Eva Losada: ‘I Want To Break Past Limitations Fashion Has’

by Alexandra Mansilla

Eva Losada: ‘I Want To Break Past Limitations Fashion Has’

24 Feb 2025

When I look at Eva Losada’s works — you might know her as Eva Al Desnudo — I can’t look away. I could scroll endlessly. What she does with fashion photography is absolutely incredible, and you can always recognise her signature touch. She is one of the best photographers in the world, and once you see her work, you will understand why.

Her images have this effortless purity — clean in the best way, even when they seem captured in the moment. The people in her photos radiate energy, strength, and an undeniable presence. You don’t just see it — you feel it. And once you start looking, you can’t stop.

Surprisingly, Eva’s journey started not in fashion but in food science, technology, and engineering. Yet, fashion has always been her passion ever since she was young. She made that dream a reality in London, where she studied fashion, attended Fashion Week, and seized an opportunity with Highsnobiety. Fortunately, the editorial team at Highsnobiety saw her talent — and from that moment on, her name started appearing under tons of striking photos.

Fast forward a few years, and Eva is now a fixture at fashion weeks across the world, capturing backstage moments for brands like Adidas, Gucci, Dior, Rick Owens, and more. Her editorials have graced the pages of Vogue, i-D, Highsnobiety, Dazed, AnOther, Schön, Hypebeast, and beyond. Her style? Expressive, captivating, and impossible to ignore. Her photos hold you in place, keeping you glued to the screen, lost in the details, the energy, the movement.

We caught up with her for a deep dive into her journey, family, creative vision, John Galliano, Michèle Lamy, and more.

Childhood in Spain, Family, and First Steps

— Hi Eva! So, you are from Zamora, Spain. Can you tell us what your childhood was like there? What did your house look like?

— My childhood was great. Growing up in a small city before the internet era felt like living in a dream. There was a sense of freedom, playing in the streets and parks, riding bikes, climbing trees, and creating entire worlds from mud. It felt incredibly safe, and I think that allowed us to fully explore our imagination.

Summers were long and hot, and some of my best memories are of swimming, playing under the sun, and spending hours in nature. There was this tree, struck by lightning, that became our secret hideout, it felt almost magical. I believe that having a childhood surrounded by nature and outdoor activities is one of the best ways to develop artistic expression later in life.

As for home, we moved eleven times before I turned eighteen. My family never felt particularly attached to physical spaces, which shaped my own sense of detachment from material things. Moving so often made me adaptable, open to change, and comfortable with reinvention, something that later became part of my creative identity.

— Does your family still live there? Do you visit often? Are there any places in Zamora that make you feel nostalgic?

— Yes, my family still lives there, so I visit about three or four times a year. I wouldn’t say I’m a particularly nostalgic person; I love living in the moment, but it is always nice to go back, reconnect with my roots, and spend time with my loved ones.

Zamora is a hidden architectural gem, holding the largest collection of Romanesque churches in the world. While it is a small city now, it played a significant role during the Middle Ages, and the historic old town is breathtaking and very well maintained. It is surrounded by ancient walls, there is a Roman bridge, a cathedral, and a castle.

Growing up surrounded by so much history, I never really noticed its beauty, it was just part of my daily life. But now, whenever I return, I truly appreciate its atmosphere, its silence, and the way time seems to move slower there.

— Once, you said: “Since I was a kid, I was always creative and different in the way I dressed and expressed myself.” Can you tell us more about that time? What kind of clothes did you wear?

— Even before I understood what avant-garde aesthetics were, I was instinctively drawn to them. As a child, my mom had a more minimalist approach to fashion — she loved black, clean silhouettes — but I wanted the complete opposite. I was obsessed with layers, volume, colours, and excess. One of my favourite brands was Oilily, which combined bold patterns, oversized shapes, and a mix of unexpected textures.

As I got older, my fascination with subcultures grew, especially those coming from London in the ‘80s. I was captivated by punks, New Romantics, goths... all these movements that used fashion as a form of rebellion and identity. That is when I started cutting, dyeing my hair, and modifying my clothes; I loved the freedom of shaping my own visual identity.

— As a child who always wanted to stand out, what reactions did you get from your classmates or even your teachers?

— I have never been someone who cared much about what others thought of me. For me, expressing myself authentically was always more important than fitting in, and thankfully, my family fully respected that.

I have always attracted stares on the street, but I don’t even notice it anymore. In fact, if no one looks, I sometimes wonder if I didn’t push far enough! Lol. But as much as I enjoy the visual impact of my style in my personal life, I prefer to stay unnoticed. I’m actually quite shy, even if it doesn’t always seem like it when I interact with people. I need my quiet time at home, meditation, yoga, and space to recharge; that is where I find balance.

Eva Losada for Badlon magazine editorial

— Your dad was an amateur photographer, so you grew up surrounded by cameras. Did he specialise in any particular type of photography? What did he mostly take pictures of? Did he teach you anything about it?

— My dad mostly photographed his travels, his friends, and, of course, my mom. He captured some incredible images of her over the years. Even though I always had cameras around me, photography was never something I saw as my great passion at first. I used cameras naturally, but I wasn’t thinking of them in terms of a career.

One of my most special pieces is a Kodak Junior camera from the 1920s, which I inherited from either my grandfather or great-grandfather — I’m not even sure which! But I love that sense of connection. In a way, photography runs in my family, even if I didn’t fully embrace it until later.

— What about your mom? What did she do?

— My mom is a nurse and the head of the psychiatric nursing department at our city’s hospital. Years ago, the team developed a groundbreaking system that completely transformed the way psychiatric patients were treated. Instead of being institutionalised, patients were provided with housing, jobs, and a support network — allowing them to live independently while still receiving the care they needed. It was a revolutionary approach and has been incredibly beneficial for many people.

She is the most important person in my life, the person who has always been by my side, celebrating the wins and also extremely supportive in the lows, she really helped me a lot emotionally over my career (the fashion industry is not always the easiest to navigate, lol). She has great natural psychological skills. If I have achieved anything, it is largely thanks to her.

We are very alike, both physically and in personality. We share similar hobbies, tastes, and passions, and we absolutely love travelling together.

— This question has probably been asked a million times, but let’s share it with our audience: You studied food science, technology, and engineering — how did that happen?

— As a teenager, I wanted to study fashion design. I loved drawing and imagining clothing designs, and I still have some of my old sketchbooks. But at that time, growing up in a small city in Spain, fashion felt like an unreachable industry.

Since I was good at math and physics, engineering seemed like the “smart” choice to secure a future — that was the mentality back then. Today, with social media, everything feels more accessible and achievable, but at the time, studying engineering felt like the safest path.

After completing my first degree, I developed an interest in the food industry, which led me to study Food Science and Technology. Looking back, I’m grateful for both degrees. Engineering taught me how to structure and organise my work, and my food science background helped me become highly knowledgeable about nutrition. Even though a lot of what I learned at university doesn’t align with what I consider the healthiest way to eat today, it gave me a solid foundation to understand how food impacts the body and make informed choices for my health.

I am currently developing a project that may or may not see the light, but it allows me to explore the intersection of my scientific background and my creative journey.

— Once, you were asked: "Is there something you think everyone should do at least once in their life?" You answered: "Skydiving." Could you share that experience with us?

— It was an incredible experience, and, like most things in my life, it happened completely unplanned. I love being surprised by life and embracing a bit of uncertainty.

It is like riding a rollercoaster but multiplied by a thousand. The rush, the weightlessness, the absolute freedom of flying, it is something I will never forget. Seeing the curvature of the Earth from above was surreal.

I’d love to do it again, and I think Dubai would be the perfect place for my next jump!

— You have mentioned meditation as one of your sources of inspiration. When did you discover it? Do you remember a moment when meditation sparked a great idea for you?

— I have always been a very science-oriented person, but my introduction to meditation happened in London. A friend invited me to a yoga class, and although I was completely out of place at first, I decided to keep going. Over time, yoga became a key part of my life, and through it, I discovered meditation.

I’m also deeply interested in neuroscience and neuroplasticity — the idea that we can literally reprogram our brains through repeated thought and action is one of the most fascinating discoveries of our time. Realising that we have the power to reshape our own minds completely changed the way I approach creativity.

A major turning point was when I read David Lynch’s book, Catching the Big Fish. Before that, I saw meditation as simply a way to relax, connect with myself, and disconnect from the world. But through his book, I realised its huge potential for creativity. Lynch describes the subconscious as a vast ocean — if you stay near the surface, you can only catch small fish (small ideas). But if you go deep, that is where you will find the big fish — the truly profound ideas. That completely shifted my perspective, and now, every creative project I work on starts in a deep meditative state.

In the past, artists had long periods of solitude to think, develop, and refine their ideas. But today, with the constant noise of the internet and fast-paced culture, we rarely have that space. Meditation helps me silence distractions and access a deeper level of creativity, where the best ideas live.

Inside Eva’s Artistic World

— Let’s dive into your art. You have such an inspiring story about how you started photography just because you loved it. Then you worked with Highsnobiety for eight years (if I’m not mistaken). But in 2018, you stopped doing street-style photography — why?

— I studied fashion and photography through various courses at different universities in London, but my real passion at the time was styling and design. I started attending London Fashion Week just to experience the atmosphere, and that is when I discovered street-style photography.

The first time I went, the photographers at that time took photos of me, and I appeared the day after in all the major publications, like i-D (cover feature), Vogue, and Dazed… and since you did not need accreditation for it, decided to start photographing fashion people as well.

Back then, street style coverage was mostly focused on influencers — and by influencers, I mean the early bloggers, who were almost always white, blonde, and skinny. That didn’t interest me at all. I was drawn to avant-garde aesthetics, streetwear, and darker, more subversive styles. I wanted to photograph people who truly loved fashion for the art of it — not just those who were being invited to shows for their follower count.

Other photographers told me I was wasting my time — some even laughed at me — but I didn’t care. I reached out to Highsnobiety, and they immediately connected with my vision. What followed was an eight-year collaboration, where I worked closely with the creative director, and we built this ongoing dialogue around subcultures, independent designers, and those who were pushing the industry forward.

Eventually, I stopped doing street style because my artistic vision had grown beyond it. It was exciting in the beginning, and it opened a lot of doors for me, but I reached a point where I felt more drawn to campaigns, editorials, and backstage photography — where I had more creative control.

That being said, I know my artistic journey is far from complete. I still feel like I haven’t reached the fullest expression of my work, which is why I’m currently expanding beyond fashion. While fashion is a great medium, it still has its limitations, and I want to break past them.

"A Natural Reflection" by Eva Losada and Janina Zais

— One of your recent works, "A Natural Reflection", was a collaboration with Janina Zais. The film was inspired by the contrast between the beauty of the Caribbean day and the nightmare of species becoming endangered due to human activity worldwide. Could you tell us more about this collaboration? Why did you choose those colours, hairstyles, and other details for the characters? How did this project come to life?

— A Natural Reflection is an art project that Janina Zais and I created during our artist residency in the Cayman Islands as part of the Palm Heights residency program. The concept was an exploration of the fragile relationship between humanity and the endangered tropical species of the Caribbean, a reflection on both the beauty of nature and the consequences of our impact on it.

The project was a true collaboration, not just between Janina and me but with other resident artists who became our models. We spent time exploring the island, observing the local species, and immersing ourselves in the environment to translate its essence into the visuals.

Janina worked her magic, developing colours and patterns that echoed the textures and tones of the flora and fauna while we carefully selected locations that would bring the narrative to life.

It was a beautiful and organic process, and projects like this, where art, nature, and collaboration come together, are deeply inspiring to me. I would love to take part in more residencies like this, where creativity is truly immersive and unrestricted.

"A Natural Reflection" by Eva Losada and Janina Zais

— You have worked with so many famous people, so, of course, we have to ask: What is Michele Lamy like as a person? Do you have any stories or memorable moments with her you can share?

— Michèle is a true artist in every sense, a force of nature, endlessly inspiring. I have known her for a long time, though not personally at a deep level, but every interaction I have had with her has always been genuine, warm, and filled with her unmistakable presence.

One moment that stuck with me was the very first time we met. She was doing an exhibition at the Barbican Centre in London, and I approached her to ask about the concept behind the exhibition. She simply said, “I don’t know,” and started laughing.

I absolutely loved that answer. It reminded me of when people ask, “What do your tattoos mean?” and the answer is simply, “Nothing, it’s just art.” Sometimes, art doesn’t need a defined explanation. It exists to be felt, interpreted, and experienced.

— And Yohji Yamamoto — same question!

— Being backstage at Yohji Yamamoto’s show is a truly unique experience, completely different from any other fashion show. Japanese designers, in general, tend to have very organised, silent, and calm backstage environments, but Yohji’s is something else.

There is a ritualistic energy to it. He sits on a chair in front of a mirror, his hat on, legs crossed, smoking a cigarette. One by one, the models are dressed in complete silence. They walk toward him, and he carefully examines every single detail — adjusting, refining, and making tiny modifications to the garments.

But it is the way he moves his hands that makes it so mesmerising — like music, like choreography. There is an organic beauty in how he interacts with the clothes, with the fabric, as if he is sculpting them in real-time. It is one of the most poetic things I have witnessed in fashion.

— Is there a dream person (alive or not!) you’d love to photograph? Have you ever thought about how you’d capture them?

— I’d love to properly photograph Michèle Lamy, also Erykah Badu, Tilda Swinton, and FKA Twigs. But my interest in shooting artists isn’t about fame — it is about working with people who have a strong aesthetic, a deep presence, and a unique artistic vision.

One person I have photographed before and would love to work with again (without brand constraints, with full creative freedom) is Rossy de Palma. She is someone I have admired since childhood because she represents a diva of the unseen, the unconventional, the unfiltered. Her energy is incredible, and photographing her felt like capturing a living piece of art, poetry, and rebellion all in one. She is also a very down-to-earth person, cleverly funny and very easy to work with.

I will never forget the way she entered the door like a diva, saying my name out loud, that first second, I knew that day was going to be unforgettable.

— If someone asked you to describe your photography style in just three words, what would they be?

— Bold, emotional, cinematic.

Rick Owens (1) and Simone Rocha (2, 3) for Ssense. Photo: Eva Losada

— Every successful person has their ups and downs. Can you recall any failures that helped shape where you are today?

— I’m a self-taught artist, so I have learned the industry through trial and error. But I don’t see that as a negative, but it is true that it makes things a little harder.

My career has moved fast — which is exciting but also limiting. The way the industry operates today, there is constant pressure to deliver, to produce more, and to always be working. I sometimes wish I had more time to create freely, without deadlines or external expectations. I would not speak of failures per se, as from every situation, there is a lesson to learn, but rather of stepping stones that forced me to evolve.

Sometimes, as artists, we tend to blame ourselves for the outcome when, in reality, we often do our best with the limited resources available or within the constraints of external disorganisation. At the end of the day, we are not machines. For creativity to truly flow and thrive, we need an environment that nurtures inspiration and supports the process.

As a bigger picture, I believe the biggest failure in our industry is the lack of time to explore without pressure — to create just for the sake of creating. That is where the most powerful artistic growth happens, and I’m actively working toward carving out that space for myself.

— You have said: “I personally love photos that are a ‘mistake.’” Do you have any of those? What is the story behind them?

— Absolutely. Some of my favourite images were unexpected, unplanned, or even accidents — a sudden shift in light, a blurred motion, or someone passing in front of the camera at the perfect moment, creating this beautiful, unrepeatable effect.

I have a lot of these in my backstage work, where there is no control over the environment — just pure improvisation. What I love about these moments is that they aren’t forced, they just happen. There is no story behind them, and that is the beauty of it. They feel organic, raw, and alive, and somehow, they always end up in the final selection.

One of the photos that is a "mistake." Photo: Eva Losada

— How would you define your current creative vision?

— Themes like duality, transformation, and identity are at the core of my artistic vision.

I strive to create bold, visually striking images that demand attention. Through contrasts in texture, colour, and structure, I aim to evoke both visceral and emotional responses, encouraging a deeper dialogue about self-expression and the fluidity of identity in contemporary culture.

For me, photography is not just about aesthetics; it is about storytelling, emotion, and challenging perceptions.

— You have spoken about transformation as a theme in your work. How has your own transformation shaped the way you see the world?

— Transformation is at the core of everything I do, not just in my work but in my life. I have gone through so many shifts, phases, and reinventions, and I think that is why I’m drawn to images that capture a sense of movement, evolution, and becoming.

I see the world as something fluid, where identity is never fixed, where we are constantly changing, shedding, and rebuilding. That is what I want my work to reflect: a sense of growth, a story in motion, a moment where something is about to shift.

Eva Losada for Comme Des Garçons (1), VIVIERS STUDIO campaign (2), Ashi Studio (3)

— Tell me about the awards you have received in your career. In 2018 and 2019, you were recognised at the British Fashion Awards, and in 2024, Re-Trace, Re-Memory, Re-Set, and Re-Culture, the film you directed, won two awards at the African Fashion Film Awards for Best Film and Best Music. Tell us about the experience.

— When I received my first British Fashion Awards nomination in the New Wave Creatives category, the organisation initially reached out to hire me to cover guest arrivals. I declined, as shooting on the red carpet was something I had never been interested in. A few days later, I received an email telling me I had been nominated instead, which was completely unexpected. It was an incredible moment, and I will always be grateful to the industry insiders who voted for me two years in a row.

Last year, with my first fashion film direction for the Johannesburg-based brand Viviers Studio, we won two awards at the African Fashion Film Awards — Best Film and Best Music. To receive that level of recognition at the very beginning of a new creative chapter was surreal. It reaffirmed that I’m on the right path, and it made me even more excited about what is next.

Trippen campaign by Eva Losada

Fashion, Always

— In 2023, you mentioned that your dream collaboration would be with your favourite brand, Maison Margiela. You also said you could listen to John Galliano for hours. Could you tell us more about why he inspires you?

— So many creatives have said this before, and I completely agree — if I’m in fashion today, it is because of John Galliano.

When I was a kid, the only way I saw high fashion was through TV news segments, and they would always feature Galliano’s Dior shows. I still remember how I’d sit there, completely hypnotised by the art, the drama, the theatricality. It wasn’t just fashion; it was a universe of its own. The clothes, the set design, the makeup, the movement, it was pure magic.

That’s why my first Dior show was so special to me. It felt like a full-circle moment like I was telling my younger self: “You made it! You’re here!”

Galliano isn’t just a designer; he is a storyteller. He doesn’t just make clothes; he builds worlds. He makes you dream, he creates poetry, art, tragedy — everything that moves me.

Later on, I discovered Martin Margiela, and I immediately connected with his disruptive, rebellious approach. He entered the industry at a time when everything was polished and refined, and he completely broke the rules — covering model faces, using friends instead of supermodels, deconstructing garments, and refusing to be a public figure in an era where designers were becoming celebrities. That anti-establishment energy resonated deeply with me.

This is why Margiela is my favourite brand — it was the perfect mix of Galliano’s dreamlike storytelling and Margiela’s disruptive genius.

— How did you feel when you found out John Galliano was leaving Maison Margiela? What do you think he might be planning next?

— I was genuinely sad, to be honest, the past ten years have been some of the best in fashion. And I am truly grateful and honoured to have witnessed several of his shows as a guest, as well as to be dressed by the brand for it. Those fittings in the headquarters made my inner child dreams come true.

Some people felt that Galliano’s Margiela was too Galliano and not Margiela enough, but I completely disagree. I believe he honoured all the core values and original designs that Martin created while simultaneously elevating them into his own dreamlike world.

To me, it was perfect. The balance between disruption and theatricality, deconstruction and emotion, was everything fashion should be.

I still think the best place for Galliano is Margiela, but wherever he goes next, I have no doubt he will do something incredible.

Photo: Francesca Babbi (1); Eva's personal archive (2, 3)

— Now, about your style: it is absolutely stunning — but it is definitely evolved over the years! When did you start adding elements like your amazing black lipstick, and why? What does your wardrobe look like these days?

— Thank you! My style has evolved over the years, but there has always been a common thread — a foundation rooted in dark aesthetics, strong layering, deconstructed garments, and bold jewelry.

I have moved through different influences — at times drawn more toward avant-garde Japanese designers, at other times leaning into punk and goth aesthetics. But no matter the evolution, my style has always been about pushing boundaries and playing with contrasts.

The main brands I wear are Maison Margiela, Y/Project, Yohji Yamamoto, Comme des Garçons, and Rick Owens—all brands that embrace deconstruction, fluidity, and a certain rawness. I love the art of layering, the interplay of textures and proportions, and how dressing can be a way to create an identity and connect with a like-minded community.

Fashion, for me, has never been about trends — it has always been about self-expression and a form of visual storytelling. Throughout history, the way we dress has always served as a way to align with movements, ideas, and people who share a similar creative language.

— You are often seen wearing earrings — can you tell us about them? Which brands are they from, do they have any stories behind them, and why are they so special to you?

— I love jewelry, the bigger, the better. I wear rings on every finger, and my ears are always adorned with earrings and cuffs, each piece carrying a story.

I have been collecting jewellery for years, sourcing pieces from all over the world. Some of my favourite finds come from Japan, their vintage shops are filled with incredible treasures. Others are gifts, like a special ring my mom gifted me with an eye.

I also have pieces from South Africa and Ethiopia, I’m particularly drawn to Ethiopian jewellery. Every piece I wear is more than just an accessory; it is a symbol of experiences, places, and people that have shaped me.

Sole DXB by Eva Losada

Sole DXB

— Sole DXB! We truly enjoyed the photos you took there. Do you remember your first Sole DXB? How did this cooperation happen?

— Thank you! I love going to Sole DXB, and after attending since 2018, it truly feels like family, it is that time of the year when friends from all over the world reunite for a weekend full of great music, fashion and fun moments.

What makes Sole so special — beyond the great lineups and festival spaces — is the strong sense of real community. They genuinely support the people they love, and they make you feel valued. That is something incredibly rare in the industry today.

Sole Dxb also helped me to discover a really cool side of Dubai with very creative people and amazing energy. The city feels like stepping into the future, not just in bold, visionary architecture but also in its relentless drive for innovation and progress.

Sole DXB by Eva Losada

— As someone who has photographed many people with standout styles, how would you describe the fashion and style of those you met at Sole? Maybe you have noticed something different here.

— The style at Sole DXB is always incredible. People put together beautifully layered looks, mixing different aesthetics in a way that feels effortless but highly curated.

What I love most is the variety of the styles — you see everything from traditional pieces to avant-garde experimentation, passing for all kinds of streetwear, all in the same space. The creativity in makeup, styling, and layering is outstanding.

There is such a unique approach to self-expression that blends cultural heritage with modern fashion, and it makes Sole Street Style feel unlike anywhere else.

by Alexandra Mansilla