How did you get into modelling?
My modelling journey began completely unexpectedly. I was 18 when my mother, recognising my potential, signed me up for a New Fashion Show casting. Despite my initial indifference, I not only successfully passed the selection process but also became the best of the four finalists. This victory opened doors for me in the fashion world, leading to a contract with Twain Management mother agency. Our collaboration continues to this day, and I am immensely grateful for their support and my start in the industry.
Who have I worked with? In which countries?
My international career began with a contract in Korea, where I also landed my first major brand job, GUESS. From Korea, I immediately went to Taiwan, where I shot spreads and editorials for Marie Claire magazine. Subsequently, my work travels expanded significantly: I worked in China, Malaysia, and Hong Kong. Of all the countries, China left the most vivid and memorable impressions. Not long ago, I visited Taiwan again, where I completed two excellent projects: a shoot for the sports brand Kappa and an advertising campaign for ASUS.
What surprises and irritates me most about today’s fashion?
I’m amazed by the complete freedom. There are no more rules—you can mix and match anything, and it will still be stylish. Fashion has become a personal language, not a dictate. The hypocrisy and speed are irritating. We talk about sustainability, but we produce tons of disposable clothing, driven by TikTok trends. Luxury and craftsmanship are drowning in this flood. There is a disconnection between the beautiful worlds and the reality of a system that encourages mindless consumption.
What’s your opinion on AI? Do you see it as a threat to modelling?
I believe AI poses a threat to modelling, but not a critical one. AI models are already a serious competitor for mass-market catalogues, basic clothing, and digital fitting rooms. They’re faster, cheaper (no need to pay for a shoot day or makeup artists), and allow clients to achieve that “perfect picture”—flawless skin and precise hair colour—but they’re not a replacement. However, AI is still powerless to convey a model’s energy and charisma, which make viewers fall in love with their image. It creates beautiful, but often lifeless, images. Furthermore, I believe people are tired of the ideal model image. The success of models with unique facial features, freckles, scars, moles, and scars confirms this. AI can’t convey the interaction of the body with fabric or the play of light on the skin. AI is not a replacement, but a powerful tool.
Most unusual show/job?
The most memorable shoot was with a true professional. It was a fashion shoot where the look revolved around a complex winged corset, which the team created specifically for the project. It was difficult to even breathe in it, but the work, the shared focus—from the photographer to the stylist—was worth it. The result exceeded all expectations. When we saw the finished images, it became clear: sometimes discomfort in the name of art leads to the most powerful and beautiful results.
Do you have a dream related to modelling?
At the beginning of my career, I dreamed of becoming a top model. Now my goals have become more specific and professional: I want to collaborate with major international brands, appear more often in glossy magazines, and, of course, realise my long-held dream of working on shoots in Japan.
