^{Scripted feels both polished and poetic, what first made you want to explore beauty as performance?}

^{What first drew me to exploring beauty as performance was realizing how constructed and scripted it always is. I find this true in how I present myself operating in the niche culture of the fashion industry and in my role as a commercial photographer. In Scripted, I wanted to interrogate this surface language that is designed to seduce us. The art director of the image making process, Sophie Gaten, and I dug into archives and references that felt familiar yet elusive, almost like déjà vu, to highlight how beauty has always been built on repetition and recycled iconography.}

^{You've embraced experimentation and accidents, was there one “happy mistake” that made it into the final book and changed the direction of an image or series?}

^{My creative process always lives somewhere between method and madness. I like to walk in with a solid plan, but I leave space for experimentation, because that’s often when something unexpected emerges and shifts the direction. The nails, for example, became a real obsession and ended up as a key pillar of the imagery as they carry so many of the visual codes I was exploring, balancing seduction with the grotesque. I also prefer giving myself time in post, because that’s where new storylines often reveal themselves through different combinations or treatments. That spirit of discovery was especially important in building the book’s layout, which became a new medium of communication for my practice.}

^{The title Scripted is so evocative. What does it mean to you in the context of beauty and self-image?}

^{Identity is a script. You build it piece by piece. Beauty becomes part of that script, and brands exploit this. The images we created are not candid fleeting moments, they are heavily constructed scenarios. So in a way, these fictions mirror the way aspirational identities are styled, edited, and sold back to us. You might think beauty is simply subjective, but there are so many layers to it. Cultural background, visual memory, even advertising shapes what we find attractive. The idea was to explore beauty without trying to define it.}

^{You’re borrowing the glossy look of commercial photography but twisting it. How do you balance critique with celebration?
The visual codes of commercial photography become an interesting tool when asking what the image is doing, what is it communicating? Its stripped back yet meticulous approach allows space for duality: high/low, minimalist/decadent, familiar/foreign. By working with the familiar codes of commercial photography, I create an entry point where the viewer feels comfortable stepping in. The images don’t immediately signal otherness, so there isn’t that initial barrier of distance. That familiarity opens up space to really look at the stylistic choices constructing the scene. From there, it’s up to the viewer whether they read it as critique or celebration. My role is to present the idea; their role is to decide how it lands with them.}

^{Scripted really plays with abstraction and the real. How do you know when to pull something toward one side or the other?
It’s always been an innate process for me as I draw a lot of inspiration from abstract art, vintage posters, and surrealism. I’ve long been fascinated by the frame’s ability to fragment reality and disorient the viewer, offering a perspective that feels slightly off balance. With Scripted, I stepped back from exploring that purely through photography techniques and leaned into it more conceptually in my thinking as a creative director. It became about how those ideas could be translated through styling, hair, makeup, and even the layout itself.}

^{In a world flooded with beauty ads and commercial glamour do you think images can still surprise us?
Always. We just need more advocates for it that are not risk averse. They exist but they are far and few. In this overly saturated world of imagery driven by data points, it's the only way to break through the clutter as a brand and can be a strong marketing asset if it's built into the brand's DNA.}

^{You’ve lived in so many cities: Paris, London, Montreal, New York. How do those places inspire your work?}

^{Each city I’ve lived in has left its mark on me, shaping both my outlook and my work. I’m very aware that my visual language is rooted in Western thinking, with all its flaws and limitations, but within that, each place has given me something distinct. Montreal nurtured a sense of play, trust in my spirit, and the importance of community, which naturally flows into how I work. New York gave me boldness, individuality, and an openness to ideas when creating our sense of identity. London sparked the rebellious, anti-establishment side of my practice. And Paris has taught me restraint, an appreciation for life’s quieter beauties and more traditional codes.}

^{Finally, what do you want people to feel when they hold Scripted?}

^{I’m not really a materialistic person often decluttering my belongings to what feels joyful or truly useful. So there was a bit of conflict in creating an object. But if people can feel the same love and passion that went into making it as I do when I hold it, and if it sparks even a moment of joy or inspiration for someone else, then that’s more than enough for me.}

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^Credits:

^{Stylists: Rubina Marchiori, Theophile Hermand, Caitlin Moriarty, Kieran Fenney}

^{Hair Stylists: Sarah Jo Palmer, Hikage Yumiko, Melissa Rouille, Emilie Bromley, Mayu Konakae}

^{Make-up Artists: Allie Smith, Lauren Reynolds, Bea Sweet, Yumi Lee, Leana Ardeleanu, Marie Dufresne, Machiko Yano}

^{Nail Artists: Lora de Sousa, Lauren Michelle Pires, Cherrie Snow, Olivia Gane}

^{Set Designers: Olivia Giles, Paulina Piipponen}

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