Ayushi Saxena: it reaffirmed our belief in storytelling through fashion.

Anne Marie
Jul 14
5 min read

How did the idea for “Baroque Masquerade” originate? What inspired you to explore this blend of theatricality and fashion?

The idea was born from a fascination with the performative nature of identity. We were drawn to the theatricality of Baroque aesthetics — the drama, the exaggeration — and wanted to recontextualize it to explore modern ideas of power, control, and silence. The shoot became a metaphorical stage, where characters weren’t just styled, but cast in roles reflecting societal masks.

What narrative or emotional themes were you most keen to express through this shoot?

We wanted to express the tension between dominance and submission, appearance and reality. There’s a silent power struggle in the visuals — the Queen, commanding yet restrained; the Puppet Master, in control yet lifeless. It was about questioning who’s truly in charge, and how much of our identity is shaped by performance.

The concept touches on identity, illusion, and control — how did you interpret these ideas visually through styling and set design?

The stark, white set was intentionally minimalist to echo aristocratic restraint — it served as a blank slate onto which the chaos of illusion could be projected. Through styling, we exaggerated structure and posture, using corsetry, lace, and rigid silhouettes to imply control. The masks were metaphorical, built into the garments themselves.

Could you walk us through the styling process for both characters — the Queen of Cards and the Puppet Master?

For the Queen, we used crimson tulle and black lace to channel regality and enigma. Her collar, made of playing cards, was a literal nod to control and unpredictability. Her makeup was bold, almost harlequin-like, to underline her theatrical stillness. The Puppet Master wore baroque fabrics with oversized sleeves and a corseted vest — exaggerated yet frozen, symbolizing his mechanical role.

What specific historical or artistic references influenced the garments, makeup, or hair?

Venetian masquerades, Rococo paintings, and 17th-century court fashion were central inspirations. Visually, we drew from the work of theater costume designers and classical European portraiture — the tight curls, pale skin, and dramatic eyes reference period styling, but through a surreal, editorial lens.

How did you balance the drama and extravagance of 17th-century baroque with a modern editorial edge?

We leaned into texture and silhouette from Baroque styles but stripped the color palette and background to keep the focus tight. Using editorial lighting and clean set design allowed the drama to come through without overwhelming the viewer — it made the extravagance feel intentional, not indulgent.

The playing cards are a striking motif — how did you develop the idea of incorporating them, especially around the Queen's collar?

We saw the cards as a metaphor for unpredictability and fate. Fashion often deals with appearance, luck, and constructed identity — the collar represents the burden of image, status, and silent power. It felt right to place them around the Queen’s neck, like both a crown and a constraint.

What was the symbolism behind the gold-painted skin and frozen posture of the Puppet Master?

The gold represented power, but also artificiality — he’s gilded, not real. His statue-like stance emphasizes how control can dehumanize. He appears to be pulling the strings, yet his expression is blank, his body stiff. It was a commentary on how those in control are often also trapped.

⁠There’s a strong sense of tension and performance in the image — how did you work with the models to bring out those roles?

We gave them emotional cues rather than poses. The Queen was instructed to hold her body with quiet strength, like a performer backstage — composed, unreadable. The Puppet Master was asked to lock his movements, as if part of a museum piece. Their body language helped intensify the story.

⁠What role does color play in conveying mood or hierarchy in this visual tableau?

Red signifies power, desire, and danger — it makes the Queen visually dominant, while black lace adds an aura of mystery. The Puppet Master’s gold and maroon tones felt rich yet lifeless — he is visually grounded but emotionally distant. The monochromatic backdrop helped highlight their hierarchy through contrast.

Were there any moments during the shoot when the concept evolved or surprised you in some way?

One of the most visually impactful elements — the playing cards suspended midair — was actually a planned detail, not a spontaneous accident. It took us several tries to get the movement and timing just right. We wanted to create a sense of illusion and disruption, as if reality itself was unraveling around the characters. Capturing that perfect suspended moment added a surreal, almost cinematic layer to the narrative.

Collaboration & Process — What was your collaborative dynamic like as co-stylists? How did you complement each other's strengths throughout this project?

We had a very fluid working dynamic. While I (Ayushi) focused more on conceptual depth and symbolic detailing, Janvi brought in strong textural and color sensibilities. We constantly exchanged ideas, refined each other’s visions, and made sure every piece of the story was intentional.

What challenges did you face — creatively or logistically — and how did you overcome them together?

Coordinating the intricate costume elements and maintaining the delicate balance between historical influence and editorial minimalism was a creative challenge. Logistically, working with rigid accessories like the card collar was tricky. But we divided tasks effectively and supported each other through quick problem-solving on set.

As emerging stylists, how has this project shaped your vision or approach to future work?

It reaffirmed our belief in storytelling through fashion. We realized that styling can go beyond aesthetics and enter the realm of philosophy, commentary, and emotion. Moving forward, we’re more intentional about meaning — every detail should say something.

Lastly, what does “Baroque Masquerade” mean to you personally, beyond the styling — what message or feeling do you hope it leaves with viewers?

To us, Baroque Masquerade is about the quiet rebellion of confronting your own masks. It's a reminder that identity is layered, sometimes performed, and often constrained. We hope it

encourages viewers to question roles, power, and what lies behind the elegance they see.

Brief Bios of the Stylists:

I’m Ayushi Saxena, a fashion stylist and creative director based in Mumbai. My approach to styling is rooted in storytelling — I see fashion as a language that can express emotion, identity, and perspective. I aim to create visually engaging and thought-provoking imagery that goes beyond just aesthetics.

I’m Janvi Sharma, a fashion stylist with a keen eye for detail and a strong editorial sensibility. My approach to styling blends structure with storytelling, aiming to create bold, cohesive visuals that speak to both concept and craft.