As a bold representative of maximalism, fashion stylist and consultant Anna Trevelyan has never shirked away from expressing herself. With a rise marked by fearless creativity and an eye for the daringly avant-garde, Trevelyan has created sartorial fantasies with contributions to V Magazine, Elle, and 10 Magazine. Her big break came when stylist Nicola Formichetti discovered her dazzling personal style back on MySpace, leading to a campaign appearance and then later assisting him as Lady Gaga’s stylist. This pivotal role, where she worked closely with Gaga during a transformative period in the pop star’s career, served as an intensive training ground for Trevelyan. “Those years were amazing,” she describes. “We worked so so hard. I never slept, we were always on the go, but I loved it.” With a vivid portfolio that spans editorial shoots, music videos, and runway shows, she went on to work with industry heavyweights like Nick Knight, David LaChapelle, and Sølve Sundsbø. Known for her bold and eclectic approach developed as a teen, Trevelyan uses fashion as a medium to seamlessly blend elements from gothic to whimsical. Whether she’s transforming superstars or supermodels, she’s been able to inject her cosmic fashion perspective into imagery that stands as her calling card. Now embracing the next chapter of motherhood, Trevelyan is balancing her career with newfound efficiency while maintaining her status as one of fashion’s most forward-thinking stylists. Models.com spoke with the stylist to discuss the Gaga years, memorable moments working with stars, and embracing boundary-pushing style in front and behind the camera.
What were some of your first connections to fashion images? Did you study it in any way?
I super clearly remember my very first fashion image connection. It was the end of the ’90s; I was an early teen, and access to the internet was just becoming a thing. I somehow came across Nick Knight’s famous image of Devon Aoki wearing Alexander McQueen. I remember being blown away. I felt like I had never seen anything I had connected with until that. That image made me start researching fashion (an industry and art form that I had no idea existed). After that, I became obsessed with Nick Knight, Alexander McQueen, and David LaChapelle’s work. I studied Fashion Styling & Photography at the London College of Fashion. I think the year I went was the first year that a fashion styling course existed.
Your big break was when Nicola Formichetti noticed your personal style on MySpace. Looking back, how did that initial social media interaction set the stage for your future in fashion, and what you were drawn to stylistically?
The story is that I used to work as a waitress at a diner in East London (this is about 17 years ago!), and I used to see Nicola coming in and was secretly fangirling. I’m sure he didn’t notice me there but did on Myspace; then he asked me to be a model for a shoot he was doing and then asked me to be his assistant. Nicola asking me to be his assistant changed everything. I got to really learn and experience so much. I remember that just one week after I started working with him, I was on a beach in LA shooting Gisele! It was so fab and exciting, and I never could have dreamed it. Nicola was an amazing mentor and is still a friend and mentor to this day. In terms of what I ended up being drawn to stylistically, I think the aesthetics and styles that inspire and excite me are probably the same since I was a teenager. I don’t think what I am excited by has been influenced that much. I believe it’s more intrinsic to your own spirit.
Working closely with Lady Gaga must have been an intense and transformative experience. How did those years shape your work ethic and your approach to creativity?
Those years were amazing. We worked so so hard. I never slept, we were always on the go, but I loved it. The main effect that that had on me is that nothing can faze me now. Nothing seemed like an unachievable task as we were creating the wildest garments with the least time in the craziest situations. So, everything can feel like a breeze in comparison. It was also a moment of no-holds-barred creativity, 15 years ago with no politics like full look policies, no boundaries. Everything you imagined could come to life. I’m grateful for that experience and time. It’s so rare and special, and I appreciate that I felt true creative freedom. Gaga is a true force of genius creativity, and she and Nicola together were, as the world saw a dream.
What’s your process for creating standout fashion moments, especially under the pressure of high-profile events?
It’s kind of a different process all the time. Sometimes, an artist or creative director has a vision they come to you to realize and amplify. Sometimes, I see something very specific in my mind – it just pops in there like a vision, and I try to make it a reality. I love to research new brands and find amazing pieces of designers that no one knows about yet to create something special and stand out. It’s really important to feel authentic when it’s an artist’s look, so I usually work around their personality and just amplify it with fashion, bringing the look to a fantasy space. For fashion editorials, it might be about amplifying a fashion trend, so either way, you have to make sure whoever or whatever you’re trying to highlight is shining through the strongest. With the pressure, even though it’s hard, you can’t let it get to you, or you will explode! I would say trust in yourself, trust in your team and it will all be ok. Stressing about pressure doesn’t help, so I try to let it go.
You recently gave birth—congratulations! How has becoming a mother influenced your creative process and approach to running your business?
Thank you so much! It’s so fresh and new that, honestly, I’m still very much figuring it out. On the one hand, I did the ultimate creation process by creating a life; I feel very creative, driven, and inspired. On the other hand, it made me stricter about my boundaries. I think, ultimately, it makes you even more efficient as a creative. You want the channel of creative expression, so you are very driven by that, but also, you have no time to mess around, so it’s like you become a super person, getting huge amounts done in every little minute you can scrape to yourself.
You’ve had the opportunity to collaborate with legendary photographers like Nick Knight, Solve Sundsbo, Ellen von Unwerth, and David LaChapelle. How have these collaborations shaped your sartorial vision, and how important is collaboration in your line of work?
Collaboration is absolutely so important. Yes, we all have ideas, but bouncing them around a team that aligns with your vision only widens the possibilities and pushes ideas further. We are there to inspire each other; photographer, stylist, model, hair, makeup, set designer, casting, tailor, and production are all super important roles that need to collaborate openly together to make the best result. I love to know what a model thinks of her look or what a makeup artist thinks of the jewelry, etc. Working with legendary photographers has been an amazing experience that refined my vision and opened me up to new ways of thinking. For example, Nick Knight challenges me whenever we shoot with a new photography concept to wrap my head around and how that affects styling. It’s so cool because you can use those new approaches in different ways later down the line.
Looking back at some of the shoots that you’ve done, what moments have stood out as memorable to you?
So many memories stand out. I started writing a memory diary recently, so I remember all the incredible things I’ve had the opportunity to do. I would say it’s mainly more behind-the-scenes memories that stand out – styling Rihanna for the Work video and fans copying the outfit all over the place was super cool. Creating a Little Mermaid underwater couture shoot for V Mag with Halle Bailey was so creatively inspiring. Styling the world’s fastest Kenyan runners for a Nike shoot in Kenya was unforgettable and so inspirational for me. Working with Alicia Keys and doing a very intimate shoot of her playing piano and singing live was incredible to see and hear. Styling Xtina for a few projects was so iconic for me, as she was my absolute favorite icon when I was a teen. I once got to shoot in Tokyo with my friends Dexter Navy and Kiko Mizuhara, and we were shooting with Bosozoku bikers, whose style I have always looked at and referenced, which felt unique and exciting. Watching Nick Knight light a space using cameras, lights, and creative tricks so innovatively on every shoot is super memorable. There are endless memorable moments, but that’s a whole other interview.
Machine-A is known for its cutting-edge fashion curation. As co-founder, how important is supporting the next generation of designers, and who has stood out to you?
Supporting the next gen of fashion designers is and always has been my passion. What really got me into this industry are photographers and designers—artists who can use fashion as their medium to create unique, inspiring, beautiful fantasies. I will always advocate for the new generation. It’s important to support and uplift these designers as we need diversity of design; it can’t be just the same ten fashion houses. What I love about new designers is that you see their creativity before the politics of commerce take hold of a brand. Which is not a bad thing, it’s cool to see how that’s channelled into a successful desirable brand, however the very early stage really excites me. New-gen designers that stand out to me now are Paolo Carzana, Dhruv Bandil, Standing Ground, Ellie Misner, and Francesca Lake.
How essential has London been to your creative development and where do you think it stands now in terms of fashion?
London has been critical to my creative development. London will always have my heart; the creative spirit there is like nowhere else that I’ve experienced. The fashion schools produce the most incredible and groundbreaking designers, there is unique style everywhere you look around you, and people are devoted to and value creativity so highly. London taught me to push myself and work hard for what I want. It taught me to push the boundaries of my and others’ creativity, the boundaries of what is possible with nonexistent budgets as a student. London taught me about culture and subculture, creative community, and what it means to be an artist. People overlook London in the industry. Many folks skip London Fashion Week to go directly from NY to Milan. That’s a loss because we have so many exciting, inspiring, unique designers showing there. I also feel the support for young designers and creatives in London is strong. People look to new energy and new generations to see what’s next. For me, the current standout designers in London are Dilara Findikoglu, Di Petsa, Harris Reed, Ancuta Sarca, Standing Ground, Richard Quinn, and 16Arlington. I mean, there are so many! A melting pot of talent, culture, and style.
Tell us about your ideal working situation – where do you feel most creative?
I love being on set with great collaborators and a team that is excited to create ideas, have good music playing, and add in some caffeine. That’s my favorite place. Working with designers on their shows, being together with them and building a world and a story from their designs. That’s a happy place for me.
As someone deeply embedded in the LA, London, and New York fashion scenes, how do you find the creative energy of all these cities influences your work?
The cities influence me so much in different ways. When I land in LA, I feel like anything is possible. Like there’s something in the air whispering to you that you can make your dreams come true. The energy in LA always boosts me and gives me inspiration for big ideas and the confidence to make them happen. New York has such a buzzing energy. Every corner you turn, you will find a new club, a new song, a new outfit, a new subculture, a new dish. People in NY’s creative scenes always strive to be the best and do their best, and there’s such a mishmash of culture to experience. It’s impossible not to be inspired by that visually and energetically. London will always be my true home. I’m inspired by the artists in London’s devotion to creativity first and real conviction in their creativity and ideas. The most exciting designers go there to hone their talents, so as a stylist, there is such a wealth of incredibly exciting fashion to pull from there.
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?
I think about this often. I feel like there are so many stylish and talented people around, but real style icons are hard to come by. In style icon status, I’m always thinking about Michele Lamy, Erykah Badu, and Raul Lopez. They all have such incredibly unique styles, energy, and talent. I had to check the definition of muse, which is “a person or personified force who is the source of inspiration for a creative artist.” Currently, the world is my muse; everyone in it can inspire something. I don’t really have that from one person at the moment. Recently, Kayako Higuchi, Ajok Daing, and Abeny Nhial have inspired me as models.
The fashion landscape is always changing, but what is some evergreen advice you would give to people who are starting out in styling now?
It’s really important to stay true to who you are. People recognize and value authenticity, and ultimately, you will be more fulfilled and happy being yourself. You will attract the kind of collaborators and clients who want you for you. While always being true to yourself, it’s also important to be open-minded and open to hearing critique. You will grow and evolve, and all those pieces of advice will help along the way. Sometimes, we want to control everything, but going with the flow and allowing people to collaborate and create together will be an easier and more inspiring path.
