Mat Focs: Domestic Fantasies

Could you please provide us with a professional introduction about yourself and your photography work?

I came to photography later in my career, diving headfirst into the world of contemporary art — a realm with which I have a complex love-hate relationship. During my studies, I turned to fashion

photography and began working as a lighting assistant to deepen my technical skills, which hadn’t been strongly emphasized in school. What draws me to fashion photography is its playfulness, accessibility, and lack of pretension,

especially compared to contemporary art, which can often feel cryptic and, at times, elitist. Yet, I

enjoy exploring the connections between these two worlds, navigating the creative tension that exists

between them.

Can you tell us about how you got started in photography?

After exploring various paths related to music, I ultimately found my way to photography during a transformative journey in Lebanon. In 2014, I wandered through the pacified yet intense nights of an overheated city, capturing moments with my camera. When I returned, I felt a strong desire to study this art in depth, which led me to pursue formal training at the photography school in Vevey, Switzerland.

What was your passion driving you during your journey? Who or what prompted you to begin?

I've always been captivated by clothing — not only for its aesthetic appeal but also for its powerful,

implicit communicative abilities. While working on a diploma project that used fashion as a visual

language to amplify the voices of inmates, I discovered how deeply garments could convey personal

narratives. This project ultimately steered my practice toward fashion photography.

Could you walk us through your photoshoot planning process?

Fashion photography comes to life through two distinct yet complementary dimensions: the creative

and the technical. For me, creativity is fluid and spontaneous, resisting strict, definitive processes. I

like to capture ideas along the way and embrace the unexpected moments that arise.

The technical process, on the other hand, is the opposite: every detail must be carefully planned and

prepared. This approach ensures that improvisation can be fully directed toward the creative side,

rather than being absorbed by technical problem-solving.

As a photography expert, what sets your work apart from other photographers?

I don’t consider myself a photography expert, and I find it challenging to define a unique style. I’m

aware this is an issue, but I can’t help feeling constrained by any single approach. I’m drawn to

exploring many different ways of creating images and am constantly experimenting, even if this

versatility can be confusing.

Where do you get your ideas for photoshoots?

Lying on a sofa and discussing my childhood could bring some truth about my creative process... My

ideas emerge subconsciously, often appearing out of nowhere. It’s like a stream of automatic

associations — in the spirit of the Surrealist movement. When they come, I jot them down

immediately before they fade away. Later, whether days, weeks, or even months later, I revisit and

sort through these ideas. Some, upon reflection, may seem really terrible, but others hold potential for

something interesting.

Can you tell us about the most memorable moment you've had as a photographer and what

experience you gained from that?

I believe failure is the best teacher, as long as you're open to learning from it. Every time something

goes wrong, there’s a lesson to be gained. One of the most memorable moments in my journey as a

photographer has been embracing these failures, allowing them to shape and refine my approach. It’s

through these experiences that I’ve grown the most — whether in technical aspects, creative vision, or

simply learning to adapt and evolve.

What are the most important components of an extraordinary photograph, in your opinion?

The brain constantly categorizes things without us even realizing it — like when you walk down a

corridor and automatically assume the walls are straight, without needing to inspect them closely. An

extraordinary photograph is one that challenges this unconscious processing, forcing the brain to

"wake up" and engage fully in order to comprehend it. When everything is too obvious, the brain

becomes lazy. This is why abstraction is such a powerful tool in photography — it disrupts the usual

patterns and demands deeper attention and interpretation.

How do you strike a balance between your artistic expression and your client's expectations

during a shoot?

Client expectations function as constraints, but I believe constraints can be incredibly productive.

They push you to think more creatively and find innovative solutions. This balance between artistic

expression and client demands is something I admire in Viviane Sassen’s fashion work — where you

can clearly see the fusion of personal vision and the necessary commercial elements. It’s similar to the

dynamic in David Lynch’s Dune (1984), which represents the ultimate clash between a bold,

unconventional artistic vision and the established conventions of a blockbuster. This tension between

the two forces creates something extraordinary.

How do other artists influence your work? Are there any other photographers you look up to?

Who?

Engaging with art is essential, as all creativity stems from confronting "the other" — from

encountering perspectives and ideas outside of our own. I tend to focus on contemporary artists

because classical figures are often rooted in a world that has evolved so much, it’s challenging to

directly translate their influence into my own practice.

Among the many artists who inspire me, I’m particularly drawn to Viviane Sassen's abstract and

colorful imagery, the sharp, architectural black-and-white lines of Paul Jung, and the bold, kitschinfused

baroque aesthetics of David LaChapelle, as well as the experimental digital work of Pierre Debusschere.

How do you enhance your vision after a session by post-processing your photos? Do you have

a best-kept secret for editing processing that you'd like to share?

Post-processing serves many purposes in my work, and I constantly balance between drastically

altering images and preserving their natural essence. It's a delicate dance between enhancing the

vision and maintaining authenticity. One of the reasons I find shooting with film so refreshing is that

it often eliminates the need for extensive post-processing altogether. The rawness and organic quality

of film allow the image to speak for itself, and sometimes that’s all that’s needed.

What are your top tips for aspiring photographers on skill development and finding their own

creative voice? How did you develop yours?

Creativity is fluid — embrace the beauty of chaos and never stop questioning. Today, there are

countless resources available online to help you learn and grow, so virtually anyone can develop their

artistic voice, whether as a hobby or a profession — there’s no shame in either. For me, development

has been about persistence: failing a thousand times and rising up a thousand and one. This resilience

is one of the keys to success. Keep experimenting, stay curious, and allow your voice to evolve over

time.

Can you tell me about an upcoming project you're working on and the idea behind it?

The next project has already been shot, and it’s a piece where post-production will play a major role

in creating an effect that transports the viewer into a fairy tale world. It’s a four-part story about a

young girl on the verge of adulthood, living in a hidden and unique place I know well, deep in nature,

where people live in a communal environment in caravans. This place feels like a refuge to me,

outside of time and social conventions. I’ve known it for 17 years now, which is also the age of the

protagonist in this shoot.

Can you tell us the story behind creating the photographs you submitted?

The initial concept was to create a shoot inspired by mermaids, using water patterns as a key element

to evoke that ethereal, fluid essence. But the wool in the outfits and the lighting on the background

unexpectedly became a metaphor for a warm home, mental spirals, dreams, and the unconscious —

far beyond their initial purpose of simply forming light patterns. This realization led me to introduce

everyday pieces of furniture, amplifying the sense of domesticity while simultaneously creating a

sense of unease, as they felt oddly detached from reality. As I’ve mentioned before, improvisation

plays a key role in my creative process, allowing the concept to evolve organically as I work.

Where can we view more of your work and connect with you?

My personal artistic work is on my website : matfocs.com Some of my fashion images are on

my Instagram page : @mat.focs

Photo: @mat.focs

Pub: @17.23.magazine

Model: @monica.abi.khalil

Stylist: @____omega_

MUA: @spike_mua

Hair: @clemencemeunier

Via @officialkavyar