Can you remember when you first held a camera?
I think when I was 6 or 7 years old. Both my grandfather and one of my aunts are photographers, which is how I got introduced to photography.
What is a childhood image burnt into your mind?
The memory/image of summer afternoons we spent in public pools. I have always been fascinated by outdoor pools and the turquoise coloured water in them.
Can you tell me an iconic photographer whose work you got very fascinated by? — What did you feel when looking at their images?
I love the work of Viviane Sassen. I can't get enough of her colours and love the way how she sees the human body and how she shapes bodies into sculptures.
Do you think the “male gaze" is a myth?
What was your first fashion shoot? It took place in the wonderful valley of Verzasca in Switzerland, where were interpreted the story of Ophelia. It was very exciting because it was my first shoot, but also because the location is so spectacular.
What do you love most about the Fashion Industry?
With fashion photography I have found a genre which allows me to express myself organically. This makes it very easy for me to tell my own stories in a personal way. And a bonus in this industry is that I am constantly surrounded by creativity and inspiration through working with amazing people and travelling to the most beautiful locations.
What do you most hate about Fashion Industry?
There are downsides in every industry and fashion is no exception. Generally speaking I think, the abuse of the umbrella of creativity is a big issue industrywide. For me, I always try to do my part to fight this as much as my position as the photographer allows it.
If you would start out now what would you be doing, how would you go about// who would you work with and where would you be aiming?
I think this is a really difficult question to answer; times and with that the industry change constantly, hence it is almost impossible to say how I’d go about it, knowing now what I’ve learned over the past few years. I am very happy how my career has developed and with the decisions I have made. I work with inspiring people all around, fantastic publications and well established brands. I could not have wished for more.
Statistics show that only 1 in 10 of the big money jobs i.e. womenswear-beauty and perfume campaigns are shot by women. Is there just no qualified female fashion photographers out there?
Reading these statistics is so upsetting. Even though times are changing, we are still underrepresented. Women bring such a unique perspective to photography and our work deserves much more recognition. I don’t even understand how this can still be the case.
One says it takes 10’000 hours to become a master of a craft, how long in hours/days/years did it take you to make a living?
Becoming a master of your craft or making a living out of it are two very different things in my opinion. Financially, it took me about two years to support myself with photography. Do I think that I am a master of photography? I really don’t think so, because I do believe, that one should never stop trying to learn.
Who is your female fashion image maker icon and who is your the one to watch?
Who is your female fashion designer icon and who is your the one to watch?
Stella McCartney and Jacqueline Loekito
What makes you feel comfortable on set?
Preparation is the most important thing for me. Having specific ideas for each look makes me feel more comfortable even if I end up taking a completely different direction than originally planned.
How important is your team?
It’s all about team work! Communication with each other during preparation is so important. I love when everyone gives each other some freedom to try out different things and even pushes each other to bring unique and interesting images to life. If the team is in sync, not only is usually the outcome of better quality, but it is also just so much more fun to work together.
What do you say about the charge that all fashion photography is predominantly sexist?
I have the feeling that there has been a shift in the last few years. There
are no longer any limits to the themes and sources of inspiration for our stories. There is room for everything, even very absurd, intangible stories.
There is a big surge of feminism at the moment - do you think that will affect Fashion Photography?
It already has and hopefully this positive development towards equalisation will continue.
When I look at your work, I really love your shoot of Soft Wear, Changing Rooms and Golden Touch.
What is yours? In all the stories you mentioned there are a lot of different textiles and soft materials such as velvet, the furry fabric used for the set as well as carpets and voluminous curtains, which is evidently something that I love. I love to wrap up bare rooms with fabrics and textiles and have the models interact with these dreamily soft sceneries.
What was your relation to fashion prior to working in this industry? Has it changed?
I have always loved fashion. Nowadays, however, instead of imagining how I would wear something, I immediately think about how I could include a piece of clothing into one of my stories. So in a sense the passion has evolved from wearing clothes myself to the art of fashion. While I prefer to be dressed quite discreetly, my fashion taste is pretty much the complete opposite; I love unique materials, big silhouettes and strong color combinations, but I would never have dared to dress like this myself. I have found a way how to express myself by creating this image through my photography.
What qualities do you value in an agent or booker?
I value my agents greatly. They are the bridge between the client and myself, which allows me to solely focus on my craft. In my opinion a good agent always negotiates in my best interest, knows the industry inside out but also doesn’t forget the human element to the relationship.
What is the most valuable piece of advice you were ever given and what advice would you have wished for earlier on in your career?
That I must find my own visual language and stay true to it. I wish I had realised earlier how important it is for me to work out a good daily structure, which gives me the stability that working as a freelance photographer does not bring.
What is your next big project or goal for your career?
I am working on broadening my photography from not only working with models but also with dancers and athletes, which is something that has been in the works for a while and I am very excited about it!
Is there anything in particular you'd like to accomplish?
The most important thing for me is to continue doing what fulfills me, no matter how the narrative changes.