From 2006 to 2016, I worked closely with photographer Mads Teglers on a series of independent fashion editorials and photographic narratives. Mads worked exclusively with Leica cameras, and our images were created through an analogue and highly intuitive process, before digital production, instant image review, and post-production became embedded in the way fashion imagery is made today.
As an editorial stylist, I worked with clothing, casting, character, composition and location as interconnected elements. The styling was not added after the photographic concept had been defined; it was part of constructing the story from the beginning. Together, we developed visual worlds in which garments became more than objects of fashion. They helped establish identity, atmosphere and psychological tension within the image.
Our practice was contemporary in its approach, but grounded in a slower and more materially present way of working. Each decision had to be made in relation to what was physically in front of the camera: the body, the clothes, the available light and the particular qualities of the location. Without the possibility of immediately correcting or reshaping an image digitally, the process demanded attention, trust and a shared visual language.
Looking back, the work reflects a period in which my role as a stylist extended into visual direction and collaborative storytelling. Although Mads was the photographer and I was the stylist, the narratives emerged through the dialogue between our two practices.
Our editorials were published in Fallen Magazine, S Magazine, Oyster Magazine, SMUG Magazine x Expo, ELLE Denmark and Lowdown Magazine. At the time, I was represented as a stylist by Tomorrow Management. At the time, I was represented as a stylist by Tomorrow Management.
The Exhibition - Galerie Esplanaden 3
The film documents an exhibition of the photographic work that Mads Tylers and I created together. Presented at Galerie Esplanaden, the gallery run by my mother, my husband John and me, the exhibition brought the images out of their editorial context and into a shared physical space.
The project was closely connected to my own life. Parts of the work were photographed in my home, and my son also appears in the film. The exhibition therefore carried both a professional and a deeply personal dimension: the places, relationships and visual narratives surrounding the work were allowed to meet.
Rather than a conventional presentation of photographer and stylist as separate contributors, the exhibition reflected the collaborative nature of the process. Mads photographed the images, and I developed the styling, characters and visual contexts, but the stories themselves were created together.
