Nicola Kast on Why Specificity is Key in Casting

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.

Nicola Kast, Casting Director

Hometown: I don’t really have a hometown. I was born in Mülheim an der Ruhr, Germany, and then we moved to Johannesburg, South Africa, when I was six months old. We moved back to Berlin, Germany when I was almost 12, and then I moved to New York City to study photography when I was 19, just shy of my 20th birthday.
Based: New York City

How would you describe your work? What’s your trademark?
I have a BFA in Photography from the School of Visual Arts, so I’ve been taking images, looking at, talking about, and thinking about photography for a long time. Once I know who the team is and have studied the work, I like connecting the dots and finding the perfect subject for a shoot or project. Honing in on something specific for a project is a real magic moment for me.

What led you to a career in casting? Was there a defining moment that set you on this path?
Before becoming a full-time freelance casting director in 2017, I spent 10 years as a Photo Editor. I started at Style.com in 2007 in an entry-level role within the photo and art department after graduating from SVA. My first experience casting came while working on the STYLE.COM/PRINT Spring 2015 issue in October 2014. As part of my Photo Editor duties, I ended up casting a Colin Dodgson and Simone Rocha shoot, which I fully immersed myself in. That process sparked something in me—I realized how much I loved it. In many ways, casting reminds me of my background in photography. I used to shoot 4×5 large-format, and casting has a similar creative instinct—imagining how an image will come together before it’s fully realized. That connection made the transition to casting feel natural.

When scouting new talent, what stands out to you? Has your criteria evolved over time?
My process has evolved in the last few years. It’s important for me now to get a feel for the talent’s personality. I used not to spend as much time as I do with go-sees, but now it’s pivotal to get an idea of who someone is to pitch them to the artists I work with.

Dust Magazine has a distinct vision. How do you curate talent to align with its aesthetic, and what goes into selecting subjects for the magazine?
DUST Magazine is very much a collaboration between its members; it’s a small team, and I think that really shows. We are connected through dedication and vision. Every team member works in their field at a very high level, and working with a team like that in the magazine world is rare. I think this speaks to why it has a distinct point of view that feels personal.

You’ve been working with Dior on campaigns and editorials since 2019. How do you differentiate the casting process between the two?
It depends on the project and the type of shoot. I cast Colin Jones in her first-ever editorial, Dior Magazine Dioriviera, in Mexico at the end of February 2022. It was meaningful for me to give her that platform and for the team to trust my casting instincts by confirming a new model before the start of her first season. Similarly, I cast Leon Dame for the Dior Gem campaign in 2023. The team decided to add a male model to the shoot at the last minute, and having known Leon and his agent for a long time, I really wanted to recommend him. I was very happy that the team agreed, and he ended up being confirmed for the campaign despite never having worked with Dior before.

When it comes to discovering new talent, do you have a preferred method, or does it depend on the project?
Discovering new talent is very personal to me, but again, it depends on the project. I present different options to different teams. I don’t like repeating talent, as I view each project as individual. I’ll always tweak something at the last minute or consider the client’s point of view and whether what I’m suggesting reflects that point of view.

What have you watched/heard/read lately that has inspired you?
I’ve really enjoyed Naomi Novik’s folklore fiction. “Spinning Silver” and “Uprooted” are both beautiful. I also recently started “Babel” by R.F. Kuang.

What advice would you offer to emerging models aiming to break into the industry?
Make friends and find a community in the industry. It’s not an easy job, and having a community and people you trust who have your best interest at heart is important.

Selected Work

‘Her Beautiful Dark Twisted Fantasy’ STYLE.COM/Print Issue 7, November 2014
This was the first shoot I had cast while working as a photo editor at STYLE.COM and STYLE.COM/Print in 2014.

Double Magazine Fall/Winter 2017 Covers
I’ve been casting for Roe since 2016 or 2017, and his shoots are always fun. I love the sense of humor in his work, especially since I’ve been following him since art school. One of my favorites is this 2017 shoot with Lili as Madonna.

Vogue Italia September 2020 Covers
I was fortunate to be asked to work on the street casting of this issue and ended up casting five covers. My favorite cover is of Debra Solomon, who was my last Uber driver before I went into quarantine on March 15th, 2020.

Another Magazine Fall/Winter 2021 Covers
As a non-native Londoner, it was special for me to be asked to cast a story about Vivienne Westwood’s influence on contemporary designers, and it was important for me to get it right. I wanted the casting to be seamless and native to London, so I took a lot of time on it. Growing up in different countries, I’m very aware of when a casting doesn’t feel genuine to a city or is reflective of a city’s population.

Dust Magazine #25 Summer/Fall 2024 Covers, May 2024
I asked Collier if she wanted to meet Lily for a go-see. Lily had been suggested to me, and I had a gut feeling she and Collier would connect well. And they did. I think that connection between them is what makes the images feel so personal. To me, this is the magic of casting—when all the pieces come together seamlessly.