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.

I always had a do-it-yourself attitude, which I got from my parents growing up. For me, learning to sew and crochet felt like an intuitive skill; if I really wanted to fix something or make clothing that I couldn’t get, I had these skills to make things happen. I’m also a very detail-oriented person; I can get lost in things for hours on end, so the beauty in Victorian, handmade garments was mesmerizing to me. I fell in love with gothic aesthetics first; it’s hard to describe

My name is Beata Legowska- Singh. I come from Poland. I graduated Spatial Planning and Real Estate Management. However there were some changes in my private life that contributed to my going abroad to Norway. Not knowing the language , i worked in a factory and at the same time i started learning Norwegian. After completing the Norwegian course i started working in a nursing home for the eldery. In my free time i began to need a break from hard and demanding work and that' s

felt fun, feminine, and expressive. Being born and raised in San Diego, it was especially meaningful to shoot at my hometown’s main university. The setting naturally reinforced the idea of confidence shaped by growth and self-awareness. It allowed me to connect with the concept in a personal and authentic way.

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.

My practice is about shaping meaning through visual systems. I’m interested in how design can hold emotion, memory, and context; how it can communicate something felt rather than just seen. I work between structured design systems and more intuitive, experimental graphic work, often using design to understand people, environments, and cultural narratives.

Despite coming from different disciplines and backgrounds, we shared a similar visual language and a desire to create fashion work that felt deliberate and uncompromising. Over time, casual conversations turned into a clear intention: to build something consistent, not one-off, rooted in trust and shared curiosity!

Food was how my family showed up for people. Through Acacia Alley, I learned early that cooking wasn’t just about feeding others — it was about care, responsibility, and presence. Meals marked milestones, comforted grief, and brought people together. Food carries memory, and that’s still how I see it today.