809 Wed, 15 Apr 2026 18:18:38 +0000 https://models.com/oftheminute/?p=169809

Photography by César Segarra for S Moda for El Pais | Image courtesy of IconicFocus Models (New York) Elongated cranes of primary colors decorated the Grand Palais in Paris as the sounds of Cesária Évora’s voice blended seamlessly into Molly Lewis’ whistle, echoing across the museum. It was the last rollout of Chanel’s Fall/Winter 26… More...]]> .centerimg {padding:4em 7em;margin:20px 0;} .centerimg2 {padding:4em 4em;margin:20px 0;} .centerimg3 {padding:4em 3em;margin:20px 0;} .sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;} .centerimg img {margin-bottom:0px;} .instagram-media {margin:auto !important;} #wp-content hr {margin: 40px auto 80px auto;width: 80%;}

Photography by César Segarra for S Moda for El Pais | Image courtesy of IconicFocus Models (New York)

Elongated cranes of primary colors decorated the Grand Palais in Paris as the sounds of Cesária Évora’s voice blended seamlessly into Molly Lewis’ whistle, echoing across the museum. It was the last rollout of Chanel’s Fall/Winter 26 Collection at Paris Fashion Week and a further glimpse of Matthieu Blazy’s imagination. Since taking the reins at the fashion house, one of the most enigmatic aspects of his era at Chanel has been his use of mature models, one of whom stands at 5’8” and sports a salt-and-pepper bob. Nearly 50, Stephanie Cavalli opened Chanel’s A/W 26 Show fresh on the heels of opening the Spring Haute Couture Show in January. With a career that has spanned two decades on and off, the Guadeloupean-Italian model now serves as a quintessential reference for this era’s Chanel woman; a woman who has lived, and it’s reflected in the garments.

In the late 90s, Cavalli was studying foreign languages at the University of Rome in hopes of becoming a book translator when a friend asked her to be one of his photography subjects. Nothing came from the portraits until he called once more and then introduced Cavalli to her first agency. From then on, she pursued a career in modeling, which led her to Brooklyn, where she took on commercial projects. However, in her mid-thirties, when she was considered both too young and too old for clients, Cavalli left the industry behind. However, nearly three years ago, Cavalli debuted on the runway, and soon after began appearing in runway shows for Rachel Comey, Proenza Schouler, and Miu Miu. Born in Ostia, a small town outside of Rome, she now lives between Rome and New York, where, as noon approaches, Cavalli has just sent her son off to school. Later on in the day, she’ll head out for a fitting. Models.com contributor Nia Shumake spoke with the emerging runway model on her career, beauty, and her fascination with Goliarda Sapienza’s The Art of Joy as a reference for life.

Interview by Nia Shumake | Editor Irene Ojo-Felix


Chanel F/W 26 Show | Image courtesy of INDIGITAL

Growing up in Italy with a Guadeloupean background, how did those different cultural references shape your idea of beauty?
Both of my parents had an idea of beauty, but they were each very different. My mom was into nature, animals, and life. She was a midwife and was interested in birth and the harmony that life has in its forms, whereas my father loved art and antiques. He loved flea markets and would find old trinkets, collectibles, and watches, then bring them home. These two different approaches shaped the way I see beauty now, because I see it in what’s harmonious from nature to art, and it creates an emotion.

How did Ostia differ from Rome culturally, and how did that contrast shape you?
I grew up in the 70s and 80s, so my particular neighborhood was harrowing with delinquency. It was very rough and I had to defend myself from what was out there, but I wasn’t suffering. There’s an old movie from the early 80s on Ostia, Amore Tossico by Claudio Caligari and it’s about heroin addiction during that time period. I was about six or seven years old then. That movie says it all. Rome was the city with glitz and glamour, whereas Ostia was darker. There were heroin addicts walking the streets while we were kids, and once we got into our teenage years, it became more political. There was a fascist side. Ostia was filled with occupied centers called “espacio camino,” which meant a fireplace space. That was where I found my people. I grew up on one side and you had to be careful where you walked on the street because people sometimes yelled at you. On the other side, there was an enclave of people who were nice, funny, and welcoming. They taught me to brush the assholes off my shoulder. Ostia is now more diverse, which I love to see when I go, but I can see there are still many integration problems among people. In elementary school, I was the only black person, or person of color in school. While I’m mixed, my mom is Black and moved to Italy working as a midwife in a clinic. She was the only Black person working in that clinic. It was more intense for her than it was for me. I still have beautiful memories of my childhood, because we had the beach and on Sundays, the center of our world. I think both the glitzy city life and the frontier kind of living shaped me.

Was modeling always the plan, or did you ever envision a different path?
I did not think about modeling until I was 21. I had a friend who wanted to become a photographer and took a couple of pictures of me. I attended the University of Rome and got my degree in foreign languages because I wanted to work as a book translator or in book editing. That was the initial plan, but it took me longer to graduate because I was modeling. Although I did translate a couple of books.


Miu Miu S/S 25 Show | Image courtesy of INDIGITAL

Who were your favorite models and inspirations?
Kristen McMenamy was super cool. During the 90s, she had an androgynous, extraterrestrial look that I really liked. She had character. Every time I look at beauty, the character has to come through. I always thought that Erin O’Connor was extremely elegant, and I love pictures of Kate Moss when she’s wearing very little makeup. You can see her wrinkles and expressions. I’ve always been in love with Anna Magnani, an Italian actress from the 1950s-70s. She was handsome and strong. I like life behind the eyes, and when I see that, it’s what inspires me the most.

How did you first get discovered?
My friend, who wanted to become a photographer, eventually became one [in the early 90s]. At the beginning, he was just starting in Milan. He called me for a photo shoot once, and the second time I went, he introduced me to the person who would become my mother agency for a while. From then on, I went to Ford’s Supermodel of the World contest. I spent a week in Beijing with my agency, and that’s how I got in contact with my other agencies in Paris, Vienna, Germany, and in the States.

What event pushed you to move to New York City? What was life like for you once you made the move?
I was going back and forth. I did a couple of months here and there. I liked it, but I wasn’t particularly impressed, and then I met somebody and decided to stay for a while. I said I was going to stay for a couple of years and see what happens. I ended up staying longer. I knew a few people, and they were ultimately the people that I was going to end up hanging out with. My boyfriend at the time was American and spoke Italian too. We had a pretty big group of Italians and Germans, and we spent almost every day together. I remember bicycling around Brooklyn on weekends and going to parties and rallies together.


Chanel Haute Couture Spring 2026 Show | Image courtesy of INDIGITAL

You’ve mentioned that in your thirties, you were considered both too young and too old. When did you decide to halt that part of your life, and what ultimately drew you back?
I had my second son and stopped coloring my hair for that pregnancy. When I got back to work, the agency looked at me a little funny, but they didn’t say anything. They took some pictures, and then came back to me a few days later, and said, “The clients see a few grays.” I did end up coloring my hair, but in that moment, something inside me was proud of my little grays and liked my hair that way. I wanted to feel like I wasn’t that young girl anymore and that I was evolving into something else, and I wanted to give a real image to the person that I felt I was becoming. But that wasn’t allowed, so I started coloring my hair again, using Brazilian Keratin, but it wasn’t authentic. I was trying to look 31, because looking 38 wasn’t good. I noticed that it wasn’t working, and I decided, okay, this is the end of it. That’s when I started my business as an antique dealer, but not seriously. I was just looking for what fascinated me. I started selling at the flea market in Brooklyn. Then from there, I started doing the Manhattan Vintage Show, because I started to get into clothes. After the shows, I opened my shop in 2019, and around the same time, I started modeling through another photographer, Bill Westmoreland. He asked me, “Why don’t you try again?” Bill put me in contact with Iconic Focus, which is now my mother agency. During the pandemic, I stopped coloring my hair and let it grow out, and I noticed that it worked, so I rode the wave.

When you opened up your vintage shop, La Garconne, how did your work as a muse ultimately impact your eye for tasteful garments?
It helped me broaden my vision, seeing infinite possibilities within one garment. That came from working in fashion and observing how stylists would put things together in unexpected ways. It has influenced me when I choose something for my shop. It’s not only the look of garments, but the craftsmanship, draping, and intention that comes from working closely with clothes.

The Art of Joy by Goliarda Sapienza profoundly impacted the way you approach life. What was life like before the moment you read it, and then how did you approach life afterward?
I think that the change was already happening, but right in the moment, the book came to me in a serendipitous way. It tells the narrative of a woman from her birth up until her 60s, and the book doesn’t end with her death. The book has the best ending, and its last sentence is absolutely fantastic. It’s full of hope. It’s about this woman who is fascinating because she’s herself all the time. She’s an affectionate mother, but she’s also a Machiavellian idealist. She’s a lover of both men and women. She’s immoral to society, but also uses society to be where she is. She’s a woman with all her defects and qualities that create this full life. And it’s very hopeful, because it kind of makes me look at my own shortcomings as part of me. There is a moment where the woman says, “ At 50, I thought that my life was going to be settled and done and that I was going to be a finite human being, and instead, there’s still so much more and life is still bringing me more.” I want to have that look towards life. I don’t want to feel like “Oh my God, I’m turning 50! Oh my God, I’m turning 60!” I want to fight that and it’s hard because many of us were brought up thinking about aging as negative and being told that when you get older, you get tired, bitter, and that real life happens during youth. I am discovering how, for so many things, I am a happier human being now than when I was 20. I want to keep this hope. I want to keep this curiosity because once you don’t have any hope or any curiosity, then life starts becoming gray. It’s really up to us to keep curious and hopeful.


Miu Miu F/W 24 Show | Image courtesy of INDIGITAL

Let’s talk about embracing the gray—modeling is typically associated with youthfulness. Were you at all hesitant about how changing the color of your hair would affect opportunities, or did you believe that it would cause you to stand out even more so?
I started during the pandemic. When I stopped modeling, I started shaving my head, and for a while, it was so short I didn’t need anything, so I let it grow a little bit. Then, when I decided to let go of the shaved head, that’s when I started to let go of covering the gray. It happened naturally. I’ve noticed that my hair is much healthier and I like to think that when I started acquiring self-confidence, the work started. I think it has a lot to do with luck. I was at the right place at the right time, and I didn’t have any certainty that it would work. I didn’t think, “Oh, this is a good move and it’s going to work and people are going to appreciate it”. The mentality is changing and it might change again, but now is a good time. It’s definitely planting a seed for bigger changes ahead.

What made you make the leap between commercial modeling and runway? Outside of the more obvious reasons, what differences do you think would surprise most people?
It just happened. Commercial modeling is very different from runway modeling. High fashion allows more creativity and personality to come through. Whereas in commercial fashion, you follow more guidelines and have to be very careful. The clothes need to look perfect. There’s not one wrinkle that can be imperfect, and you always have to give the same smile. High fashion is more difficult because you have to let go of the prepackaged thing, and you have to show more of yourself, which can be challenging. We all have our insecurities, but ultimately, I noticed over the year that the more you have fun with it and let go of all the stupid things you believe about yourself, the less self-conscious you are, and that helps a lot in the process. With high fashion, you really feel like you’re part of a story.

Do you utilize research at all in your work as a model? I’m particularly interested in how you developed your runway walk.
It’s generally more related to the kind of client, and I research minimally. I look into clients and into photographers, and they get a general vibe, but I don’t want to obsess over anything because I cannot be something else. I cannot walk like somebody else. My walk kind of interprets what I’m wearing at the moment.

Let’s talk more about your work with Matthieu Blazy. What was the process of being cast for Chanel the first time in the Métiers d’art show in New York?
Well, it was a very regular casting. My agent called me a couple of weeks before and mentioned that they wanted to see me at a casting. I was nervous, but I went. I did the casting, waited in line like everybody. He made me walk twice. I got out of there, and two hours later, I was in the car with a friend of mine, and I was told I’d been confirmed for Chanel.

What was your immediate response when you discovered you booked Chanel’s most recent show as an opener again? Did preparation look different for you?
I thought Oh my goodness, what’s going on? And by the second time, I could not believe it, because I had opened and checked the time before, so I was not expecting it at all. I was elated, but preparation was pretty much similar; I had one less layer of anxiety because I had done it before.

How has modeling shaped your relationship with your body over time?
Because people were judging me, it eventually wore me out, and that’s when I needed a break. It’s when I started thinking, this is not good enough, this is not pretty enough. There was a time when I was considered too thin, and it was continuous. I have to say that I’m much happier now. I let go of those impossible goals, and I do my yoga practice every morning because it makes me feel good about my body without the idea of sacrifice. Yoga is about strength and flexibility, which is what I need in general in life. My body’s changing, and I’m going to be 50 in a few months, but I don’t know. So far, I’m happy.

Your career has spanned over two decades. What mantra has kept you grounded?
Everything changes, and nothing stays the same. We should just be part of the change and accept it, which means that when there is a wave to ride, let’s ride it. When something happens, it eventually goes away because time changes everything. What’s important today won’t be important tomorrow. The idea that everything passes and everything changes is kind of a consolation to me in good and in bad, that things change. It’s dark, but eventually I won’t even be here. One thing that my agent said a while ago was that, in a hundred years, this will all be dust. Franco Battiato sings a song called Siamo Solo Di Passaggio, and it simply says that we’re just passing through.


Photo by Melodie Jeng
]]> How Ariella Starkman Produces Immersive Experiences https://models.com/oftheminute/?p=169960 Tue, 14 Apr 2026 16:28:11 +0000 https://models.com/oftheminute/?p=169960

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent. Ariella Starkman, Executive Creative Producer Hometown: Toronto, Canada Based: New York City, New York Representation: Starkman & Associates How would you describe your work? What’s your trademark? I really believe time is our most valuable… More...]]> Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.


Ariella Starkman | Image courtesy of Ariella Starkman

Ariella Starkman, Executive Creative Producer

Hometown: Toronto, Canada
Based: New York City, New York
Representation: Starkman & Associates

How would you describe your work? What’s your trademark?
I really believe time is our most valuable currency. When someone leaves their house, gets dressed, and travels across the city, they are offering hours of their life they cannot get back. We take that seriously. The work is a success if people feel their time was honored, if they want to linger a little longer, or if the experience feels worthy of the effort it took to be there. This idea of honoring time is our foundation, and we build everything from there. Our goal is to create something memorable, so we do not think in terms of event components like music, food, or lighting. We think in terms of a world, an environment with emotional texture and cultural meaning. The work is meant to be felt and experienced.

As part of that world-building, I always look for at least one unexpected element to anchor the experience. It might be the venue, a hero moment, or what guests leave with, but there has to be some sense of tension or surprise to make it feel special. Often this comes from unexpected juxtapositions, when two things that do not naturally belong together suddenly make sense. It is not about being strange for the sake of it. It still has to feel coherent and aligned with the brief. But that shift from “what is this?” to “I get it” is what makes people feel something and remember it.

Like the custom Nike x Vaquera disco ball at their party last December. You always expect a disco ball at a party, but now it is lit from within with logos. The diamond-encrusted K for Kim Shui’s show spun in the fountain at New York’s beloved Barbetta patio, a Rococo dream with a Y2K material taking up space outside. The movie night on the beach for Fara Homidi Beauty’s bronzer launch trip in St Maarten last spring blended the luxury of the trip with the coziness of a movie night, and on the beach. We are continuing to build on these examples so the trademark is undeniable in the outcome. The key is that the surprise is never random. It is grounded in emotion and culture. People feel curious and delighted because something familiar has been reframed. The goal is not just spectacle; it is to design an experience in which that tension produces meaning.

What sparked your interest in creative production, and was there a defining moment that made you pursue it professionally?
My interest in creative production began before I realized the job existed. I had no awareness of what it would be like or that it was even an option for me. When I was a teenager, we moved to a suburban area, a shift marked by a sense of isolation and a kind of mundane sameness. I always longed for experiences that would help me feel more connected to myself and to those around me, and to create more joy in the process. I studied art history in college, and after a few gallery internships, I quickly realized it wasn’t for me. Not because I didn’t love being around art, but because I wanted more action and to be in the middle of creating the thing that made an impact. In 2015, I decided to produce a large group show that was part traditional art show, part panel, part party. It made me realize that I had the agency and ability (hello free will) to create the experiences I was craving. When I moved to New York three years later, I realized that sense of connection and joy, creating meaningful reasons to gather, was something other people, and by extension brands, were craving too. That early art show, and the willingness to figure it out myself, really cemented my desire to pursue what I later learned was creative production. The grit required to make it a career started the moment I got to New York.

What non-fashion/beauty influences (art, film, literature, music, etc.) shape your creative perspective?
When I spoke at FIT last year to the Intro to Entrepreneurship class, the professor asked me to put together a slideshow. Within it, I dedicated one page to various inspirations. This slide was a mixed bag of images: Skins (I was in awe of their freedom and fun), a ‘89 Comme Des Garcons ad (some big fish and bold text), a screenshot from the Spice World movie (I think about the production design weekly), a Martin Parr image (woman smoking on beach), a Charles Traub image (woman smoking on street), SATC Season 3 Finale (the roof scene), Richard Serra architecture (how does he make this!), Jenny Rubbell’s work (experiential food installation at its peak), and snippets from Lauren Greenfield’s seminal book “Girl Culture” (I feel seen!).

For a long time, after moving to New York and starting in fashion event production, I was really self-conscious about my inspirations and what gnawed at my foundation of influence, because I felt they weren’t in line with or additive to what was happening around me. I used to feel like everything I referenced had to be super highbrow. Because postmodernism made us (often subconsciously) value irony over all else, we end up being afraid to enjoy things sincerely. Part of getting older, accepting myself, and growing this business at the same time has been learning to embrace my unique sources of inspiration and joy. It’s everything from a Tiffany & Co. tablescape book to Bernadette Corporation’s creative legacy in New York. Rembrandt’s The Jewish Bride and Nan Goldin’s work from her time on the Bowery are both favorites because they both make me feel something. It’s accepting that movies like Clue and Marie Antoinette built worlds that you can feel totally absorbed in. It’s constantly thinking about how Cookie Mueller lived her life / what she left us with in her short time, what Bell Hooks talks about in Outlaw Culture, and being just as obsessed with Miranda July’s All Fours as every other woman you know. Inspiration comes from experiences that resonate within and echo out a kind of unfettered, palpable joy that’s rooted in feeling truly accepted or seen. I want to create spaces that engender that reaction as much as possible. The biggest and most important thing for me is leaning into the things that elicit a positive internal response.

When you’re planning an experience, what are the first details you focus on?
When we’re planning an experience, before any details are ideated or determined, the first question is: What is the goal? A lot of people overthink this. For us, a goal can simply be a feeling. Do you want people to have fun? Do you want them to learn something? More often than not, for a brand, it’s about leaving people with an emotional residue that keeps them thinking about the experience and the brand, long after it’s over. Creating a lasting memory requires effort, tact, creativity, and an obsessive attention to detail. If it’s void of that, you may as well be on the street giving away free samples. Which works, but does it create a lasting impact? Likely not. Once we understand the goal, we decide the best format to support it. Then we determine where the experience will take place, the venue or location. From there, it’s all about the details, and respectfully, none matter more than the other.The details are what shape the energy of the experience. Everything from the shade and temperature of the light to the guest layout and flow, the height, texture, and color of the flowers, and the feeling of the napkins. All of these parts make up the whole. Brand objectives resolve naturally as a byproduct. By centering the details, people are less on their phones. There is more to notice and connect with. Guests speak more openly, share organically, and form lasting associations and impressions.

What’s something that can really make or break a production, even if it seems small?
ENERGY! Be aware of how you show up. I would 1000% rather someone on my team tell me they’re not in the mood and leave for the day than have them suffer in silence and end up in a funk. We’re all part of an ecosystem together, whether that’s an 8-hour day on set, a 4-hour event, or a 5-day work week. We need to be aware of the energy we bring into a space. The importance of this cannot be understated. When we’re responsible for crafting the emotional architecture of a space, the success of which rides on the energy within, we always need to be conscious of what else is taking shape.

As you’ve produced shows for Luar and Lii. What factors are essential when planning a show, and roughly how many people are involved behind the scenes?
Shows are the absolute best. They’re high-pressure, high-intensity, magical endeavors where everyone comes together for a 20-minute moment. The most essential factors when planning a show are:
1. The Right team. This is NOT the time to teach you to fish. We need experienced fishermen in the room, and ASAP.
2. Space. A Big Back of House. Anything is possible in production; however, having enough room for everyone to do their best work without stepping on figurative or literal toes leads to a happier crew and the best output overall.
3. Adequate Power. I do not want the smoke from the key hair artist!
4. LIGHTING! We need to see the clothes! It sounds obvious, but it’s surprisingly overlooked. The audience is there to see a collection and even more importantly, the photos of the collection need to clearly show how the designer has chosen to put it on the runway (the casting, the hair, the makeup, etc.), as nothing happens by accident in a show. Please, for the love of God, hire people who understand how to light in person and for good photos. A fashion show is really like any other experience: all the pieces matter, but if you can’t properly see the garments, nothing else really works.

Depending on factors such as the number of looks, models, timing, and overall creative ambition, it can range from a minimum of 75 people to 200-300 [backstage]. There are so many factors in determining what is needed in terms of physical hands. It’s a game of Tetris every time!

How has working more closely in creative direction and production design changed the way you approach producing overall?
As we’ve taken on more creatively-led work, honestly, it hasn’t really changed how we approach production. From the beginning, we have been rooted in service, attention to detail, and creative problem-solving, and those values carry through. They don’t switch on and off depending on the project’s phase.I’ve never really seen creative and production as separate things. The idea doesn’t end when you start building it. If anything, that’s when it becomes more real as you have to put into practice what’s been committed to. Of course, we focus on pitching ideas that are grounded in reality. However, you are constantly adapting, adjusting, and figuring things out while still protecting the feeling you set out to create. A lot of the actual creativity happens there: in how you respond to constraints and still make something feel considered and intentional. I learned so much about this when I was Managing Director at HommeGirls. One of my favorite shoots was a cover with Grace Burns (Christy Turlington’s daughter). We managed to convince an active NYC yellow taxi to swing by on his lunch break for the shot with John Yuyi, or a more recent HommeGirls cover with SZA by Mitch Ryan and Stella Greenspan, where we found a lake in the hills of LA. The breadth of experience I gained at the magazine illustrated in practice what is essential to the story and what creative elements are worth fighting for. This built a muscle in the work we do with Starkman, as some things you learn to let go of, but never at the expense of the core vision.

What’s the biggest challenge when translating a brand’s identity into a physical experience or environment?
The biggest challenge is cohesion. A brand usually has a pretty broad audience, and you’re trying to create a single physical experience that all of those people can step into and feel like it makes sense to them. You’re also balancing what the brand needs with what a good experience naturally wants to be. Sometimes those two things come together easily, and sometimes they don’t. The job is making sure the brand shows up clearly without the event feeling over-branded or forced. I always try to protect the specific qualities that make a brand distinct while avoiding the obvious tropes (either event or brand clichés) because that’s when things start to feel shallow. When it works, people don’t feel marketed to. They just feel like they stepped into a world that makes sense.

What other jobs have you had?
I’ve kind of done every job on the production ladder. I was a production assistant, production coordinator, production manager, line producer, technical producer, project manager, creative account lead, senior producer, managing editor, managing director, and executive producer. I’ve always understood the work and the lift required from a lot of different angles because I’ve sat in most of the seats. Outside of the industry, I was a camp counselor for many, many years, which set the foundation for how I work now. Producing is a job centered on care-taking: you’re anticipating needs, managing emotions, keeping people calm, and making sure everyone feels supported while something (inevitably) chaotic is happening around them. I was briefly a gallery girl (too quiet for me), and a bartender… dare I say mixologist? It was 2014. Those were the times!

What’s one thing outside of your work that you would like people to know about you?
I’m a Capricorn. I’m the eldest daughter. I love to craft, and I will be bringing back Craft Night (a night of making silly stuff with our hands – no brand, no call sheet) this year, so stay tuned <3. Last time we beaded and made felt puppets. We also made magnet frames. Watch out for me and my hot glue guns.

Who do you think is one to watch?
Hard to choose! I love watching and celebrating how people take time in their craft to develop something special. In New York, I’m so excited to see what amazing things continue to happen for Commission, Colleen Allen, Climax Books and too many others to name.

Selected Work


Spike Lee by Gabriel Moses | Image courtesy of Ariella Starkman

Timberland Advice of an Icon Fall 2025
Working with Timberland on their “Advice of an Icon” global campaign was a dream come true, thanks to the gargantuan scale of the project and the trust and collaboration we’ve built with them as a client. Not only did we get to work with icons like Spike Lee, Skepta, Kiko Mizuhara, Gabriel Moses, and Miyako Bellizzi, but we also got to ideate and bring to life the launch dinner held on the portico of the equally iconic Brooklyn Museum, in a space where no one has ever hosted a dinner before.


Razak Salifou | Image courtesy of Ariella Starkman

Luar F/W 25 Show
I am so proud of this project. It was a labor of love. A true logistical BEAST, and we did it in just under a month. Raul (Lopez) wasn’t convinced this was the right location, but I knew there was nowhere else to host the show. It was stressful because of the scale, because of the public nature of the venue, and because Madonna was there. I am so in awe of how impactful this moment was for Raul, for Luar, and for everyone who contributed to it. Talk about visibility! Talk about drama! Talk about glamour!


Alex Consani | Image bcourtesy of Ariella Starkman

Mother, Daughter, Holy Spirit 2025 Show
It’s not often that working on a project has such significant meaning and purpose. Mother Daughter Holy Spirit is a three-part grassroots fundraiser for the Trans Justice Funding Project. We were asked to bring part one, the fashion show, to life. We worked with an incredibly committed and passionate team, had an amazing shoot during our fitting days, and made something so beautiful because of the power of community. It felt like it took on a new life because everyone involved gave it power and meaning.


By Lucas Chemotti | Image courtesy of Ariella Starkman

On Running Paris Fashion Week Dinner
This was our first time working with the On Running team, and I am so happy with how this dinner turned out. They really let us cook on the design and concept, and we ended up with a custom table shaped like their logo, finished with thermochromic paint that changed color at different temperatures. Their brief was to create something that embodied their “mysterious beauty” collection direction, unveiled details on closer inspection, and fostered a connection between attendees. I think we nailed it, as the table also went viral. Fun!


By Kunning | Image courtesy of Ariella Starkman

Hinge x Esther Perel Event
This project was such a dream brief. We adore working with Hinge, and they really trusted us with the location, creative, and execution of a dinner and a giant bed in a bookstore for their first event with the iconic and esteemed Esther Perel. Ten creators joined for an intimate conversation around modern dating, and we were honored to bring it to life.


By Matthew Kavanaugh | Image courtesy of Ariella Starkman

goop x Maybach Cocktail Event at The Chateau
It was so exciting to be asked to produce a cocktail party with Goop and Maybach. Obviously, we’re obsessed with Gwyneth (Paltrow), and the creative opportunity to lead the design was amazing because we got to lean into everything about classic Hollywood, and the Goop team deeply understood how much the details matter. My favorite part was the ice sculpture we designed, and Michael from Pretend Plants and Flowers finished it off with a perfect oncidium bouquet.

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