One of the things that has always mattered to me about historical and fantasy costumes is that they deserve to be photographed with the same care that goes into making them.
Good costume photography is never simply documentation. It is atmosphere. Texture. Narrative. It is the way linen catches low evening light, the movement of heavy fabric in woodland air, the gleam of embroidery against worn leather, or the quiet storytelling hidden in props and composition.
Before Mosswood Studio became my primary creative focus, I spent time working in fashion and product photography for big brands. Following that, I became a journalist writing for photography magazines and websites. Visual storytelling has always shaped how I think about textiles and garments.
The difficulty is that running a small costume business means wearing many hats at once. Designing, sewing, patterning, researching, writing, photographing products, packing orders, maintaining the website, and developing new collections all compete for the same limited hours. And then you have to consider that I also work full-time and that I still have a year left in my degree!
Over time, I realised something important: the kind of atmospheric, editorial-style imagery I want Mosswood Studio to become known for is best created collaboratively rather than on my own.
Because of that, I am now looking to build long-term creative relationships with photographers whose work already leans into historical, folkloric, fantasy, or heritage-inspired aesthetics.
I am particularly interested in working with photographers who enjoy:
- immersive visual storytelling
- styled editorial shoots
- atmospheric locations
- historical or fantasy fashion
- tactile, textural imagery
- narrative worldbuilding
Ideally, this would be someone who already has access to a small library of props, styling objects, or interesting locations, and who enjoys building visual concepts collaboratively rather than simply shooting products against a plain backdrop.
My work sits somewhere between historical textile craft, costume, and ceremonial object making. The pieces are designed to feel lived-in and grounded. I am much more interested in quiet authenticity and atmosphere than highly polished cosplay imagery.
I am also committed to creating imagery that feels broad, welcoming, and human. One of my priorities moving forward is working with a more diverse range of models and collaborators, helping Mosswood Studio better reflect the richness and variety of the communities that engage with historical fantasy spaces.
What I would ultimately love to build is not a one-off arrangement, but an ongoing creative partnership. Something where visual language develops over time. Shoots become richer and more cohesive because both people understand the world they are trying to create together.
There is something very special about long-term creative collaboration. The best editorial imagery rarely comes from isolated projects. It comes from trust and experimentation.
Mosswood Studio has always been rooted in historical resonance, textile craft, and storytelling. As my work evolves, I want the photography surrounding the work to evolve alongside it.
If you are a photographer whose work aligns with these ideas, I would genuinely love to hear from you.
NB: I also have a longstanding interest in the relationship between technology and creativity. Before COVID-19 interrupted my PhD research, my work explored the use of AI and digital technologies within History of Art scholarship. Because of that, I’m especially interested in collaborating with people who are curious and thoughtful about how new technologies can support (rather than replace) creative practice.