Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.
Omaima Salem by Pascal Gambarte | Image courtesy of Webber Represents
Omaima Salem, Fashion Director
Hometown: Mantes-la-Jolie, France + Egypt
Based: Paris, France
Representation: Webber Represents
How would you describe your work? What’s your trademark?
My work is based on storytelling rather than trends or garments. My teenage dream was to become a writer, and in a way, I’ve managed to pursue that dream through collaborative styling. It’s also a reaction to the world we live in. Whether you like it or not, fashion is political. I often try to harness the power of images and clothing to convey messages that are important to me. Fashion can be a way to escape reality, but for me, it’s mostly a way to reshape it.
You’ve worked at Vogue France, MARFA, and are now the Fashion Director at Dazed MENA. Walk us through your journey—what sparked your interest in styling, and was there a defining moment that made you pursue it professionally?
I started as a journalist at Vogue Paris under Carine Roitfeld. I was just an intern at first and quickly got to review historical shows such as McQueen’s Horn of Plenty or Chalayan’s One Hundred and Eleven. It was such an interesting moment to witness; the emotions and messages were strong and still vivid. I soon found the solitary nature of journalism unfulfilling and recognized that fashion often transcends words. This realization prompted my transition to styling, where I assisted various stylists until, after four years, I felt equipped to carve my own path.
What non-fashion influences (art, film, literature, music, etc.) shape your creative perspective?
Everything I see or experience feeds my creative perspective. I am convinced that the most compelling work springs from a deeply personal point of view. I always return to one of Balzac’s quotes that I love: “Le Beau, c’est le vrai bien habillé” (the beautiful is the truly well-dressed.)
What’s your process for conceptualizing a look? Do you start with references, emotions, or something else entirely?
It really depends on the project. The inspiration for the looks can come from a stranger on the street, a memory of someone I loved, a building, a place, or a book. There are no rules, and that’s why I love the process so much. It’s different each time.
As someone with a French-Egyptian background, does your personal identity inform your professional work at Dazed MENA? If so, how?
Of course. Having spent my formative years in France and Egypt, I’ve been deeply inspired by the silhouettes I encountered there. Dazed MENA is the ideal platform to express the beauty of these regions, which are often misrepresented in Western media.
How do you ensure that the looks you curate at Dazed remain both global and deeply rooted in the region’s cultural narratives?
It’s a very instinctive process. For example, in the first issue, I played with the codes of masculine Arabic fashion on Nazarit (Machin). These countries have been influenced by Western fashion for centuries, largely due to colonization, and at the same time, the world has been inspired by the Middle East for just as long. Designers like Paul Poiret and Issey Miyake drew significant inspiration from the region, and John Galliano’s first collection was inspired by Afghanistan. This ongoing dialogue has been happening for centuries. It’s an aesthetic I’ve always been deeply moved by and one that I can express very naturally in Dazed MENA. I also make sure that designers from the region are represented. My last two covers featured Renaissance Renaissance and Duran Lantink, two incredibly interesting designers. There are so many talented creators emerging from the region; working with them is the best way to stay rooted in its narrative.
What have you watched/heard/read lately that has inspired you?
I was just in Aswan, Egypt, for a Jacquemus campaign and have always found its people incredibly inspiring. Nubians have their own dialect, music, and vibrant aesthetic. They can be wise, noble, and humble all at once, despite their tragic recent history. I’d love to share their stories in a future shoot.
What have been the biggest challenges you have faced professionally?
The biggest challenge is always the one you’re going through in the moment! Right now, it’s about making Dazed MENA the most interesting and inspiring magazine. It’s a region that has a lot to say, and I’m proud to be part of a magazine and a team that has meaning and unknown talents to bring forward.
What advice would you give to aspiring stylists looking to break into the industry?
The best advice would be to be honest in your creative process, not to try to replicate what’s been done, but rather to find your path, trust in your taste, and take risks. Too many people play it safe and are only interested in working with established talents and magazines—groundbreaking fashion never came from the establishment.
Selected Work
Charlotte Gainsbourg by Pascal Gambarte | Image courtesy of Webber Represents
Charlotte Gainsbourg for Marfa Journal
This shoot is important to me for more than just playing dress-up with one of France’s cinema icons. It illustrates the transformative power of clothing and how attire can alter perception and psychology. Want to inspire trust? A false belly or trolley will suffice. Seeking respect? A well-tailored suit does the trick. Yearning for anonymity? Maximalist, deformed glasses can provide that. The shoot was inspired by a book containing instructions for STASI spies and also by Cindy Sherman, one of the most interesting stylists and artists alive today! Charlotte immediately loved the idea, as it allowed her to play different characters through these looks. Actresses are often intimidated by having their pictures taken, but giving them a role helps reestablish their comfort zone.
By Alexandra Gordienko | Image courtesy of Webber Represents
Swimming Pool
One of the aspects I love about this profession is its performative quality. Each shoot is a unique performance. We’re in the here and now, trying to immortalize the moment. This is one of the most audacious shoots I instigated: an inflatable swimming pool was transported to three locations across Paris. There is no formal production—just the photographer, an assistant, and a hose. It serves as a commentary on public spaces and our ability to transform them into personal playgrounds. My early involvement with Marfa Journal was very formative, as it provided a liberated, collaborative medium for self-expression.
By Solène Gün | Image courtesy of Webber Represents
Dazed Magazine Winter 2023 Covers
I was raised in the Muslim religion in a Muslim country, and I was shocked when I moved back to France and witnessed the never-ending polemics surrounding the veil. This ongoing media discourse deeply unsettles me as it reflects contemporary Islamophobia. I believe that forcing someone to discard a piece of clothing is as intrusive as mandating its wearing. In a free society, individuals should be able to wear what they want. I wanted French Muslim women to feel seen, proud and understood—to give them a sense of belonging. I knew it would be a controversial cover, and I am grateful it sparked necessary discussions.
Nazarit Machin by Pascal Gambarte | Image courtesy of Webber Represents
Dazed MENA Issue 00 Winter 2024 Covers
This cover marks a new chapter in my career, where my two nationalities can thrive with honesty. I was born in Mantes-la-Jolie, a suburban area often stigmatized for its immigrant population. It was a taboo when I started working in this industry. I didn’t come from money or fashion, and I wouldn’t necessarily have been proud of it back then. But now, I am, because I’ve probably worked twice as hard as people who had those advantages. To me, this cover is a message to all the underprivileged youth out there who dream of making it someday.
Jacqui Hooper by Alessandro Furchino Capria | Image courtesy of Webber Represents
I said yes to / The new address
I often think of my favorite images as ones I’d hang on my walls, and from the recent shoots I’ve done, I’d probably choose this story. It serves as a commentary on modern life, exploring both its comforts and discomforts. What truly makes a space livable? Is it the light, the decoration, the flooring? What defines a home? And can one live without anything at all? I wish I could! The shoot features my current apartment before I moved in—an opportunity to make the space my own and get to know it through this series, seeing how it reacted to colors and people. Alessandro immediately loved the idea of Jacqui trying to occupy these empty rooms in playful ways. I sense we’re in a moment where the most stripped-back and fundamental concepts resonate the most maybe because it allows space for the reflection we need.
