Roughly a month before a shoot, nothing is visible yet. No snow. No ski suit. No après-ski glamour. Only a conversation. For the December ski production for FD Persoonlijk, where I am responsible for the fashion, I begin with atmosphere. What does winter feel like when translated into clothing and setting? Is it sharp? Nostalgic? Disciplined? Indulgent? What holds it together? As a fashion stylist based in Amsterdam, clothes are part of a broader direction. For this series, I begin with temperature. In colour. In proportion. In mood. At the same time, I edit the looks in my mind and request the key pieces.
Concept Before Garments
In the weeks leading up to the shoot, the schedule fills quickly. There are meetings with the editorial team, exchanges with the fashion director and art director, and ongoing collaboration with the photographer, set designer, props stylist, the hair and make-up team and the model agencies. We talk about look and feel, and about the audience we are addressing. Mood boards move back and forth while decisions are made about which looks to request. Performance fabrics sit next to polished designer pieces. Sometimes a mix feels right, sometimes something more controlled. My research moves between digital browsing and physical encounters. I save screenshots late at night, revisit old ski editorials and reconsider contemporary silhouettes. Preparation is concept development in practice. Ski and après-ski come with clear visual codes. The challenge is to find something within the collections that feels considered rather than expected. For me, styling is about balance, reference and space for fun.
On Set
We work in Amsterdam, in a studio. There is constant exchange throughout the shoot. Adjustments are made and decisions happen in real time. Ideas are shared and executed collectively. Together, we keep the storytelling consistent from the first look to the last. Focus and energy sit alongside humour and ease. A shoot works well when collaboration feels natural and people are comfortable. That atmosphere carries through into the final series.
Images from the series Ski and Mountains, photography by Oof Verschuren
Invisible Layering
Much of my work happens before the camera turns on: sourcing, editing, reconsidering, adjusting and refining. I check whether the direction aligns with the readership, stay connected with the team, browse both online and offline and secure the right silhouettes. For every shoot, I draw a storyboard for myself. Simple sketches, clear enough to organise my thoughts into visuals. Before a shoot, doubt sometimes enters. Can I secure the right looks? Have I pushed it far enough, or have I held back? That tension is part of the process. By the time the shoot starts, the visible part of my work begins. Behind it sits a month of preparation: conversations, edits and decisions. And the moment when everything comes together. That’s the sweet spot.
Beyond the Definition
If you search online for a stylist, you will read that they curate garments, offer style advice or manage wardrobe. That description covers the visible task. Styling also involves strategic thinking behind each visual, cultural reading that shapes direction and the responsibility of maintaining coherence across an entire editorial. For me, styling translates culture and context into a visual language and forms the link between idea, person and audience.
The full ski production can be viewed on my website.
Thank you to all collaborators. Full credits are included in the series.
