August 13, 2025 |
Fabulous fashion is the sum of all its many moving parts, from the nimble-fingered pattern cutters and meticulous seamstresses to the designers with their big, bold visions; then outward to the stylists, buyers, journos – and somewhere in the mix, the often-overlooked casting director.
The quiet architects of a collection’s mood or a shoot’s magic, the humble casting director shapes the faces, the feeling and the very fabric of a brand’s story, because beneath it all is the one that wears it. Tasked with translating a creative vision into a living, breathing cast of characters, they decide who walks, who poses, and ultimately, who defines the moment. Here, we meet 10 brilliant casting directors who are shaping the face of fashion for now and for the future.
Adam Hindle
Once a model scouted straight into fashion’s backstage, Sheffield-born casting director Adam Hindle spent years under the tutelage of Russell Marsh before launching his own namesake casting house in 2012. Now London-based and represented by MA + Group, he’s become a go-to for high-impact editorial, runway and campaign casting for brands like Burberry, Tom Ford, Courrèges and Dunhill as well as our very own 10 Magazine.
1. What are the key things you look out for when casting and how do you find new talent?
The brief from the client, creatives and their particular casting requirements is always the main factor when casting a show or a shoot; references, inspirations, mood and more specific requests. New talent generally comes via development boards at model agencies and sometimes directly from scouts and mother agents. Occasionally I’m contacted by aspiring models, usually through social media.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
Relationships with certain brands, knowing their creative director’s taste and the image of the client, means one normally knows when certain models are an appropriate fit. The models’ character and personality are also a key factor, not merely the way that they look.
One of the most satisfying casting experiences I’ve had was when I was working on Phoebe Philo’s Celine. It was for a shoot and the creative director had seen a woman cycling past her. I was given a description of a “blonde, strong, interesting beauty” and my assistant and I found a great woman – who was not a professional model – and she turned out to be perfect for the job. That felt satisfying.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
I’m very respectful of the clients brief. As a casting director it’s my job to facilitate their requests and needs whilst also bringing new interesting ideas to the table. I think understanding the clients’ requirements is key, and it’s not about me apart from my knowledge and awareness of the current model scene. On occasion there will be certain models who I really believe to be perfect for a job, and I’ll make this clear to a client/team, but ultimately the decision will be with them.
For almost 10 years I assisted Russell Marsh, who was the Prada casting director. If that job ever became available I would be very keen. However, the current casting director there does a brilliant job.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
Following a few years of seemingly more diversity in shows and shoots – race, size, age – I think in recent seasons this has regressed, particularly with shows. This is a concern and something I also have a responsibility for.
I’m always excited by interesting new faces, of which there are many each season, but I’m also keen to see their development. It’s interesting to see someone evolve as a person and a model, and if my team and I can be a part of that it makes our work more rewarding.
Social media has a major effect on casting. Clients are usually keen to know analytics, not necessarily for everyone if you’re casting a 50 model show, but for campaigns or if it’s “special booking” for runway. Clients want to know the added value they may be getting and for the models, well, they are now a brand themselves. It’s also not merely social media numbers, it’s important to be aware of the relevant followers and the level of engagement.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
Personally, my taste, my notion of beauty, is eclectic and this crosses over in to the professional sphere. I like to work with a variety of clients and teams who have varying tastes and requests.
It’s not difficult in 2025 to keep your eyes fresh as we’re exposed to so many visuals all the time. It’s important to stay switched on, without becoming consumed.
Adam Hindle
David Chen
A New York-based visionary – and another 10 Magazine contributor – David Chen masterminds casting for editorial giants like Vogue and The New York Times Style Magazine, and campaigns for Hermès and Roland Mouret amongst others. With a portfolio bursting with magazine covers, shows and lookbooks, he’s one of the most prolific names in fashion casting today.
1. What are the key things you look out for when casting and how do you find new talent?
When I meet new talent, the first thing I pay attention to is their personality and perspective. I always take time to speak with them – I want to understand why they’re interested in modeling. Casting, to me, is really about matchmaking: connecting the right model to the right client, whether that’s a fashion brand or a magazine. Aesthetics are important, but energy and synergy are what truly make a collaboration click.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
While I primarily work with model agencies – especially during fashion weeks when many new faces are introduced – I also love finding fresh talent online. Social media has become a treasure trove of undiscovered potential.
I know I’ve cast the right person when I get texts from the team at the end of the day saying how much they loved working with them – that’s the best feedback.
One shoot that stands out was on location in Italy, at the base of a volcano. The brief called for someone who not only visually fit the creative direction, but also had the personality to thrive in a challenging, outdoor setting. I knew I needed a true team player with a bit of an adventurous soul. The model I cast ended up being the perfect fit – the shoot went beautifully, and everyone was thrilled with how it turned out.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
It really depends on the project. For commercial jobs, I focus on the brand’s identity and audience – my job is to find talent who reflect that and connect authentically with their client base. That’s not about pushing my own taste – it’s about being aligned with the brand’s vision.
Editorial casting, however, is a different instinct. That’s where I love to mix things up and push boundaries. I like encouraging photographers and stylists to go a little outside their comfort zone – and often, those unexpected choices lead to the most impactful work.
As for a dream casting job? One would be casting talent for my father’s oil paintings – but he’d never let me. Still holding out hope, though. 🙂
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
One trend that excites me is the growing openness across fashion and lifestyle brands to cast talent who are truly authentic – people who feel grounded in who they are. That shift works hand-in-hand with social media, which has democratised visibility and created space for voices that traditional scouting might’ve missed.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
Honestly, I stay inspired by leaning into the things I love most – music, entertainment and film. I grew up as a huge music nerd and a fan of old movies. That passion feeds directly into how I see casting. Being able to cross-pollinate those references keeps my perspective dynamic, especially in a fashion world that can often feel too homogenous.
David Chen
Nicolas Bianciotto
When he founded Ikki Casting in 2017, Nicolas Bianciotto transitioned from a decade-long music-production career into fashion casting, bringing an artist’s flair to every booking. His Paris-based boutique agency currently curates work with a cinematic edge and creative punch for brands like Lanvin and Lacoste as well as publications such as Wallpaper and Sunday Times Style.
1. What are the key things you look out for when casting and how do you find new talent?
Character. I come from the music industry, where the persona plays a key role. When I’m casting, what catches my eye first is whether someone fits a specific narrative we’re trying to express, beyond just physical criteria.
But I’m not saying that I’m only casting people based on their personality. I often book models just from their polaroids or portfolios, without meeting them in person. But even for those, you can feel a certain presence, a spark! Especially after many years of experience. I’m not a scout so I don’t find new talents per se. I do go and see’s at the office all the time, so I see all the new faces when they start. Which allowed me to have early casting pictures of girls like Vittoria [Ceretti], Adut [Akech] or more recently Loli [Bahia]. For some of them you can tell from the beginning they will become stars, they have this little something extra that makes them different.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
It’s really just a feeling, our work is highly subjective. I might be fully convinced that someone is the perfect fit, but the client may have a completely different sensibility and not follow my intuition. Part of the job is learning when to stand your ground and when to compromise. You have to be both passionate and pragmatic.
A powerful image is never the result of one person’s vision. It takes a whole team. It’s not just about finding the right model, it’s also about the photographer and stylist connecting with that model’s energy on set. It’s a lot about chemistry, and that’s something you can rarely predict before the shoot.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
I’m never afraid to share my ideas or challenge a brief when I see another angle, but at the end of the day, the client is paying for a service, and they have the final say. It’s a constant balance between offering expertise and staying flexible.
I’m passionate about cinema, it’s a huge source of inspiration for me. The synergy between fashion and film are very present, especially in fragrance campaigns where major directors are often brought in. Like when Terrence Malick directed the Mon Guerlain perfume ad. So my dream casting job would be to work one day on a commercial directed by someone I deeply admire in cinema.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
Trends rarely influence the way I cast. Physical criteria are never my starting point. If I ask a client what they’re looking for and they say “a blonde girl with short hair” it doesn’t really help me. What matters is the emotion they want to convey. I always start with the character. That’s the foundation, everything else comes after.
It did for a while, there was a time when some clients required a certain number of followers. But that’s been less of a priority lately unless for some beauty brands who want to use the ’talent’ online reach to help push a product.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
Unless it’s for something like an e-comm casting, shot on a white background with very calculated poses, where the focus is more on technicality than individuality, I never really face that issue. Each project has its own uniqueness, and I always try to approach it with fresh eyes, looking for the person who feels right for that particular story.
Nicolas Bianciotto
Arianna Pradarelli
Dividing her time between New York and the world’s top fashion shows and shoots, 10 Magazine contributor Arianna Pradarelli is behind standout print, show, editorial and cover castings – including Brandon Maxwell, Chloé, Feng Chen Wang and, most notably, Prada.
1. What are the key things you look out for when casting and how do you find new talent?
When casting, I look for presence and authenticity. Of course, physical features matter depending on the brief, but it’s really about how someone carries themselves and whether they can bring a story or brand to life. I’m drawn to confidence that feels unforced and natural.
In terms of discovering new talent, I use a mix of traditional scouting, agency submissions and increasingly, research on digital platforms like Instagram or TikTok.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven.
You know when someone is the right fit when there’s an instant alignment between the energy they bring and the essence of the project. It clicks both visually and emotionally.
A long time ago, I was casting for a campaign that emphasized real people and conscious living. I found a model through a mutual friend, she wasn’t agency-represented, but she lived and breathed the lifestyle. She had this radiant authenticity and wasn’t trying to “perform”. She was the brand. The client fell in love instantly and moreover she became to be a famous poetess. That was a true “meant to be” moment.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
It’s about trust and communication. I always honour the client’s vision, but I also see my role as expanding it, bringing unexpected options that elevate the final result. I might include a few wild cards in every submission because sometimes people don’t know what they want until they see it.
My dream casting job would be a global campaign for a fashion brand that celebrates diversity and individuality, something that breaks norms and tells a strong story across cultures and identities.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
What excites me is the growing emphasis on inclusivity, not just in terms of race and size, but also age, gender identity, ability and background. There’s a hunger for real representation, which is powerful.
Social media has absolutely changed casting. It has opened up the field, someone with no agency can book major campaigns. It’s democratised access, but it also might create pressure for models without a following.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
I stay inspired by art, film, street styleand subcultures. I talk to people outside the industry and travel when I can, it helps reset my perspective.
I also make it a point to challenge my own biases. If I notice I’m leaning toward a certain “type,” I ask myself why, and whether I’m really choosing the best person for the story. Curiosity is key, you have to stay open, not just to trends, but to what’s real and now.
Arianna Pradaelli
Rosie Vogel
After a decade as Vogue’s fashion bookings editor, Rosie Vogel rose to become global director of talent and casting across all of the style bible’s European titles in 2022. Now, she’s casting the iconic faces and stories that define Vogue’s influence around the globe. Vogel also has a hand in casting for numerous advertising clients including Dolce & Gabbana, Cartier and Moncler.
1. What are the key things you look out for when casting and how do you find new talent?
I’m always drawn to personality first. I love to know a bit about the model, their background, their interests- that’s often how I’ll know who to put a new face with. If someone makes me laugh, I always remember them.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
Sometimes you know the minute a model walks into the room from the way everyone responds to her, be it on set or in a fitting. Other times you don’t know until the pictures come in. Or you can show a client a model who you are sure they will love, and they just don’t see it! There are so many factors to consider.
Anok Yai and Rafael Pavarotti are an amazing combination – the picture of Anok with the snake will always be one of my favourites… you don’t find many models who are as fearless as Anok, or people with a mind like Raf’s.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
Being a casting director is a bit like being a diplomat – you’ve got to keep the peace between the photographer, the stylist, the client – delivering the good news and the bad. I think the most important thing is to listen to what everyone has to say and be part of the solution, not the problem.
Dream casting job – anything with Steven Meisel is always a dream. Or – the Crufts selection committee!!
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
I’m a little sad that we don’t see as much body diversity as we did a few seasons ago – I hope that changes.
Social media can be an amazing tool for casting – it has definitely changed the landscape. It gives models another platform to communicate and showcase themselves in addition to their published work, and I think thats important.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
I think you just have to follow your instinct. Meet models face to face whenever you can and really talk to them. Work with people who you think have great taste, and have people on your team who might see things that you don’t.
Rosie Vogel
Annette Koonjean
A director at Six Wolves Casting, Annette Koonjean blends urban grit with creative clarity as the casting talent behind Superdry. Based between London and Bath, her unique, cross-cultural vision brings compelling energy to every project be it editorial or advertorial for some of the biggest brands in the biz.
1. What are the key things you look out for when casting and how do you find new talent?
I am constantly studying people walking by on the street to see if they might make a good model/ fit for a brand. You have to be interested in popular culture and want to consume current affairs, social fashion, trends, sports and entertainment.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
I think you know immediately if there is magic in the air, when the right talent gets on set and you can sense the buzz in the studio! I worked on the brand side for a long time, creating a commercial identity alongside the creative directors. Being able to cast an entire season and group of talent to create a brand identity is exciting.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
I think I tend to organically align myself to clients with styles and directions I find exciting and am able to relate to myself. Hopefully my creative ideation is something a client wants me to inject into their creative idea.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you.
The rise in AI-generated talent is probably the thing that concerns me most for the industry as whole. Losing the on-set culture and excitement of working in a studio, meeting new people, building relationships, and bringing a community of collaborators together in a creative environment plays a major part in attracting people to work in the industry.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
Collaborating with different teams, saying yes to jobs which don’t always seem the obvious fit, being open to broadening my own horizons.
Annette Koonjean
Nico Carmandaye
London-based and Poland-born, Nico Carmandaye founded Concorde Casting to deliver tailored, high-standard casting for fashion, advertising and film. His editorial work includes standout contributions to Another Man, Circle Zero Eight, Vogue Poland and of course, 10 Magazine.
1. What are the key things you look out for when casting and how do you find new talent?
I love faces that tell a story. Someone who feels like they could be a character in a great film. I like people who are different, who would be overlooked by other casting directors but I can see their potential when styled and put in front of the camera. And I like awkward people, because I’m kind of awkward.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
I usually get really positive feedback from my clients so I must have heaven on my side (: It’s especially fulfilling when I believed in someone that the client wasn’t too sure about, and then they do a fantastic job and the team loves them.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
Casting is a dialogue. It is all about listening to each other. You have to ask the right questions to understand their vision and what matters to them. If I feel like the client’s idea of what they want is not ideal for the job, I’ll guide them towards alternatives that they might have not considered. Sometimes you might nail it on the first go. Other times, you have to take the feedback, recalibrate, and adjust your approach. That’s part of the process.
A dream job would be to redefine casting for a major fashion house with a new creative director. The idea of developing a new casting identity is super exciting. I’m waiting for an opening at a big house.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
The industry is back to casting very skinny models. Often this is because models are young and naturally very slim. Even if it is a fantasy that is not meant to represent reality we have to be conscious of how this comes across and make sure skinny is not the only body type associated with luxury fashion.
For some jobs, social media following might play an important role. I personally prefer to ignore that, because I usually find it more interesting what people don’t pay attention to. To show them something different.
Influencers or nepo babies won’t get special treatment from me.They’ll have to wait in line with everyone else. Be nice, I don’t care who your father is.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
I like my vegetables fresh, but humans don’t have expiration dates. I think we are far too obsessed with constantly looking for the next big thing. This creates an unhealthy system in which models are disposable – cast for one season and then forgotten. It often happens with certain exclusives. If someone looks incredible in your show, cast them again.
When I receive a brief, I like to pause and make a conscious effort to avoid the obvious options. Sometimes that’s finding someone new, but it might also be a well-known but unexpected option for that job.
Nico Carmandaye
Neu Casting
Together Lilly Meuser and Fiona Teal co-founded Neu Casting in Berlin to redefine beauty through diverse, inclusive casting. Teal brings photography and casting chops from Germany and Australia; Meuser brings writing, PR and creative flair from London and Berlin.
1. What are the key things you look out for when casting and how do you find new talent?
Meuser: There is no key aspects that we are looking out for, really, besides selecting a cast, as broad in its beauty approach as possible. What clients have in mind for a project obviously navigates a selection of models quite a bit, but we always aim to diversify and push for a less old school picture. We are lucky enough that Neu is at a point, where niche personalities are applying on a daily basis, but the process of street casting really allows us to stay true to our core concept and get to meet the people behind these beautiful appearances.
Teal: Of course we always try to look out for characteristics the client requests. At the same time, we are trying to push for diversity as much as possible, and suggest talents, that might not have been the initial vision of the client. Sometimes we are able to shift the casting/narrative in that way. I’m a photographer as well and I love doing go-sees with new faces. The Berlin bubble is quite small, so you see the same faces a lot and new faces are always exciting to us.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
Meuser: I cannot fully recall this one particular match made in heaven – it is a feeling you get when seeing faces; I immediately go through an imaginary list of clients and brands, that could fit a particular profile and once they sign with us, we propose the faces to the casting directors. Sometimes the models still need time to develop to fit a client profile, but I think we directly have an intuition regarding their potential.
Teal: I remember a match made in heaven that was really unique. It was the first time we casted a fashion show. The client wanted “grandmas” walking their show, so we had a lot of street casting to do. I was running around Ku’damm that day to find some older women that might be interested in fashion and would like to participate in a Show. I’m quite shy when it comes to approaching strangers, and older fashionable women made it especially hard for me. All of them weren’t interested, so I made my way back to our office. In the bus there was an older lady sitting across from me, looking at me smiling. She was wearing platform boots, skinny jeans and green eyeliner. Her long white hair was put back in a bun and her long fingernails were painted red. Perfect! I walked up to her to give her my card and number. Since she had to get off the next stop I got off with her. We started talking and she was so excited about being asked to model. She offered to walk me to the next bus stop. She ended up being booked for the show and was an absolute star. She was perfect for the look.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
Meuser: This is a challenge, we are exponentially confronted with, since focussing more on the casting side of Neu. A small triumph is that clients, from Vogue to Dazed to Adidas to BFW, book us, because of our reputation of our Neu interpretation of beauty! Clients WANT us to infuse our tone of casting, which IS different. However, it remains a challenge to get close to the high fashion clientele, which we would love to work with more often to really push boundaries. I would really love to work with brands on the French or Italian market – casting shows on the official schedule, I am and we are working towards.
Teal: Yes that can be a challenge, and sometimes quite frustrating. But as mentioned, we often try to kind of broaden the clients vision and still suggest them talents outside their brief, to just show them the most diverse options and gently “push” them in that directions. That being said, we are mostly booked because of the diversity we offer in our castings, so we often do have a lot of creative freedom. Especially when we get to work with friends!
A dream casting job for me would be a non commercial, non fashion one, that highlights the talents – but with a great team and a biiiig budget haha
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
Meuser: We were talking about it yesterday over a coffee with a friend of ours, who also works in management, but for a reknowned agency in Paris. Though casting seems to become more acknowledged as a carrier for socially relevant topics and representation, the trend seems to shift back towards the olden days and a skinny hype…
Teal: Yes, it’s concerning to see this 2000s super skinny trend coming back. I don’t think bodies should be trends in general. On a positive note, I feel like more agencies or platforms, like models.com are trying to highlight the personalities of the models. Because there is so much more to them than a pretty face. For now the rise of social media and influencers definitely does not affect the way we cast but we can tell it changes the fashion scene. We have received request, wherethe talents had to have a certain number of followers to even be considered and you see all the Influencers booking high fashion shows and big campaigns.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
Meuser: Let me put it that way: it is a split that sometimes seems so hard to overcome, mainly depending on the market you are working for. However, as our team clearly outlines and communicates Neu’s casting approach, we are lucky enough to receive open briefs and projects. Sometimes it still is the case, that we look for a more classic model type for projects, as it might fit a brief best – but then the next day we might cast a show of 24 people of which 10 models should be grandmothers. Neu will never get stuck. We move!
Teal: Yes! Neu translated means “new”. It is our Motto.
from left: Fiona Teal and Lilly Meuser
Theo Spencer
With dual roots in the UK and St. Vincent and the Grenadines, Theo Spencer crafts casting visions that fuse cultural nuance and editorial edge. His recent editorial credits include cover and feature work for publications like L’Officiel Homme, Odda Magazine and Heroine and brands like Calvin Klein. A dynamic force in fashion, he’s steadily building a reputation for visually striking and boundary-pushing talent curation.
1. What are the key things you look out for when casting and how do you find new talent?
I’m drawn to unique faces, especially the ones that feel like they belong in a film. There’s something special about a look that tells a story on its own. I find talent through agencies, small mother agents, or just scouting on the street. Instagram’s great too.
2. When do you know if someone is the right fit for the job? Tell us about a time you found a model or talent so right for the job that it felt like a match made in heaven?
I usually know straight away, once I see the moodboard or brief, I get a clear idea of the type we need. It’s a gut feeling when the right face pops up. Recently I cast Lil from Select, a Mancunian girl with a buzz cut. The second I saw her, I knew. She fit the story perfectly. One to watch for sure.
3. How do you navigate the balance between a client’s brief and your own creative instinct? And what would be your dream casting job?
It’s all about balance, being open to ideas but also trusting my gut. When a client trusts me, that’s when the best stuff happens. Film would be a dream next step for me, streetcasting actors I’d love to do more music videos too something with real storytelling.
4. What trends are you noticing in casting right now that excite or concern you? Has the rise of social media and influencers changed the way you cast?
The use of AI is definitely a bit concerning, but I can’t see it fully taking over. There’s nothing like real people with real presence. I’d love to see more street casting. Social media hasn’t really changed how I cast. I avoid casting based on follower count unless it’s key to the brief.
5. How do you keep your eye fresh and avoid getting stuck in ‘typecasting’?
I’m always searching online for fresh faces, Instagram, agencies and smaller mother agents showing me new talent. Since I used to be an agent on a new faces board, I’m always rooting for the ones who haven’t been seen yet.
Theo Spencer
Shaun Beyen
Shaun Raf Beyen grew up on the Belgian coast before moving to New York to helm international casting at PR powerhouse KCD. Now London-based, he works with fashion’s most coveted names – from The Row to Maison Margiela. Known for theatrical, high-impact runway moments like Gareth Pugh’s Kabuki-mask show, his portfolio spans luxury campaigns, editorials (for publications like 10) and NYFW standouts for Prabal Gurung and Dion Lee.
1. What are the key things you look out for when casting, and how do you find new talent?
Everything starts with a brief. I’m not the type of casting director who’s constantly out on the streets or deep-diving on social media looking for the next face. I need a clear creative brief – whether it comes from a client, a photographer, or a designer – to get the ideas flowing. From there, I start visualising what kinds of personalities or aesthetics will bring that idea to life. The brief sets the tone, and I build from that.
2. When do you know if someone is the right fit for the job? Can you tell us about a time it felt like a match made in heaven?
It’s not an exact science – it’s more of a gut instinct. And like I mentioned, it all ties back to the initial brief. When someone walks in and fully embodies the idea or vibe we’re trying to capture, it’s immediately clear.
3. How do you navigate the balance between a client’s brief and your own creative instinct? What would be your dream casting job?
Sometimes you’re completely aligned from the start, and those are the easiest, most exciting projects. Other times, it takes some dialogue and trust-building. I always try to respect the parameters – especially in more commercial settings like advertising, where there are specific goals and demographics to consider. Those constraints can actually challenge you to be more creative within the box.
I’m lucky to say I’ve already lived my dream casting job: being asked by John Galliano to cast his first Maison Margiela show, and many more thereafter. That was a milestone.
4. What trends are you noticing in casting that excite or concern you? Has the rise of social media and influencers changed the way you cast?
I’ve been noticing a return to a more “old school elegance” in casting – but with a modern edge. That’s really exciting to see, especially after a period where things felt overly trend-driven.
Social media has undeniably shifted the way casting works. It has its place – but not everything should be dictated by following or by algorithms. There’s a risk in reducing a person to data points, when what we do is ultimately about feeling, storytelling and presence.
5. How do you keep your eye fresh and avoid getting stuck in typecasting?
Honestly, the sheer volume of people we see on a regular basis – from all corners of the world – naturally keeps the eye evolving. Every week, every day even, there’s a new wave of faces, perspectives, and forms of beauty coming through. That constant exposure broadens your perception, challenges your assumptions and keeps things moving forward.
Shaun Beyen
Top image: photography courtesy of David Chen.
