Presence Before Perfection: Romone Thomas on Styling and New Talent

16 hours ago

5 min read

A fashion story about the girl who lives for the night grungy, unapologetic, and effortlessly cool. She’s a party girl with an edge, balancing messy nightlife energy with intentional fashion. The look is raw, rebellious, and elevated, capturing the moment when glamour meets the grit of the after-hours.

GRUNGE AFTER DARK is one of the twenty editorials in MALVIE MAIN ISSUE 72, the 190-page, perfect-bound November 2026 main issue of MALVIE Magazine.

MALVIE MAIN ISSUE 72 open at the first pages of Presence Before Perfection: Romone Thomas on Styling and New Talent, beside the printed cover

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Romone Thomas: the interview

Francene lying across a concrete floor in an oversized black denim coat with a distressed collar

You moved from modelling to styling and creative direction. Was there a moment on set when you realized you wanted to shape the image rather than only be part of it?

It was not really one specific moment. It was something I kept feeling on different sets. As a model, you start to notice everything around you. You notice the lighting, how the clothes are sitting, how the model is moving, and whether the image is actually telling the story it is supposed to tell. I found myself thinking about the entire image, not just my part in it.

I realized I was already directing the image in my head. Styling and creative direction gave me the opportunity to actually bring those ideas to life and create the whole world around the image. I still carry my experience as a model into everything I do because I understand that a shoot is a collaboration. The person in front of the camera should feel guided and understood, not just placed there.

Your time in front of the camera gave you a view many stylists never have. How does knowing what a model feels on set change the way you dress them and guide a shoot?

It changes the way I communicate with people. I know what it feels like to wear something that looks amazing but does not allow you to move properly, or to be given direction that technically makes sense but does not give you anything to connect with emotionally. You can see that uncertainty in the final image.

I always want to make sure the model is comfortable. Can you move in it? Can you breathe? Can you sit? Is something bothering you? I would rather make an adjustment than have someone push through discomfort just for the sake of a concept. I also like to explain the feeling and story behind the shoot instead of just giving instructions like “chin down” or “turn your head.” Once the model understands the mood, they can connect with it and the posing becomes much more natural.

You work from several perspectives at once: the model, the designer and the creative vision. When these three pull in different directions, how do you find the balance that serves the story?

I always come back to the story. What are we trying to say, and who are we trying to say it to?

The model brings their personality and presence. The designer brings their vision and intention. My job creatively is to bring those elements together and make sure they work within the bigger picture.

Sometimes the clothing needs to be the focus. Other times, the model’s personality needs to come forward more. I do not think balance means everyone has to have the same amount of attention. It means knowing what needs to lead in that particular image. If the viewer can connect with the person, appreciate the clothing and understand the world we created, then I feel like we have done our job.

Model standing in a lit loading-bay doorway in a white fringed dress and black coat, yellow lines on the floor

Showcasing fresh faces and new talent is at the heart of your work. What do you look for when you discover someone new, and why does creating space for them matter so much to you?

I look for presence before perfection. I look for curiosity, personality, openness and someone who has their own point of view. A new model does not have to know everything yet. I want to see how they carry themselves, how they wear a garment and what happens when they stop trying so hard to perform.

I also pay attention to people who might normally be overlooked by the industry. I believe every face matters and that fashion becomes more interesting when we create room for different people and different perspectives.

Creating that space is important to me because one opportunity can really change someone’s direction. New talent also brings something that you cannot always create through styling or art direction. There is a freshness and authenticity that comes from someone who is still discovering themselves.

You like to look at fashion from a different angle and present it in new ways. How do you make sure styling highlights not only the clothes but also the person wearing them and the designer behind them?

I start by listening. I want to understand what the designer is trying to say with the garment, but I also want to understand the person wearing it. What is their personality? What makes them feel confident? What makes them feel powerful?

For me, styling is about bringing those things together. Sometimes the best thing I can do is keep the styling clean so the construction of the garment can speak for itself. Other times, I might push the styling further to bring out the personality of the model.

I do not want the model to become a hanger, and I do not want the clothing to become just decoration. There should be a relationship between the person, the garment and the story. That is where I feel the image becomes interesting.

Black-and-white shot of the model holding her shaggy coat closed, round white sunglasses on

Looking ahead, what kind of stories would you like to tell as a creative director, and what change would you like to see in how the industry gives opportunities to new talent?

I want to create stories that feel human first and fashionable second. I want to create editorials where identity, confidence, personality and becoming are part of the story. Beauty is important, but beauty attracts you. It is the story and the presence that make you want to keep looking.

When it comes to new talent, I would like to see more opportunities, more openness and more trust given earlier. I want to see wider scouting, better crediting and more people willing to mentor and give someone a chance.

My own experience has taught me that talent can grow when someone is willing to make space for you. I want my creative direction to continue doing that for other people and, hopefully, open the door a little wider for the person coming behind me.