Regal Milano brought me on as creative director through Lathley Agency to shape the visual direction of the campaign, and from the start we knew the city itself would play a major role.
Eric from Lathley and I spent a full day wandering Gastown together, scouting locations and chasing light. We walked block after block looking for the right textures — old brick, iron staircases, narrow streets, windows with beautiful reflections. Each location was mapped to a specific time of day so the light would fall exactly where we wanted it.
Those scouting days are always one of my favorite parts of a project. It’s half strategy, half treasure hunt.
Once the locations were locked in, the next step was casting. I pulled together a selection of models through agencies I regularly work with — looking for people who could carry tailoring naturally and bring a quiet confidence to the frame.
Shoot day felt exactly the way a fashion shoot should feel: focused, collaborative, and a little bit chaotic in the best way.
We moved through Gastown run-and-gun style with a small team. My assistant was carrying my monitor stand through the streets and jumping in to hold the light whenever we needed it, while Eric captured video sequences that I had conceived alongside the stills.
It was one of those days where everything starts clicking into rhythm — the models settling into the clothes, the locations revealing themselves, the light shifting just enough to create something unexpected.
We kept moving, shooting frame after frame as the afternoon slipped into evening.
And, as often happens, the best moments showed up right at the end.
We were still working as the sun disappeared and the sky turned pink over the buildings — the kind of light you can’t plan for but always hope will arrive.
That final stretch of the shoot ended up producing some of my favorite images from the day.
Sometimes the best thing you can do is keep shooting until the light is completely gone.