Fashion stylist Helena Tejedor’s rise in the fashion space has been a testament to her innate talent and unwavering dedication. Born in Madrid and growing up in the French suburbs of Toulouse, her early exposure to fashion was through pop culture icons like Aaliyah, Missy Elliot, and Kylie Minogue, whose bold, eclectic styles ignited the sartorial spark that eventually drove her passion. Moving to the Toulouse city center at 13, Tejedor’s discovery of Vogue Paris and Carine Roitfeld’s work further fueled her desire to enter the industry. Her big break came when Jennifer Eymere from Jalouse Magazine appointed her as the fashion director, a role that challenged and honed her skills, while she navigated the complexities of a fashion industry with no specific rule book. Today, Tejedor is celebrated for her dynamic collaborations with high-profile brands like Coperni, Casablanca, and Louisa Ballou, as well as her work with industry luminaries such as Gaspar Noé, Petra Collins, Pierre-Ange Carlotti and muses like Mica Argañaraz, Vittoria Ceretti and Bella Hadid. Her editorial work is a blend of cinematic influence and the embodied allure of Parisian femininity, consistently pushing the boundaries of fashion narratives. Models.com spoke to her to discuss her journey from self-taught stylist to a sought-after name in fashion, her focus on supporting emerging designers, and being a pivotal consultant in the space of contemporary luxury.
What were some of your first connections to fashion images when you were growing up in the South of France?
I first lived in the suburbs of Toulouse; when I was 10 years old, my only connection to the rest of the world was MTV and pop magazines. Aaliyah’s D&G look in Try Again, Missy Elliot’s crazy amazing outfits, Kylie Minogue in full Ghesquiere Balenciaga… (that came a bit later but had to be mentioned!) And, of course, J.Lo’s Versace gown during the MTV Awards, which, as we know, created Google Images. Because there was nothing to do around my house, I also watched a lot of movies; that’s why a big part of my work is influenced by films or this need to always create characters in my editorials. When I was 13, we moved to the center of Toulouse, and that’s when I bought my first Vogue Paris and discovered Carine Roitfeld.
How did you get your start in the fashion industry and who gave you your first gig?
Jennifer Eymere from Jalouse Magazine gave me the title of fashion director. Jalouse was a magazine that I grew up with, from the first Amy Winehouse French cover or Bella Hadid French cover to Lea Seydoux surrounded by pigs in a French farm by Juergen Teller – it was the first best job. I was in my early 20s when that happened, so I never assisted any big stylist. I kind of had to learn the job on my own which put me in very tough situations with important clients many times. I had to pretend I knew exactly what I was doing but most of the time I didn’t have a clue. It was a very fulfilling experience, taking care of a magazine. I learnt the business of it first hand, understanding the business of the advertisers, going to a dinner to try and get a new brand as a client, (and feeling so happy when you do because that means more budget for an editorial in the next issue!) After two years I decided I had to leave and start a new freelance career to discover other territories. My dream was to do Vogue Italia.
Who are some of the mentors that have shaped your trajectory?
I didn’t really have a mentor I kind of had to figure it all out on my own, which made the process more difficult and probably longer. That’s why I really try to be available for my assistants or younger people that ask me for advice now.
Tell us about where your ideal working situation is – where do you feel most creative?
Of course editorials are the freest support, it’s where you have the freedom to recreate your wildest aesthetical and narrative dreams/obsessions. I also really love consulting. I love being present in the whole process, and see a collection little by little come to life.
How essential has Paris been to your creative development and where do you think it stands for young, independent brands?
I think Paris has been extremely essential to my creative process. I studied fashion design, so I learnt to do patterns and sew in Paris, with teachers that had worked in important ateliers. But I lived in Pigalle when I moved to Paris at 19, and I went out a lot. I met so many amazing different creative people. Growing up in the south of France in the early 2000’s, self expression was less possible and conservative, so when I arrived to Paris I had like you say in French ‘une claque’ (a slap the face). At the same time, you are in Paris, the capital of fashion. It was the last years of Carine at Vogue Paris. The luxurious eroticism and the indépendance of the Parisian woman is something that has fascinated and has stayed and inspired me until today. I also think that in France you have the possibility and the government support to really making a brand international and successful. Simon (Porte Jacquemus), Arnaud and Sebastien from Coperni or Alexandre Matiussi at AMI Paris for example. These are all independent brands that were created by young designers, most of them from the provinces, making it in the capital for true financial support.
How important is supporting the next generation of designers and who has stood out to you?
I not only think it’s essential to support young designers I also think it’s part of your job as a creative to look constantly at what is new and who is doing what and where. ALL-IN studio, Abra, Mowalola, Jeanne Friot, Nicolas Boyer, Hodakova, Lamarche-lab, Lagos Space Programme, Louise Lyngh Bjerregaard, Pepa Salazar, Duran Lantink – so many amazing creative people it’s honestly hard to keep up sometimes.
How important is collaboration in your line of work and do you have any people you love collaborating with?
I feel collaboration is key to our profession. And what makes the whole process and result so great in the end, when you surround yourself with people whose work you love/admire and create something together. I am very lucky to collaborate with a range of extremely talented and inspiring people: Arnaud and Sebastien from Coperni, Charaf Tajer from Casablanca, Mica Argañaraz, Pierre-Ange Carlotti, Kevin Tekinel and Charles Levai from MAYBE, Petra Collins, Samuel Ellis, Duffy, Matière Noire, Mohamed Bourouissa, Karim Belghiran, Aurore Gibrien, Mark Peckmezian, Fara Homidi, and Gaspar Noé.
As the digital age expands, how important is the scope of a fashion editorial currently and what does it need to convey to stand out?
I think precisely as the digital age expands, authenticity is key. I think the weirdness / magic / creative language of an editorial will always stand out in the age that we live in. And creating things with your own hands will always remain valuable.
We are Models.com, so the question has to be asked: Who would you consider to be your muses today, in and out of fashion?
Mica Argañaraz has been a forever muse and inspiration. We are close friends and she has been a constant support and collaborator. She is involved in the vision and she will take it to where it has to be always. My mum has always been a muse, she didn’t grow up with money but my grandma made all her clothes and her sisters. Growing up they were always the best dressed in the village and then when she became a woman she was also. She loves to buy clothes from ‘el mercadillo’ (the market) and makes them look expensive. And finally the many women that I have the pleasure of working with every day, they all inspire me in a certain way.
The fashion landscape is always changing, but what is some evergreen advice you would give to people who are starting out in styling now?
I think the most important thing is to find yourself creatively, your vision, your obsessions, to listen to yourself always. No matter how much time that takes.
