You already own these pieces — that's rather the point. This is simply the edit, curated the way I shoot: silhouette first, texture always, nothing that shouts.

For the villa, the deck, the morning swim you'll want to remember forever. Fluid fabrics that move with wind and water — silk, linen, nothing stiff.

Rome at dawn, New York at dusk. Tailoring photographs like architecture — sharp shoulders, clean lines, a silhouette that holds from across the street.

The dinner, the terrace, the last glass. Low light is the most flattering light there is — and the most cinematic. This is where statement pieces live.

For the portrait that hangs six feet tall. The right gown is architecture — clean lines, real weight, zero embellishment. It holds light, throws shadow, and needs nothing else.

Sea light is the most honest light there is, and a deck at anchor is a studio that rocks gently. Silk against salt air, white on teak — nothing trying too hard.

Paris at 8 a.m., Rome between espressos, New York any time at all. The walking editorial — coat open, scarf catching wind, the city as your backdrop.

Head-to-toe cream is the quietest power move in photography — nothing but texture, light, and you. In black & white it becomes a study in luminous greys.
Two minutes on how a commission works, what to expect on the day, and why you don't need to know how to pose.
A limited number of private commissions each season, anywhere on earth.
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