You have one second to stop someone in their tracks with an image.
Years ago, people would linger over your ad in a magazine. Now you really only have a couple of seconds to get that message across. There’s got to be some kind of arresting message: something that is going to make someone stop
Don’t lose sight of a beautiful image. I go about doing lookbooks almost as intensely as I do editorial. I think about the hair, I’ve thought about the make-up, I’ve thought about the girl, I’ve thought about the setting. I’ve thought about every single part of it. You just can’t spend the same amount of time on it.
" I love brand building and finding the DNA.
Advising Designers on the fit of the clothes, what accessories they could be paired with as well as suggestions to complete each look with hair and makeup inspirations. "
I believe style is timeless and fashion is about personal expression, so I aim to create an authoritative curation rather than a dictation of the latest trends in any editorial work I do.
Art, History, Design and Photography used as reference points are the greatest tools.
Understanding fashion, having good taste and knowing how to build a celebrity's persona through clothes is important. Starting by composing a mood board of press looks, day looks, inspiration, evening, red carpet looks. Next is hair and makeup. The overall intentions of the mood boards are : " This is our goal. These are the designer goals. These are the designers you've worn. These are the new designers that I think you should have relationships with. "
Understanding the brand, their history and what they stand for is at the core of my work.
It gives you so much reference and context for the job. You don't want to put something on someone just because it's cute; it makes a much greater impact if it comes from an inspired place. You also want to represent the designer's vision in a way they are happy with.
