What if the way we see fashion could challenge everything we think about desire, identity, and power? That’s the bold question at the heart of PVF 2026 Conversations: She Saw Me. The Female Gaze, Desire, and Fashion. This panel isn’t just a discussion—it’s a revolution in perspective, bringing together women and queer photographers who redefine how we look at and through fashion, art, and documentary practices. Here, the female gaze isn’t a theoretical concept; it’s a lived experience, a way of seeing and being seen that’s shaped by intimacy, choice, and authorship. But here’s where it gets controversial: what happens when the body and appearance are no longer fixed symbols but fluid spaces where meaning is created through gesture, styling, and proximity? And this is the part most people miss: desire isn’t about spectacle—it’s about reciprocity, trust, and the freedom to craft one’s own image.
Take Bettina Pittaluga, for instance. This French-Uruguayan photographer, trained in photojournalism and sociology, captures luminous, natural moments that center on intimacy and emotion. Working exclusively with medium-format film, she amplifies voices often overlooked by mainstream media, blending documentary rigor with poetic empathy. Her work isn’t just about beauty; it’s about challenging violence, hatred, and exclusion. But is her focus on underrepresented stories enough to shift the industry’s gaze?
Then there’s Clara Belleville, a Paris-based fashion photographer whose projects like Entre nous have graced the covers of Dazed and exhibitions like Photo Elysée. Her work explores the nuances of connection and memory, but it also raises questions: In an industry obsessed with trends, can her intimate, timeless approach truly disrupt the status quo?
Hillary Foxweldon, a Brooklyn-based portrait photographer, turns her lens on women and family relationships, celebrating the everyday bonds that shape us. Yet, her focus on personal circles prompts a bigger question: Can small, intimate stories ever challenge the grand narratives of fashion and media?
Juno Seunghui Joo takes a different approach, reimagining Korean rituals and folklore through staged imagery. Her work bridges her heritage with global audiences, but it also invites debate: Does blending tradition with contemporary art dilute cultural authenticity, or does it expand its reach?
Mirielle Rohr, a multidisciplinary artist, uses analogue photography, sculpture, and AI to explore femininity and identity. Her dreamlike narratives are visually stunning, but they also provoke: In an age of digital manipulation, can art still claim authenticity?
Nicole Ngai questions the very act of looking itself. Her images, rooted in post-colonial representation, challenge who has the power to see and be seen. But can photography ever truly dismantle colonial gaze, or does it inherently perpetuate it?
Finally, Rhiannon Adam, a queer Irish artist, tackles social injustice through long-term projects that mix photography, archives, and audio. Selected for the dearMoon lunar mission, her work transcends Earthly boundaries. Yet, her ambitious scope raises a critical question: Can art that aims to change the world ever avoid becoming too abstract to make a tangible impact?
Moderated by Charlotte Jansen, this panel isn’t just a conversation—it’s an invitation to rethink everything we know about fashion, desire, and the female gaze. So, what’s your take? Do these artists challenge the system, or do they simply navigate it? Let’s debate in the comments!
