Collaborating with other professionals on creative editorials like Madame X 2.0 is a privilege. The publishing team here at ELETOM wanted to share the creative talent behind our inaugural editorial with you, our readers. Their individual career experience and skill sets are essential to executing an editorial successfully, and if there were no story to tell, this idea would never become a reality. This entire production came fruitfully together in the spirit of teamwork and collaboration.
The first is the photographer, who plays the significant role of a conductor, just like in an orchestra. Their ability to lead and work together with an entire team in unison to capture the story’s essence and vision in a single snap is similar to how a conductor leads the flow of a song throughout an entire musical practice. After everyone packs up and leaves, they still have to sift through thousands of images to select just a handful that best represents the narrative.
Additionally, every team member, from hair and makeup, fashion stylists, producers, and videographers to assistants, contributes to the magic of a beautiful shoot that was created through a seamless flow of creativity that connects each individual on the set. It’s crucial to recognize and appreciate the contributions of these professionals, who often need to be more ranked and recognized, primarily when they volunteer their time and effort.
Every aspect of our ELETOM inaugural cover and its launch is intended to celebrate creative talent, right down to the selection of our cover star, who we intentionally wanted to be a working model. We aimed to pay homage to the past covers where models graced the covers of coveted fashion magazines. Nowadays it is usually about the celebrity cover star, but instead, our focus was on the fashion, story, and art behind it all. Most importantly, our goal was to recognize the teamwork and the individuals behind the scenes that rarely get praised and more often than not, also not credited for their contributions to a shoot.
Our team at ELETOM hopes to bring back that creative inspirational energy while providing a platform for all creative walks of life, from models, artists of all mediums, creative visionaries, and all types of talents, to have an opportunity to shine. With that being said, our team at ELETOM is excited to introduce you to the incredible and exceptional individuals who all played an essential part in our cover story, Madame X 2.0, as without their dedication and expertise, this story would not have been possible. We all see and celebrate each of you!
The Muse aka Madame X 2.0: Model, Brianna Cirillo
Fashion Credits: Gown Givenchy | Jeweled bib piece by TWP , designer Trish Wescoat Pound | Statement crystal hoop earrings by Swavorski |
Q: Can you share with us how you got started in the modeling industry and what motivated you to pursue a career as a model?
A: My journey in the modeling and fashion industry began when I was 16 years old, and I was scouted by a photographer named Kourosh Sotoodeh. Truth be told, I’ve always been fascinated by the energy that surrounds this dynamic line of work, and it has motivated me to express myself while contributing to the art of fashion.
Q: What has been the most rewarding aspect of being a model, and are there any specific achievements or milestones that stand out in your career?
A: I love inspiring others through the work that I do. It’s great to achieve personal milestones such as getting my first magazine cover or collaborating with designers; knowing that my work has an impact is fulfilling.
Q: Can you walk us through a typical day or week in your life as a model, from casting calls to photo shoots and runway shows?
A: A typical week for me usually begins with a consistent amount of castings, fittings, and photo shoots. Casting calls are a way to show scouts and clients my portfolio. Photo shoot days are an extensive and transformative process when I can collaborate with the team and photographer to create a series of eye-catching imagery. Lastly, runway shows are amazing yet demanding because of their dynamic and fast-paced nature, but it’s all about having the right mindset.
Q: Could you share a bit about your journey, including any challenges you may have faced and how you overcame them in the industry?
A: As a bi-racial model, my career focuses on embracing and representing diversity, an integral part of my personality. That said, I want to highlight this side of myself uniquely. Being a model is challenging, and I had to overcome the fear of rejection since it’s such a competitive line of work.
Q: What advice would you give aspiring models based on your own experiences, and what lessons have you learned that have shaped your perspective on the fashion industry?
A: One piece of advice that I would give to aspiring models is to be patient and persistent. It’s vital to constantly stay grounded even when the going gets tough and embrace every experience.
Say Hello to Our Photographer Jana: The Magic Behind the Lens
Q: Can you briefly tell us about you, and how you came to the career as a photographer, detailing the pivotal moments or experiences that led you to where you are today shooting celebrities, fashion brands and magazine editorials and covers?
A: I have always been interested in fashion and have had various ideas about what and who I want to be. The idea of becoming a photographer was never really on my mind until an art class where we had a photo project, and my teacher told me that I have a very good eye for photography. It was then that I realized my passion for taking photos. Since my teenage years, I have been doing small photo shoots with every camera my father bought, especially with my friends. It just made sense to pursue something I truly love – combining my passion for photography with fashion. Beyond that though this sounds cliche but it also required a lot of hardwork and perseverance. I think a big part of my growth and success is being kind and respectful but also direct in my interactions to everyone from the publicists, my team, and clients. The way I treat people in life and work translates into me building positive interactions and relationships in my career.
Q: When conceptualizing a photoshoot for an editorial or creative project, what factors do you consider to ensure the visual narrative aligns with the intended message or theme?
A: I always consider several factors to ensure that the visual narrative aligns with the intended message or theme when I am conceptualizing a photoshoot. It is a process that begins with establishing a clear vision. I engage in discussions with the editor or client to understand their concept and gather inspiration from them. If the vision is not immediately clear to me, I refer to saved ideas and create a initial mood board on Pinterest. Once I feel the vision is clear, I put together a mood board that is more tailored and niched down that tells the visual story and then I present it to the client. This collaborative approach helps in developing a cohesive and visually compelling narrative for the photoshoot.
Q: How do you approach collaboration with other members of the creative team, such as makeup artists and stylists, to ensure a cohesive vision and execution of the final images?
A: I approach the process with a focus on ensuring a cohesive vision and the successful execution of the final images. I believe that the mood board serves as a valuable tool to provide everyone with a clear idea of the direction we are aiming for. Once the team has reviewed the mood board, we engage in discussions to delve into specific details and explore their ideas. I am always open to hearing their input and suggestions, as they are experts in their respective fields. I think the best ideas are when people come together and share. This collaborative approach fosters a dynamic exchange of ideas and expertise, ultimately leading to a harmonious and successful outcome for the photoshoot.
Q: Could you discuss some of the technical aspects of your photography process, such as equipment preferences or lighting techniques, that contribute to the distinctive style of your editorial work for this particular shoot for ELETOM?
A: When it comes to the technical aspects of my photography process, particularly for this editorial shoot for ELETOM, I approach it in a way that may differ from other photographers. While some may meticulously plan every detail beforehand, I tend to thrive in the spontaneity of the moment on set. I live in the moment and love unexpected magical moments that can only be achieved when I feel the energy on set and the story reveals itself on camera! I believe in immersing myself in the ambiance of the shoot – from the clothing to the model – to guide my creative decisions. Though I start with a basic concept in mind, it is during the shoot itself where I truly determine the direction based on the energy and essence of the elements present. For this specific shoot, our aim was to capture a distinctively intriguing and slightly moody light that would complement the overall aesthetic we envisioned. By allowing the atmosphere and dynamics of the shoot to influence my choices, I strive to create a unique visual narrative that sets the tone for the editorial work.
Q: In your opinion, what sets editorial photography apart from other genres, and what excites you the most about creating visual stories through this medium?
A: When it comes to editorial photography, what really gets me excited is the freedom to let my creativity run wild! Unlike other genres, editorial work gives me the chance to express myself in a way that’s totally unique and visually captivating. I love diving into different concepts, styles, and narratives to create something that’s truly one-of-a-kind. The best part about crafting visual stories through editorial photography is the endless possibilities for being creative and innovative. I get to play around with themes, aesthetics, and techniques that push the boundaries and shake things up. Bringing a captivating visual narrative to life that resonates with viewers and stirs emotions is such a fulfilling experience. It’s all about turning imagination into powerful storytelling through images, and that’s what fuels my passion for editorial photography!
The Hairstylist: Weaving Magic with Denis Perani
Q: What made you want to pursue a career in becoming a hairstylist?
A: Before my career, I’ve always thought I would want to be a fashion designer or something related to that. But it never occurred in my mind that I would become a hairstylist. My best friend had a hand in this; she asked me to cut her hair because she couldn’t go to her stylist whenever she had last-minute casting calls. She said, “Denis, you’re so good at this that you should become a hairstylist.” At first, I was against it; I didn’t want to pursue it because, with hair, you’re not going to make any money, and it’s arduous labor.
One day, she told me to come with her to the hairstylist she goes to in Munich, whom I wanted to learn from; at first, I didn’t want to come along, but she prepared my resume/ portfolio. Because she was so clever, she made an appointment to go to that hair salon; the next thing that happened was that I got a job interview while she was getting a blowout. My best friend pushed me because she had so much faith in my abilities, and the truth is I wouldn’t have gone after this career path if it hadn’t been for her.
Later, I went to speak to my parents and told them about my decision. That’s when I decided to pursue learning more about hair. For my internship, I went to this hair-dresser in our tiny village and worked there at least once a week. My sister would go to him, and at that time, he took me on because most of his apprentices all got pregnant at one time. So he was pleased that he got a guy! As a result, I got the best training I could ask for through school, the apprenticeship, and the competitions I started to participate in. That’s when I began to know the right people by learning how to do fashion shows and shoots. That collective experience made me realize that the more you put yourself out there, the more opportunities you get.
Q: What were the most memorable moments in your career that stand out so far?
A: I love working with people, and through that experience, I learned from the best. One of the people I learned from was Eugene Souleiman; she has her own haircare brand and is known as the queen of hair commercials, which is truly inspiring. One of the most memorable moments of my career happened after I was ready to begin my internship. A year later, I was promoted to the creative director of the company I was working for. Being in that position helped me teach younger people and learn from others who have been in the industry for twenty to thirty years. It was a pleasure to “read” their actions and think of new ways to play around with a new technique. Especially during competitions, where there are so many teams from different parts of the world, like China and Japan, you see how they handle, cut, and treat various hair types. It’s incredible to see how they hold scissors differently and what products they use, which differs from textured to Asian hair.
Q: What was it like to create that particular look for Eletom’s inaugural cover with Briana and the team?
A: Because it is so iconic in all its elegance and simplicity! I love Jana! When she asked me to work with her on this shoot, I had to support Eletom’s styling concept. I just asked her, “Do you have any wishes for the hair? She responded, Denis, I would like to have long hair for the cover, not straight but blown out. It had to look natural and very effortless. When creating a look, the magazine has different ideas on how things would look with the styling, so I have to check with the model’s hair. While the magazine has excellent concepts about what they want to see on the cover, there are times that I have to disagree with them. Yes, I will try to see if it works a certain way, and when it doesn’t, we can always utilize different techniques and tools to make it work while working with everything around us.
Q: What challenges have you encountered in your work life, specifically when taking on different hairstyles in the hopes of creating new looks in such a short time?
A: You need to learn that you can’t change the person completely, especially if you need more hair or if it’s for a hair commercial. It sucks, of course, but you always have options: hair extensions and wigs but see, those things are costly. Sometimes, the difference between a good hair stylist and a very successful one is not that they are better. But it’s only because they have more experience, better contacts, or are more innovative in their business strategies. At times, when you’re starting and you need more suppliers or resources, your work will be more difficult. I was lucky that I had people gifting me hair extensions for my work.
Otherwise, it would be tough. Since wigs cost up to 10,000 dollars, all because they are made of a fragile fabric, they put every single hair in our hair. That’s why it’s so expensive and takes 40 hours to make.
Q: How do you balance being an artist and being an entrepreneur in your way?
A: Oh, it’s a balancing act between being passionate about what I do and being business-oriented. I always surround myself with people who are great to have around, especially if they radiate positivity. When Jana asked me to do the shoot, I always said yes. I usually don’t do that because my agent would disapprove, primarily since the magazine has yet to be known.
But I trust and support Jana. That’s why I only work with people I love and admire, and that’s why it’s never working for me because I’m dealing with more passion projects; of course, from time to time, you sometimes get an in with people you don’t know. It works out surprisingly well, but if you don’t like someone, you get a sense that you don’t know them. Still, I always said that you usually have a sense of people who are not nice, and you can always say no, especially when you don’t want to do a specific project.
That’s very cool, it’s a great mentality when dealing with some of the industry’s toxic aspects, especially when it can get a little toxic at times.
Q: What piece of advice would you give to aspiring hairstylists?
A: Don’t worry about money because it will always come to you. Two, believe in yourself even when things aren’t so great. It can be tricky, but you should always know your worth to assist people. And for the rest, try to learn from others and, when you can, educate yourself in new techniques through master classes and others in the industry, whether in make-up, photography, or styling. Also, it’s essential to be kind at all times. Even if you had a bad or shitty day at home, you need to shrug it off your shoulders because nobody cares. In the 90s and 2000s, everyone was a little more arrogant and wouldn’t give a darn if you were uncomfortable. Still, we don’t need to be that way because we must always be the best version of ourselves to uplift others, whether on set or in the salon.
Also, when picking the perfect hairdresser, please don’t ask me that. Because the truth is, you need to find that for yourself. It doesn’t matter if it’s a cheap hair salon or expensive hair salon; what matters is how you feel. You can go to the most costly hair stylist in the world, but you might want more than their work. Take it from me; I’ve been there.
Q: Do you have any new and exciting projects coming up?
A: Yes! I can’t go into full detail about it, but it’s a project that’s very close to what I do, and hopefully, it will be coming out soon! So stay tuned.
The Beauty Boss: Makeup Artist Anthony Merante
Q: Can you share a little about yourself and your story as a makeup artist, highlighting key moments or experiences that have influenced your career path and shaped your artistic style?
A: While in high school, I was always taking art and photography classes. I was always drawn to drawing and painting. For my photoshoots, I would do the hair and makeup for my projects. I had this small makeup case with many MAC products I purchased at the pro store and use on all my models and friends. My friends would ask me to do their makeup and hair for their actor headshots, and I would photograph them on my little 35mm camera. Eventually, I fell more and more in love with makeup artistry, started recreating all the looks from the Kevyn Aucoin books and enrolled in a beauty course at Joe Blasco Makeup School in Los Angeles. A few years later, I assisted incredible makeup artists like Mark Carrasquillo, Diane Kendall, and Gucci Westman on campaigns and fashion shows. This is where I began to hone my aesthetic skills.
Q: When collaborating with a creative team on an editorial shoot, what is your creative process for developing makeup looks that align with the overall concept or theme?
A: I tend to work best when given more of a “vibe” instead of a mood board, and I like to see the model in person before deciding how I want to do the makeup. I’ll throw out a couple of ideas verbally, look at the clothing, and if the team needs a visual reference, then I’ll pull a few images and go from there. I was on a shoot recently where the photographer and I were discussing makeup direction, and I showed her a single image, she loved it. It was a solid makeup image, and when I started working on the models’ makeup, I began to feel it was too strong for the fashion styling, so I ended up doing an inverted abstract version of the inspiration and then just started painting. We ended up with six stunning looks, but none were planned.
Q: Could you discuss some of your favorite makeup products or techniques that you rely on to achieve striking looks in editorial photography? Were there any star products you used for this particular cover shoot with ELETOM?
A: I have a colossal makeup kit when I am working on editorials and creative shoots. I like to have EVERYTHING with me because you never know when you’ll need that grease paint, glitter, feathers, etc. A few items I can’t live without are the RMS Living Luminizer, Anastasia Beverly Hills Brow Definer and Brow Wiz, MAC Cosmetics Studio Fix Conceal and Correct Palettes, and Kevyn Aucoin Contour Powder in Medium.
Q: How do you approach communication and collaboration with other creative team members, such as the hairstylist and photographer, to ensure cohesive and impactful visuals?
A: I like to ask a lot of questions, explicitly lighting questions. Before I start makeup, I always ask how the images will be lit. The makeup artist must communicate with the photographer to make sure we are on the same page. I love working with the same people over and over because we understand how each other works. Denis and I work very well together and have the best times on set.
Q: What sets makeup artistry apart for editorial shoots from other forms of makeup application, and how do you adapt your skills and techniques to excel in this specialized field?
A: Makeup for editorial and creative shoots is always my favorite because I can try new techniques and manipulate different textures. But when it comes to red carpet and celebrity shoots, I tend to be a bit more reserved and pull back a lot. You never know what the lighting will be on the carpet.
The Stylist: Fashion Maven Noël Martin
Q: Can you briefly overview your career journey as a fashion stylist? How did you get started in this industry, and what inspired you to pursue a career in styling?
A: I was always interested in fashion, but I didn’t have much exposure to it growing up. When I got older, I applied to Parsons on a whim and got in. Eventually, I graduated with a degree in fashion design and showcased five runway collections in my hometown of New Orleans.
One day at school, I had this realization that designing for another brand meant sitting at a computer all day in front of an illustrator, which isn’t for me at all since I’m a very physically creative person. By then, I noticed that stylists get plenty of recognition in the editorial world. I loved the idea of creating different worlds around the wardrobe, not only with my designs but also with all the other beautiful and brilliant fashion pieces made in the world. A friend was interning at an artist agency and introduced me to my mentor, a stylist I started assisting in college. The rest is history, and I have loved being creative on set ever since.
Q: When working with a celebrity client, what is your process for understanding and translating their style into a cohesive and impactful look? How do you ensure their personality shines through while staying true to the brand or concept?
A: My inspiration for design and styling has always been the female form. The goal is to make women feel beautiful and confident in their clothes. So, including their style is extremely important in ensuring the client is satisfied and comfortable in the outfit we choose.
After understanding the client’s style, I inject my taste and ideas into the pull, including new things the client isn’t usually drawn to. From there, the magic happens during the fitting; it’s crucial to ensure the client trusts you and is comfortable by having some familiar styles/ colors/ brands on that rack just to show you did your research and that you’re there to support the client in looking and feeling their best.
Q: Could you walk us through your creative process when styling for an editorial shoot, particularly the ELETOM shoot? How do you approach conceptualizing and executing a visual story through fashion and styling choices?
A: I love having references to look at, and that’s what happened when the painting of Madame X was our inspiration. I researched the history of the painting, and of course, it came with a fantastic story framed in femininity and an act of feminine protest, which I strongly identified with. My creative process always begins by immersing myself in researching about the reference and the story behind it. This way, I’m in the correct headspace to support the mood of the shoot while making selects and requests. Sometimes, I put looks together in advance, but once I’m on set and looking at all the clothes we’ve managed to get in front of me, I’m dialed in and just lean into my gut feelings.
Q: In a fast-paced and ever-changing industry like fashion, how do you stay updated with the latest trends, styles, and emerging designers? How do you incorporate fresh and innovative ideas into your work so you stay inspired? Can you tell me about your favorite designers and at least one recent fashion week show you love?
A: It’s all about research, research, research, and Instagram. It’s also important to gather inspiration from non-fashion sources such as film, fine art, photography, nature, and anything BUT fashion. This is the best way to ensure you’re leaning into your creative mental space and not just seeing clothes you like. I’m a massive fan of the Turkish designer Dilara Findikoglu, and I always loved how she can take something that is on trend or on the cusp of being on trend and make it fresh and new. Her take is always complex, but she makes it feel effortless, and every garment is thought-provoking.
Q: As a fashion stylist, you often work in a high-pressure and fast-paced environment. How do you balance and establish boundaries to ensure your well-being and prevent burnout while delivering exceptional results for your clients and maintaining your sanity?
A: Every day on set can become a high-pressure environment when there are deadlines and loose boundaries to begin with. I care a lot about this job, so I have to try my best to keep my emotions out of it. When any boundaries are crossed, I am as direct as possible while still being respectful. In this industry and life, we can assume we won’t get anything we don’t ask for. We must make our intentions known. You can be bold and ask for what you want or need to do your job to the best of your ability. Burnout is very real, so I listen to my mind and body and rest when needed. Also, pilates and infrared sauna goes a long way.
Many thanks to our Editorial Team, with all of our gratitude and love from ELETOM
Brianna Cirillo| Agency The Industry NY | Instagram @briannaccirillo
Photographer: Jana Schuessler | Instagram @janaschuessler
Fashion Stylist: Noël Martin | Instagram @pinkingsheers
Assistant Fashion Stylist: Diego Lawler | Instagram @diegolawler
Hair Stylist: Denis Perani | Instagram @denisperanihair
Makeup Artist: Anthony Merante | Instagram @anthonymerante
Creative + Art Direction: Natalie Tran Steger + Great Social Club
Production: Great Social Club | @greatsocialclub
Digital Cover Animation + Editing: Alexander Silkin | @alexander.silkin
