Bert Martirosyan on the Psychology of Casting

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

Bert Martirosyan, Casting Director

Hometown: I was born in LA but grew up in Fresno and Las Vegas. My parents immigrated from Armenia, so we moved around a lot in the early years.
Based: Between New York & Paris

What led you to a career in casting? Was there a defining moment that set you on this path?
I never set out to be a casting director, but looking back, it makes perfect sense. I’ve always been drawn to people, faces, presence. When I was 16, I remember flipping through my mom’s fashion magazines and being completely entranced by Jessica Stam. I didn’t know who she was at the time, but suddenly, I started seeing her everywhere—billboards, malls, magazines. I was like, who IS this? That curiosity led me down a rabbit hole to a LiveJournal community called ‘Fashin,’ where we dissected fashion imagery, reviewed collections, and even did fantasy castings—like recasting Lord of the Rings with models and designers (Raquel Zimmermann as Galadriel, Alber Elbaz as Gimli…). Looking back, it shaped how I see casting. It gave me an early understanding of fashion’s visual language, and I always had fun with it, and that has played a huge role in leading me here.

What other jobs did you have before becoming a casting director?
I dabbled in production, and styling, and worked as a booker at a few modeling agencies before landing my first casting gig with Ashley Brokaw. Casting felt right, it made sense, like something I’d always understood. But at the same time, it felt surreal. Back then, there were so few casting directors in fashion that it didn’t even seem like a realistic career path.

When scouting talent, what qualities stand out to you? Has your criteria evolved over time?
I look for an immediate reaction; something instinctual. It’s not about conventional beauty or trend-driven looks, but rather a certain magnetism.

What’s your approach to ensuring a casting choice aligns with both creative storytelling and a brand’s broader goals?
Communication with the brand or team to realize the vision is most important. Then introducing them to the talent that can embody that idea in both appearance and energy.

You’ve worked with publications like The Travel Almanac and Vogue Korea over the years. How do you curate talent to align with each magazine’s aesthetic, and what goes into selecting subjects for an editorial or cover?
Every publication has its own identity. The most fun is building these worlds together. The Travel Almanac as a publication and brand is more cerebral, spiritual, and personal—it’s about a real sense of character. Vogue Korea is more precise and current. When casting both, I think about impact; who and what feels relevant, but also timeless.

What are the main differences between casting for a show vs. a campaign or editorial?
A show is about movement and presence, it’s in real time, and every model is part of a larger composition. A campaign is more controlled, and more about refinement and messaging. Editorial has a bit more freedom, as it’s where you can take risks and focus on creating a single, lasting image.

Do you have a preferred scouting method for discovering new talent, or does it depend on the project?
It depends, but I love finding people when I’m not actively looking, like on the street, through friends, or in places where someone isn’t necessarily trying to be noticed. Sometimes, a person’s presence in real life is completely different from how they are photographed. Seeing something in them that they might not see in themselves and then watching it come to life through a project is always special to me.

What’s a misconception people have about the role of a casting director?
That it’s just about picking a pretty face, and saying yes or no. Casting can be deeply psychological, it’s about sensing a person’s energy, understanding how they will be perceived, and making choices that elevate a project beyond aesthetics.

What have you watched, heard, or read lately that has inspired you?
I’ve been revisiting Hideo Kojima’s work—his world-building is on another level, and his casting choices are so layered. Outside of that, I’ve been thinking a lot about the intersection of fashion and performance, especially after attending Philippe Gaulier’s workshop in Étampes, which challenged my perspective on presence and expression.

Who do you think is one to watch?
I’m especially excited about the increasing visibility of trans talent in fashion. We’re seeing a moment where these models aren’t just included—they’re making a real impact. But there’s still work to be done, especially when it comes to greater representation of POC trans models. Fashion thrives on diversity, and the industry needs to continue embracing the full spectrum of talent. At the end of the day, these models are booking major jobs because they’re exceptional at what they do—and that’s what’s most exciting to see.

What’s something about your job that still excites you after all these years?
Collaboration. You have to genuinely enjoy working with others to do this job well. From photographers to stylists to model agents, the best results come from everyone bringing something unique to the table—the final product is that much stronger and more fulfilling.

What advice would you give to aspiring casting directors trying to break into the industry?
Watch people. Study faces. Understand why certain individuals or images leave a lasting impression. Be relentless in your observation. Be endlessly curious. Be kind. I live by Octavia Butler’s words: ‘Positive obsession is about not being able to stop just because you’re afraid and full of doubts. Positive obsession is dangerous. It’s about not being able to stop at all.’

Selected Work

Marc Jacobs Stam Bag 2023 Campaign
This was such a fun day on set with the Marc team and Harley Weir shooting. For the Stam bag relaunch, we had Paris Hilton, Ashanti, Selma Blair, Ashlee Simpson, and of course, Jessica Stam. Stam was my favorite model growing up, so it felt very full circle being a part of this special shoot.

Sugar Hill Supper Club for Dust Magazine
I recently worked with Clifford Prince King and Pau Avia on this Dust cover story shot at the iconic Sugar Hill Supper Club in Bedstuy, NY (an iconic restaurant where I’ve had many a nights).

The Travel Almanac #23 A/W 2023 Covers
For The Travel Almanac Autumn/Winter 2023 issue, we shot Linda Evangelista with Ethan James Green and Clare Byrne. Linda is truly the definition of a supermodel. She is incredibly in tune with every part of her body – from the way she moves the clothes and how they drape down to the shape her hands and fingers make.

Vittoria Ceretti for The Travel Almanac
The character study we did on Vittoria Ceretti by Vito Fernicola for The Travel Almanac’s Autumn/Winter 2024 issue is one of my favorite stories we’ve conceptualized for the magazine. We get to see her effortlessly go from tomboy greaser to high femme.

Heaven by Marc Jacobs S/S 23
Marc Jacobs’ Heaven couch. Period.