How did your career start?

My career started from a very instinctive place — observing people and how they exist in the world. Early on, I was drawn to fashion not as a trend system, but as a visual language of lifestyle and identity. Photography became the medium that allowed me to translate those observations into images.
Over time, my work evolved from documenting aesthetics to constructing atmospheres — spaces where time, emotion, and identity coexist. I’m especially interested in how the past can be reinterpreted through a contemporary lens, which naturally led me to projects like this one.

Tell us a little about this shoot.

This shoot was built around the idea of “new retro.” The vintage car wasn’t used as a symbol of nostalgia, but as a living object — something still present, still moving forward.
We placed it in an open, natural environment to echo Retro 21’s philosophy: removing labels and allowing people to return to a relaxed, instinctive state. The car, the clothing, and the surroundings were all treated equally — none dominating, none performing.
Visually, we wanted the images to feel unforced, almost like fragments of life, where the boundary between past and present quietly dissolves.

What inspires you?

I’m inspired by moments where time feels suspended — when something old doesn’t feel outdated, and something modern doesn’t feel rushed. Nature plays a big role in this, because it strips away artificial structures and brings people back to their most natural rhythm.
Brands like Retro 21 resonate with me because they don’t design for identity labels, but for states of being — comfort, ease, and authenticity. That philosophy aligns deeply with how I see photography: not as decoration, but as a reflection of life’s most honest moments.

Tell us about your creative plans.

Moving forward, I want to continue creating work that exists between categories — fashion that feels like life, and visuals that feel lived-in rather than staged.
I’m interested in developing long-term visual narratives with brands that treat clothing as philosophy, not product. Exploring themes like time, memory, and human presence in natural or transitional spaces will remain central to my work.
Ultimately, my goal is to create images that don’t ask to be explained — they simply allow the viewer to feel.