How did your journey into modeling begin, and what was the moment you realized this was something you wanted to pursue seriously? My passion for modeling started when I was very young. I used to watch modeling shows with my grandmother, practice poses in the mirror, and even walk around balancing books on my head pretending I was on a runway. I always told people I wanted to become a model one day. I still remember being asked in sixth grade what I wanted to be when I grew up

Your work often exists between performance, object-making, and photography rather than inside a single medium. At what point did you begin thinking of image-making as something sculptural and immersive rather than purely photographic? I think that I have always approached the camera as a tool for play and performance. Since I was young, I have been staging scenes and constructing small worlds for the camera through a kind of make-believe. That freedom of experimentation still

Your work moves between different fashion markets and creative environments. How have those international experiences shaped the way you see yourself both in front of the camera and within the industry itself? Working internationally has taught me that modeling is much more than appearance—it is really about communication, adaptability, and understanding different creative visions. Every country has its own pace, aesthetic preferences, and way of working, which has helped me

For me, looking is expressed through mindful observation during the shoot. It encompasses the entire preparation process for the photo shoot and the photographic project. In portraiture, I convey this through a positive, engaging atmosphere with the subject and the entire team throughout the shoot.

My approach centers on restraint and precision. It starts with creating a calm environment where the model doesn’t feel overly directed. I give subtle guidance—small adjustments in posture or gaze—but I try not to overcorrect. That balance comes from allowing space for natural movement while gently shaping the frame.

That shift usually doesn’t happen all at once—it builds quietly over time. For a lot of people, it starts at the moment when avoiding those feelings becomes more exhausting than facing them. Early on, low self-esteem tends to feel like something you have to hide or “fix” before you can create anything meaningful. But the turning point comes when you realize those exact struggles are the raw material. Instead of waiting to feel confident, you start expressing yourself as you a

My practice sits between disciplines because I’m interested in how people experience space, whether physical or digital. Architecture taught me to think in terms of structure, scale, and movement, while UX introduced interaction and responsiveness. Visual design becomes the bridge between the two.Emotion, for me, emerges from how something is structured and encountered. Whether it’s a building, an interface, or a poster, I approach it as a system that guides perception and fe

I think when there’s more to build from, it allows for more transformation. It’s like taking each experience and adding it to the next. Bringing all the consciousness I’ve collected from and making it fit into a cohesive narrative, becoming that narrative inside and out, conveying it by wearing whatever I feel like wearing. My identity has been shaped by my ancestry, music, fashion and spirituality.

The early experiences were great, because I had an early introduction to the industry and how it runs. Although I didn't understand it as a kid, it does help me now as an adult and gives me confidence with the fact that I am very familiar with everything.