“Don’t be stupid, Andrea. Everybody wants this. Everybody wants to be us.”
– The Devil Wears Prada

Fashion is often seen from the outside looking in—all polish and prestige, perfectly lit campaign videos, and runway looks that are styled really effectively. But behind each striking image is a network of creative labor: stylists hunting down rare pieces, photographers directing the mood and lighting, models embodying the brand’s vision, and small business owners curating culture from the street level up.

This story steps behind the camera and beyond the showroom to explore the real work—blood, sweat, and teamwork—that powers modern fashion's visuals. Through interviews with Isaac Levy, a Vogue and Sandy Liang photographer, Trey Hyde, a freelance photographer and stylist, and Charlie Kitten, who’s fronted campaigns for brands like Heaven by Marc Jacobs and Good Dye Young, we reveal what it takes to build a moment that defines the aesthetic of a generation.

In an industry built on image, the people behind the lens do the heaviest lifting.

ISAAC LEVY

The photographer begins with light before a model steps into a frame or a stylist zips up a garment. For Isaac Levy, the camera isn’t just a tool—it’s an extension of his body, a translator for something he can’t say out loud.

“I think for me it started with a passion for creating clothing and styling a look,” Levy says. “But then I realized it was more about the capability of a garment and how it can portray a variety of messages depending on the context it's shot in.”

Working on a professional level means constantly calibrating. Levy doesn’t always get to express his full artistic vision—especially when he’s working under someone else's brand.

“There are definitely jobs where you kind of show up and are used as a tool,” he admits. “But I’ve learned there’s value in that too. Sometimes you’re like a prosthesis for someone else's creative vision.”

The long hours, tight deadlines, and constant pressure can feel numbing. He recalls one internship where he poured himself into capturing process photography for a luxury studio, only to have it rejected outright. “This isn’t what we wanted,” they told him. It stung—but he didn’t let it stop him.

“You can either take that and shut down, or use it to sharpen yourself,” he says.

The process has its own lows—long hours, sharp criticism, and creative compromise—he sees them as necessary steps.

“All these internships have long hours,” he admits, “but the biggest takeaway for me is the people you meet and the conversations you hear.”

There’s a particular tension in trying to stand out in a field flooded with ambition.

“Our generation wants everything fast,” he says. “But for a photographer, it’s more important to expose yourself to as much as possible, to slow down and figure out who you are.”

When asked what keeps him going, even through burnout, Levy doesn’t hesitate.

“There are certain people who just need to make images. It’s not an option. Even when it’s hard, I don’t know what else I’d do.”

Levy’s what’s the dream shoot? “Tilda Swinton in McQueen archive outdoor in London. That’s the shot. That’s the dream.”

TREY HYDE

For Trey Hyde, breaking into fashion wasn’t about who he knew—it was about how far he was willing to push himself.

“I started off just putting my stuff on social media,” he says, referencing early styling and photography experiments. “I was just trying to show my art and what I wanted to do.”

At 17, Trey took a chance that would define the trajectory of his career. After a concert in New York, he spotted designer Mowalola Ogunlesi in the crowd.

“I asked her for five minutes of her time,” he remembers. “She was getting swarmed, but I just kept approaching her. I told her I admired her work, gave her my contact, and said I’d do anything—intern, assist, whatever she needed.”

That moment led to his first industry job—assisting on the styling team for an ASAP Rocky video shoot for RIOT.

“At the time, I didn’t even know what it was for. I just knew I wanted in,” he says.

His hustle paid off. “That experience gave me real insight into what it’s like to work in the industry. It helped people take me seriously.”

But not every opportunity runs smoothly.

“There was a day we worked for about 10 hours—styled over 20 or 30 models, hand-sewed items, pulled pieces, returned them—and then Rocky called the day off,” he says. “None of that footage was used. It was just... gone.” Still, Trey came back to set the next day with a positive attitude. “At any moment, anything can change. You just have to stay strong.”

Working in fashion means mastering flexibility and fighting to be heard, especially on collaborative projects. “There’s a balance,” he explains. “You have to stay in the lane of what the creative vision is, but add your flair to it. That’s how people start to believe in you—you’ve gotta be your own biggest fan.”

The pressure to stay relevant is always there.

“I feel like I have to keep creating constantly. I don’t copy trends, but sometimes I’m inspired by them,” he says. “You have to know the difference between influence and imitation.”

Trey finds the most satisfaction in styling.

“It’s where I feel like I can fully express myself through fashion. It’s a really fun way I can piece things together, and I think it tells a whole story in itself.”

That storytelling comes with responsibility.

“People think styling is just putting clothes together,” he says. “But there’s a lot of research. You have to know what silhouette will convey the idea, what color palette, and—most importantly—what your client is about. You can have a great idea, but if your client’s not comfortable, you won’t be hired again.”

Even with growing experience, Trey continues to dream big.

“I’d love to work with VAQUERA. I think they have a really interesting take on fashion right now,” he says. “And I want to shoot anywhere in Europe—I’ve never been. That would be huge.”

CHARLIE KITTEN

Charlie Kitten has only been modeling for about a year, but his resume already includes campaigns for brands like Heaven by Marc Jacobs, Good Dye Young, and Guvanch. His most memorable shoot to date was with Heaven.

“It’s a brand that I liked, and I’ve been wearing it since high school,” he says. “Seeing myself on their Instagram was weird, but it was cool.” That moment felt like a full-circle affirmation. Even more meaningful, he shot the campaign alongside his best friend, Trey, who shared that same love for the brand.

Despite the polished result, the experience on set is not always glamorous. “For the Guvanch show, everyone was over it,” Charlie recalls. “Everyone's feet hurt, and everyone was tired. We were all hungry. We just had to do the show.”

Working with high-end brands often means having little say in the creative process.

“I try and give creative input, but it doesn't go over that well,” he says. For Good Dye Young, he asked for pink streaks in his hair. “They ended up doing it, but it wasn’t as much as I wanted.”

One of his most intense experiences came during that same shoot.

“They told me two days before that I had to dye my hair lime green,” he says. “I stayed up until like three in the morning freaking out.”

Still, this experience turned into a personal breakthrough. “I'm honestly kind of glad I did the green hair because it brought me out of my comfort zone.”

Charlie’s aesthetic leans androgynous, a look he believes has helped him stand out.

“I'm not trying to be annoying, but I feel I have a really unique, individualized look,” he says. “That’s definitely pushed me forward.”

He appreciates both high-end and low-key projects, noting that bigger campaigns are more structured, with makeup teams and catered food, while smaller shoots are casual and fast.

“It just kind of depends on the day and how much I want to give,” he says.

His motivation stems from the connections he makes and the visuals that result.

“I love the photos. I love meeting new people. I’ve met so many cool people just through little shoots.”

Looking forward, Charlie is wary of AI's role in fashion.

“I wouldn't be opposed to AI modeling as long as I got a check,” he says, laughing. “But it kind of takes the fun out of it.” He sees his modeling path evolving with more creative freedom and hopes to sign with an agency soon.

Instagram and TikTok have already shaped his career.

“Most of my bigger modeling things came through Instagram,” he says. “It’s a really good way to connect and showcase who you are.”

He recognizes that modeling has become more inclusive and hopes that continues. “You used to have to be this very specific type, but now you can freely express your look and how you feel, and that’s cool.”

A CREATIVE TEAM

A great shoot relies on timing. Stylists, photographers, and models must sync without overplanning. Sometimes, that chemistry appears instantly. Other times, it takes trial and error.

When asked what makes a collaboration successful, all three interviewees gave different answers. The photographer values openness. The model looks for respect. The stylist is trying to capture the vibe of the vision. Despite the variation, one theme emerged: communication matters.

Misunderstandings can derail a shoot. One poorly timed direction or overlooked idea might dull the spark of a concept. But when everyone is aligned, the energy on set becomes almost visible.

Together, these three show what working in fashion looks like: constant negotiation between vision and expectation, instinct and professionalism. Their stories reveal a shared truth across roles—success isn’t always about the spotlight or scale, but about staying in motion, even when no one’s watching.

This is the real work behind the glamour. The effort that doesn’t show in the final image, but is always there—holding it up.

It’s the late-night stress before a shoot, the quiet doubts behind the lens, the uncredited hours spent adjusting a hem or hunting down the perfect look. It’s showing up even when your work might be cut, overlooked, or reshaped by someone else. As Charlie Kitten put it, “Most of us are just trying to hold it together. You’re in pain, you’re hungry, but the camera doesn’t care.” For these creatives, the job is never just about aesthetics—it’s about endurance, instinct, and a relentless belief in what they bring to the frame.

Fashion may sell fantasy, but it’s built by people who live fully in the real. And that reality, full of pressure, compromise, and unexpected breakthroughs, is where the most honest images are born.

Blood, Sweat, Fashion: Insight into the Industry’s Many Roles

ISAAC LEVY

TREY HYDE

CHARLIE KITTEN

A CREATIVE TEAM