Desert Adventure
For MALVIE Magazine (August ‘24)
There are shoots that challenge you, and then there are shoots that feel like they come straight from your creative core. This editorial for MALVIE Magazine, set in the stillness of the dunes, was the latter. I had the freedom to shape every element, from building the team to directing the shoot on location. It’s a story about intuition, vision, and the power of collaboration. How a simple setting can transform into something beautiful when everything aligns.
Bringing a Vision to Life in the Dunes
Last summer, I had the chance to pour all my creativity into an editorial shoot for MALVIE Magazine, and it was one of those moments where everything clicked. The idea had been brewing for a while—I knew I wanted a setting that felt raw, minimal, and powerful, and the dunes offered just that. There’s something timeless and cinematic about a desert-like backdrop, and it gave us the perfect canvas to create something bold yet intimate. As a fashion photographer who thrives on storytelling, this setting really allowed the concept to breathe.
The Joy (and Chaos) of Putting Together the Right Team
Directing an editorial shoot from scratch is both a logistical puzzle and a creative high. I handpicked the team—model, MUAH, stylist—based on a shared energy and love for slow fashion. It’s important to me that everyone involved not only gets the vision but brings their own ideas to the table. I think that’s where the magic happens: in collaboration. Building that trust from the beginning means we can push boundaries once we’re on set.
Moodboards and Shotlists: Creative Direction Behind the Scenes
Before we ever stepped foot in the dunes, I’d spent days crafting the moodboard. It was my way of mapping out the aesthetic—warm tones, soft textures, and silhouettes that moved with the wind. I also worked out a detailed shotlist so that once we were out in the elements, we could flow but still stay grounded. Creative direction like this is a huge part of my work as a fashion photographer, especially for editorial and campaign-style projects. It’s where the idea evolves from abstract to concrete.
Scouting the Location Was Half the Adventure
Finding the perfect location wasn’t just a backdrop decision—it shaped the whole shoot. I wanted nature to feel like a character, not just a setting. So I spent several days scouting different dune areas, checking the light at different times, and imagining how movement and styling would play against the elements. It’s something I do often for editorials, especially when I want to create something visually immersive and authentic.
When Logistics Meet Aesthetics
Let’s be honest: making a fashion shoot come together is never just about the creative stuff. I was also behind the planning—permits, weather tracking, transport, gear checks. It’s the part people don’t always talk about, but it makes all the difference. I’ve learned that being a professional fashion photographer is as much about logistics as it is about aesthetics, and being hands-on with both is how I stay true to the story I want to tell.
Editorial Work Is Where I Pour All My Creativity
Editorial shoots are where I get to be the most “me.” They allow space to experiment, to strip things back, to say something visually without needing a caption. With this MALVIE Magazine shoot, I felt like every part of me—director, artist, photographer—was activated. For me, these projects are about more than just beautiful images. They’re about creating something meaningful, intentional, and reflective of the slow fashion values I care about. That’s why I do what I do.