FAULT Focus: the story of Aaizel, as told by designer Minhee Jo

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FAULT: What, would you say, is the primary inspiration behind your label, Aaizel?

Minhee: I wanted to combine my love for art and fashion as one. I thought it would be interesting to create a character on which the label is based and, of course, she/he maybe/even ‘it’ is named Aaizel. Aaizel embodies many realities of life through experience, emotions and people and what better way to tell a story than through garments that represent various parts of life. From the very first capsule collection until now, with the third collection in progress, each collection represents a chapter of Aaizel’s life.


What would you say are the unique features of the brand?

The character of Aaizel! Did I mention that she is also a mermaid? She is definitely one of a kind! Every collection that is created brings her that little bit closer to life – which is the founding principle of the brand. With that in mind, one of my design priorities is to juxtapose femininity and masculinity in harmony, accented by hardware features and ornate embellishments. A perfect interpretation of this is the art behind yin and yang.


We love the literal interpretation of telling a story with your designs. Given that that you design with Aaizel, the story’s protagonist, firmly in mind, we wondered where the idea for the myth came from?

Aaizel is an analogy for fashion and life. Aaizel’s consistent story reflects what I call the ‘Art of Collection’: gathering the one off, the forgotten, the not-readily available piece; these are precious. All pieces start from this principle and all have their own story entwined into one to become Aaizel (the label). The character Aaizel came first before all designs.

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Did the story come first and then the designs followed? Or did the narrative build itself around the designs once the “fully-clothed” character was formed, so to speak?

The story comes first before the inception of the collection. I decide what happens to Aaizel and the story, with parallel meanings between the creative and the literal. For example, the first collection – the capsule collection Nouveau Depart (Trans-Seasonal 2013) – is the story Aaizel of being banished from her kingdom because of her appearance and opinion. She is left to fend for herself with no sense of direction and a great sense of fear, doubt and even excitement. In reality, for the label Aaizel, I saw that as going against everything that is trending or on the immediate horizon. Each collection of Aaizel mirrors a story featured under the heading ‘Myth’ on the website, and the story cannot be understood until you read between the lines.

We have to ask about the imagery that illustrates the Aaizel myth on your website – it’s amazing! Are they drawings or paintings? What’s the story there?

The images found all over our media and website are made up of mixed media. A little bit of watercolour, spray paint, charcoal, pen and pencil. There are people who definitely appreciate visual art as well as descriptive creative writing. Combining these two make up the perfect fairy tale, myth and fantasy; keeping in mind that this isn’t just a story telling book, it’s a combination of art and life and the story of Aaizel. . The pictures are there because I always thought about doing an adult picture storybook. Not sure if it has been done but I think adults like a little bit of pictures especially if they are into their fantasy reading.

In the past, you have reflected on how important it is to know your market, to design for your customers. How do you reconcile that practical necessity with your more creative process In which you are influenced by the imaginary, the ethereal and the mythic?

Being practical and unique seem contrary to each other but this is another concept that Aaizel runs with: the idea of juxtaposing opposing elements in complete and utter harmony. It’s about re-working your wardrobe and breaking the traditional rules, encouraging people that it is absolutely fine to be creative with how you put together pieces, and learn to ‘rock the look’ with confidence. I want them to have that ‘Aaizel’ glow.


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Do you have a favourite piece from your current collection?

One of my favourite pieces from this one -Mimicry Complex Trans-Seasonal 2014 – is a maxi length cardigan named Gensho. She is a special number because she (I like to refer my pieces as genders) can be worn over our intricate lace dress but then can also be worn underneath our top Mosadi! Sounds strange, but it is nice wearing garments that are that little bit different. So not only do I get to be creative in how I combine my fabrics and trims and place all these seemingly opposite elements but I also I believe that they work well together. Once you let go of that main concept of how things are supposed to be worn you will find dressing up a whole lot more exciting and enjoyable.

Is there a particular process you follow when designing?

Fabrics are number one on the agenda! I have to be able to feel the texture of the fabric and imagine the silhouettes all coming together and that is where the magic begins! The silhouette is so important to me because it plays such a dramatic part in every collection. Once I know what kind of silhouette I want the collection to represent, then I get deep into sculpting, perfecting the silhouette and overall mood for the range. When I know exactly what I can work with, I go through the 2D process of sketching and patterns to begin the 3D process- toiling, with lots of re-working until the fit and the design is right. Then I move onto the real pieces.

Embellishing & polishing come last as a whole, as I am constantly checking if all the pieces flow as a collection, not individual random bits and pieces. I think it’s extremely important to make sure that the collection is tied in as one story. As much as I think it’s crucial that each piece has that little different characteristic from each other, a collection should be cohesive and work well as a whole and be mix matched with each other. I often say that I become lost in the world of Aaizel.


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Minhee Jo, founder, creative director and lead designer for Aaizel

Tell us about your latest collection – and how it encapsulates/corresponds to this part of the Aaizel myth.

Aaizel rises above the water and realises it isn’t what she had imagined it to be. In her mind she imagined a perfect world, anywhere but where she had been before. Away from the violence, the narrow-minded species; anything but pessimistic. But to her unfortunate surprise she finds herself in a land unlike anything she had imagined. It is a world true to the theory of Black & White and the visual impact on Aaizel is massive. Her eyes cannot bare it and she questions her ability to survive her journey.

The colour palette for this new season is black and white, heavily opposing textures, and the signature of Aaizel; craftsmanship & embellishments throughout the highlight pieces. The overall look is what I describe as “eloquent –grunge”.


Do you ever see yourself going down the mass production route (if you were given the opportunity)?

If I were given an opportunity to collaborate with companies that I deeply admire, knowing that they are big and cater to a lot of people, I would most likely do so. Not because I believe in mass production but because it’s giving other people an opportunity to get their hands on our product. I don’t mean pump them out cheaply just to get the numbers up, but there’s always a way to produce quality goods sourced and made with the best materials and lots of love.


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What is your FAULT?

Sometimes I’m a little too cautious, which turns into self-doubt. We live in a competitive, malicious world where you just need to be cautious with every move; especially when you love something so much that you only want the best for it.


For more information, visit www.aaizel.com

Example – taster from our exclusive shoot for FAULT Issue 18

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18  Click here to order your copy of this issue!

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18
Click here to order your copy of this issue!

It’s been almost seven years since Example released his debut album in 2007. Since then he has gone on to release twenty-one singles, perform at sell-out concerts across the globe and dominate both the UK Album and Dance music charts alike. FAULT caught up with Example to talk about his recently released album, Live Life Living, and life after music.

FAULT: People can guess the meaning behind the title Live Life Living but, in your own words, can you explain the thinking behind the title?

Example: For me it just means live life to the max but I didn’t want to call the album ‘Live Life To The Max’ either because it sounds like a boyband’s album or an X Factor runner up single. I feel people are always trying to escape either their jobs or maybe a relationship breakdown or financial woes, so people need a to feel good sometimes. I think the music on this album will definitely [help to] do that.

Do you worry that you sing too much to be remembered as a great rapper, and rap too much to be remembered as a great vocalist.

I’ve never thought about that but it’s a good point. I’ve always felt that rapping is really useful when you’re really emotional or really aggressive and upset. For me, I’m in such a happy place that it doesn’t make sense to do rapping. I’ve got a bit of a unique gravelly voice and it’s probably closer to blues – like you said earlier – where it’s more about the character in the voice rather than how good a singer you are. That is where I’ve always felt like my strength lies, and to be honest I’m not bothered about being remembered as a great singer or rapper – I’d rather be remembered as a great entertainer.

Interview by Will Ballantyne-Reid

Interview by Will Ballantyne-Reid

Have you done anything different on this album?

The process of writing was the same, what’s changed is the way I’ve produced them. ‘Kids Again’ was just started on guitar and then once we were happy with a guitar demo we go from there. The song originally was just me singing over a guitar but then you chop out words you don’t like and interchange bits and then the guitar became a piano and then a synth and a bass line and then drums. I think when you’ve been working in the music industry as long as me then it’s kind of about time that I should be doing a lot more on the production side of things.

Get the full shoot and interview - only in FAULT Issue 18.   Click here to order your copy for delivery worldwide!

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

What is your FAULT?

My main FAULT used to just be lying; I used to just compulsively lie and make shit up. I would constantly lie to family, friends, my ex-girlfriend. It took meeting my wife and going to therapy to actually realise I could just be honest. It was almost like “your life is so amazing-why do you have to make shit up!”



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FAULT Favourites: Festival Fashion giveaway!

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Throughout Spring and Summer, we at FAULT have been going backstage at some of the world’s biggest festivals to give you an exclusive insight into what happens behind the scenes at this Summer’s showpiece events. From SXSW in Austin, Texas (covered in-depth in FAULT Issue 18) to Sonar in Barcelona via  Glastonbury, Park Life and – very soon! - Secret Garden Party, we’ve been clocking up the miles to give you the inside track on what have undoubtedly been the best festivals of the year so far.

Amazing shot of one of the stages at Sonar Festival. Photo by contributing partner Lux & Noah

Amazing shot of one of the stages at Sonar Festival. Photo by contributing partner Lux & Noah

*Now we’re giving you the chance to WIN FREE FESTIVAL OUTFITS for the rest of the Summer season. All you have to do is pick a style you like and we’ll select 5 winners at random to receive their ideal looks by international post. Just comment on this post for a chance to win – or read below for our suggestions…*


1. NEON BOHO – the signature Glastonbury bohemian look – with a twist. SEE MORE FROM THIS STYLE

2. TROPICAL BEACH – eclectic mix of print + colour. SEE MORE FROM THIS STYLE

3. NEON BLOOM – ultra feminine florals + intense colours clashed with denim (skinny jeans/shorts). SEE MORE FROM THIS STYLE

4. MEN’s - skinny jeans, faded/acid wash denim and classic summer holiday wear. SEE MORE FROM THIS STYLE

chelsea boots - new look

Man about town? These men’s flat heel Chelsea boots offer a well-heeled look for an urban festival like Sonar. Although they look like leather, the imitation material is easier to protect than the real deal and so are perfect for wet weather events too. STYLE: MEN’S

As we all know, though, there’s so much more to a great festival experience than the music. The overall vibe of the festival is crucial –  and that starts with the people in attendance. A bad crowd can ruin a great band whereas a good crowd can turn a great performance into an incredible experience. Finding your niche in the now-overflowing festival market can be tough, and there are always exceptions to every festival ‘type’. As always, however, the great unifier at large events – from ballgowns or jeggings at a party to suits or slacks at a seminar – is usually the fashion on display.

Add a touch of bohemian elegance to any outfit with this embellished longline fringe kimono

Add a touch of bohemian elegance to any outfit with this embellished longline fringe kimono.

Showing off your sense of style suggests a sense of belonging to a particular festival crowd. Individuals tend to unite at big festivals under the banner of mutual appreciation for a certain type of experience: whether you’re a rocker at Glastonbury, a techno-head at Sonar, a hipster at SXSW or someone who really, REALLY likes dressing up at Secret Garden Party…

These real leather multi-strap boots are a stylish and practical way to complete any festival outfit. Bold enough to make a statement and tough enough to brave any mud, they're a great tent-side or city-wide option.

These real leather multi-strap boots are a stylish and practical way to complete any festival outfit. Bold enough to make a statement and tough enough to brave any mud, they’re a great tent-side or city-wide option. STYLE: NEON BOHO

Fashion is so important for turning any festival from an outdoor concert into a celebration of musical appreciation – and that is why we are so pleased to have teamed up with savvy British retailer New Look  to showcase not just the best of contemporary festival outfits but also to look back over the years at some of the most inspiring and influential festival fashion trends of the past 45 years.

Acid Wash Button Front Drawstring Denim Playsuit - new look

The denim playsuit is this season’s most versatile piece. Pair this sporty version with jelly sandals in the day, or with tan wedges and a statement necklace in the evening. STYLE: TROPICAL BEACH

Starting with the notorious ‘Summer of Love’ at Woodstock, 1969, this graphic charts the sartorial selections of festival-goers from all the major Summer stomping grounds until the present day:






The Colour of Me: A Brush with Danger – Peter Yip’s FAULT

SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream MAC blue lipmix and lipglass

SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream
MAC blue lipmix and lipglass


(as above)

(as above)


(as above)

(as above)


SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream MAC eyes and lips paint stick in orange blue green magenta Radiant powder glitter Aaegyptia

SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream
MAC eyes and lips paint stick in orange blue green magenta
Radiant powder glitter Aaegyptia


Look 3 (11Color of Me-7 to 8 .jpg) SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream MAC eyes and lips paint stick in orange blue green magenta

SKINCARE BALANCE ME radiant face oil and moisturising daytime dry skin cream
MAC eyes and lips paint stick in orange blue green magenta


Photographer: Peter Yip (www.peteryipdesign.com)
Makeup Artist: Martina Lattanzi using MAC Cosmetics (www.martinalattanzi.com)
Hairstylist: Andrea Martinelli using Bumble & Bumble (www.martinelliandrea.com)
Model: Anna Kuen @ MiLK Management

#LikeforLikes – Christopher Polack’s ‘selfie’-inspired editorial for FAULT Online


swimsuit MESKITA necklace and earrings CORNELIA WEBB




top MILLY bikini MESKITA nuckle ring MAX STEINER trench KAELEN necklace LOSSELLIANI




(as above)


top MILLY bikini MESKITA nuckle ring MAX STEINER trench KAELEN necklace LOSSELLIANI


hair and makeup JOSEFINA FERNANDEZ

Backstage at Berlin Fashion Week: DARE by Johny Dar

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Johny Dar closed the show at Berlin Fashion Week with his bold combinations of fashion design and body art

Artist and fashion designer Johny Dar closed Berlin Fashion Week with a spectacular 30 minute show of his work. FAULT spoke to the man behind the painted models…

FAULT: Congratulations on an incredible show, how has been the response so far?

Johny: The crowd clapped for three minutes, we had a standing ovation and people who were at the show definitely enjoyed it because it was a real show.

You opened and closed the show with some beautifully painted models, similar to your work on Tuuli Shipster [Rankin's wife]. How has the artwork on these models continued on from your work on Dar the Book and the ‘Tuuli by Dar’ project? 

I was setting myself up for the biggest challenge of my career by promising to paint 11 models and three performers in one day before the show, when my work with Tuuli took anything between 6 to 12 hours to create each look, and the images from DAR the BOOK came from a journey of over five years. So for this show I had to come up with a technique where I didn’t have to sacrifice the detail and potency of my style that really comes through in Tuuli by Dar, but where I was also able to get it done within the 16 hours right before the show. The body is split into two halves, which in this case represented the masculine and feminine aspects within the body.

Johny Dar's SS ' 15 show took place at Erika Hess Eisstadion on July 11, 2014 (Photo by Peter Michael Dills)

Johny Dar’s SS ‘ 15 show took place at Erika Hess Eisstadion on July 11, 2014 (Photo by Peter Michael Dills)

Did you face any challenges? 

Well, put it this way, by 10 o clock in the morning I was supposed to be done with the first layer of the models, but by 10 o’ clock I had a leg and a half done and only 4 out of 11 models had showed up. Really the show was overcoming challenges until it ended – until the last second everything was on the verge of collapse and somehow we made it through.

Talk us through the idea behind the incredible hair pieces they were wearing in the opening?

I wanted to create a veil out of the human body – out of an extension of the human body – so naturally what came to mind was the hair as that veil to hide behind and show as much as you are comfortable with. For me there is nothing more mysterious and sexy than flowing hair.


What thoughts were you trying to express with the clothing? It felt very tribal and earthy to us. 

I’m glad that’s how you see the collection. So far we have been attracting a great variety of reviews on the fashion which is great because I wanted it to be free from any defined style, so naturally it invokes variation in the reviews.

What I showed in this collection is basically different ways to wear your sexuality and sensuality as an empowerment, because I believe that those aspects should really empower the feminine not make her into a sex object or a material possession.

This collection was meant to be a journey through the various aspects of security and insecurity within the feminine experience – like not having big enough boobs so stuffing the dress with mesh, or being sick and tired of it all so just wearing an elastic band. It was meant to show the difference between overwhelming yourself with an outfit and letting your wings take form through your outfit.

Photo by Frazer Harrison

Photo by Frazer Harrison

Tell us about your production choices for music, lighting and graphics. 

I definitely didn’t want it to be what fashion is today, which is another fast food order – super size it, double cheese it, give it to me in the pink wrapper instead of the blue wrapper for the season. I’m sick and tired of the same old show.

I wanted to show the symbiosis between music, art and fashion and how they are just the same person in different roles, in different outfits, in different expressions. Because, after all, it was meant to be an original experience beyond selling clothing.


Backstage with Johny Dar as he does his body painting on the models

You’ve said this was a prelude to your couture collection next season, any hints as to what we can expect from that? 

If you are looking at the body painted part of the show you can imagine high-end couture ski-suits next. The laser cut out pieces – you can expect maybe a 3D head to toe dress showing off a million colours.

With the coming couture collection I’m introducing a new idea for couture, a new concept for design in relation to the body, and how we can reintroduce our relationship towards clothing and creating our image. So it’s designing from a body perspective rather than imposing an idea or concept upon the body.

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For more, visit:



Words: Olivia Pinnock

Dannii Minogue – exclusive shoot for FAULT Issue 18′s reversible cover

Dannii Minogue- FAULT Magazine Issue 18 - reversible cover WEB

Dannii Minogue was shot in London by photographer James D Kelly and styled by Rachel Holland exclusively for the front cover of FAULT Issue 18
Click here to pre-order your copy of this issue!

FAULT Magazine Issue 18 – the RAW Issue features multi-talented Australian beauty Dannii Minogue as its reversible cover feature. Dubbed (by us, for the feature ‘s title) the “Down Under Designer Darling”, Dannii’s sense of style is self-evident as she shines in looks by the likes of Nicole Farhi, Missoni and Viktor & Rolf.

Shot exclusively for FAULT at the Hoxton Hotel in London by photographer James D Kelly with styling by Rachel Holland, Dannii’s feature includes an in-depth interview and runs over 9 pages in the magazine, including the Style section cover inside the magazine.

In the interview, Dannii speaks about life in Australia with her 4 year old son, Ethan, her desire to get back into TV in the UK, her dreams of working on her own productions and her continuing achievements in the fields of music and fashion.

Dannii Minogue - FAULT Magazine Issue 18 - inside 1 WEB

FAULT: We hear that you’re looking to do some other things in future in addition to working on ‘X Factor (Australia)’ – could you elaborate?

Dannii: I’ve been having meetings about TV that I might come back and do here. I definitely want to come back and do something – I’m just trying to find the right thing, Leaving X Factor here when it was just such a juggernaut… you kind of want it [the new project] to be something just as special. I guess I am looking for projects where I can be involved, not just as hired talent but more from the production side. I’m starting to look at that as something I can retire into – not just yet but, at some point, I’d love to being doing both: being on camera and also involved in the production.

Dannii Minogue - FAULT Magazine Issue 18 - internal Style section cover WEB

Interview by Louis Sheridan

That’s definitely the way to do it, take control! Let’s talk about music too… I hear you’re back in the studio, can you tell us more about that?

Yeah, I recorded some stuff that I’ve co-written and some stuff that friends have written and others that I’ve found and just love. I’m just trying out loads of different stuff with no pressure of a record company or a deal or a date or anything. I’m actually really enjoying it. I’ve spoken to a few record companies, I’ve said I’m not ready to commit to anything and they’re like, “That’s cool, that’s how it should be. Just do it and enjoy it, and from that enjoyment you’ll find something”, so I’m just seeing if I can find that something special but, again, it’s been so long since I’ve done it that I don’t want to come back with something unless it’s special.

You recently announced the launch of your own online e-commerce store, DanniiShop.com, and have also worked on a clothing line in Australia for petite sized women [Dannii for Target, available in Australia]. Tell us about that?

Yeah, I’ve been working on a big range of stuff, primarily for Australia, at the moment. Earlier this year we were just trying to make sure that you could get the stuff of DanniiShop over here – delivered online and stuff – and now you can. That’s a project that I love working on.

Dannii Minogue - FAULT Magazine Issue 18 - inside 2 WEB

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!


What is your FAULT?

My fault… I think I’ve noticed I’m a real worrier. Especially since being a mum, I just worry about stuff and I’m like, “I don’t want to be that person!” I worry a lot, it’s stupid. It’s such a waste of energy and time – I need to toughen up!



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FAULT Focus: Italian Photographer Antonia Fiore



FAULT: How did you start out as a photographer?

Antonia: I started shooting just for fun. After graduating in “Fashion and Design” It wasn’t so clear to me what I wanted to do in life . I just knew that art would be a part of it.
One day I was contacted by an advertising agency asking me to work as a fashion stylist for a photo shoot. It was my first experience on set. I went into this great big studio and looked around with the eyes of a child who has just arrived at Disneyland. I remember hearing one of Amy Winehouse’s songs in the background and it was at that moment that I fell in love. The lights, the models, the photographers … I fell madly in love with that world when I began to observe the photographers preparing the set, explaining the MOOD to models and organizing lights – just like a painter prepares his canvas to start a framework. “Strike a pose” and go! It begins! From that day on I began to study photography as an autodidact. The love for fashion did the rest.
How would you describe your work?

My work is a game. A beautiful game that allows me to grow and experiment with new things every day. Each set is a challenge … The thing I like most is always put to the test, creating new colorimetries , studying new photography techniques. When I press the shutter release button I’m pure electricity: everything else fades away.


Where does your inspiration come from?

I don’t have a particular source of inspiration for my shots. I am inspired by those who I choose to capture and what they give me. I love beauty in all its forms and I always try to draw inspiration from her. Of course there are several photographers whom I admire, like Irving Penn, Richard Avedon and Steven Meisel. The latter is my favorite. I love his many facets – his photos are always original! He has the extraordinary ability to always choose the right girl who knows how to interpret every shot he take. He’s definitely the photographer that I relate to the most. We also had a common career start as illustrators and did not have any thoughts to move into photography to begin with. Curious!
David Bailey once told us that he always “shot the girl first…if the girl looks good then the dress looks good too”. Similarly, your work seems to be grounded in realism, with the model and/or personality in shot the most important aspect of your imagery. Do you agree?

Strongly agree! The model is crucial for optimal performance of the work. I have a very well-defined canon of beauty; my models have more or less the same facial features (lips, doe eyes, slender body) and each one has a special feature. It’s the ability of the photographer to discover it and make it unique. That’s it! A wonderful dress worn by the wrong model loses all its charm.


There’s usually an element of fun in a lot of your work (male models with no trousers etc) – it’s almost like a personal joke between you and whoever is looking at your imagery. How important is it for a photographer to form that connection with people? Or can great photographer work on a purely objective level?

It ‘s very important for the photographer to establish a connection with the viewers. I really like to play on set. In my opinion, a great photographer can’t work purely on an objective and sterile level. I always try to make sure that my photos are focused on my personality, my vision of photography, art and fashion. I try to give a fresh sign to my shots, characterizing ironic details or sometimes something irreverent to avoid the risk of boring myself and those who view my work. It’s important that people recognize your own pictures. – it means you’re doing a good job!


Photography is such a competitive industry – is it ever hard for you to stay motivated?

I consider myself a pretty positive person, even if sometimes it’s really hard to always be motivated . Chasing one’s own dreams leads inevitably to many disappointments and many failures but you must not stop. My area is saturated with so many other talented photographers. There really is a lot of competition and it is not easy to jump this wall and emerge but it is very important to believe in one’s own abilities and, above all, to invest in oneself by working on a style that represents your own personality . It’s crucial to be able to transmit that to the public so that they recognize what you are trying to say with your work.


Do you consider yourself to be primarily a ‘fashion photographer’ or just a ‘photographer’? What else do you enjoy shooting other than fashion?

Fashion occupies a large part of my productions. It has been my strong point from the beginning. I’ve always been attracted by glossy magazines, from all those photographs that represent supermodels in wonderful poses. I’m enchanted by looking at shots of great photographers of the past and I’m always trying to capture the relevant details that tell their story.
What are you currently working on?

I’m currently studying new photographic techniques for various projects in the pipeline that I’m working on with a number of important professional collaborations. But I prefer not to reveal anything at the moment! Work in progress!


Anything you are particularly looking forward to in the near future?

Definitely travel. I feel the uncontrollable need to share my work in many different situations and to be able to have the opportunity to compare with other industry professionals.
What is your FAULT?

Perfectionism. The fact that I always want to achieve perfection in every shot. That side of my character influences my life so much, and the lives of those who work at my side , but I’m striving to blunt that sensation a bit. You have to know when it’s time to stop. I’m slowly starting to realize that we are all human beings and that we must seek perfection in our “imperfection”.

For more, visit: www.facebook.com/antoniafioreph