A Day on Set: Behind My Latest Editorial Shoot

There's something magical about the controlled chaos of a fashion shoot. The alarm goes off at 5 AM, and by 6:30 I'm already at the studio, coffee in hand, reviewing the moodboard one last time before the team arrives.

For this particular editorial — Velvet Dreams — I had spent weeks sourcing fabrics and building looks that balanced opulence with rawness. The concept was simple but ambitious: pair luxury velvet pieces against industrial textures — concrete walls, rusted metal, weathered brick.

The morning started with a team briefing. I walked everyone through the moodboard, the shot list, and the emotional arc I wanted the story to follow. Communication is everything on set. The photographer, Marco, understood immediately. The MUA, Giulia, began working her magic while I laid out the first three looks.

By midday we had the first half of the shoot wrapped. The light was incredible — Milan in autumn offers this soft, diffused quality that's pure gold for editorials. We broke for espresso (naturally) and I took the opportunity to adjust the afternoon looks based on what we'd captured.

The final shot came together at golden hour. Sofia, our model, stood draped in burgundy velvet against a crumbling ochre wall, and everything just clicked. Those are the moments I live for in this work — when concept, execution, and spontaneity align perfectly.

What I've learned from shoots like this is that preparation is freedom. The more thoroughly you plan, the more room you have to improvise when inspiration strikes. And in fashion styling, it always does.