![]() With bigger brands, it takes more time to rewrite the processes and get backing to make those changes internally, so here the process is very much led by the framework I am given and I try to find creative ways of having a diverse cast, within whatever parameters I have. It gives an opportunity for us to have anyone we like be part of the shows and campaigns. Working with a brand like Sinead O’Dwyer, we’ve had to flip the script and cast models in advance, making clothes that fit the models, rather than try to fit models into existing samples. With every brand I think there’s an opportunity to revise how the casting is done, but I also try to keep a more fluid process as I learn from the people around me. My process happens in close collaboration with the stylists & creative teams that I work with. Previously, you’ve worked with the likes of Sinead O’Dwyer and Vivienne Westwood, what can you tell us about your creative process and how that differs per designer? Opposite to what many people believe, it’s usually the stylists or brands who have the last word when it comes to selecting the casting, and so I guess working inclusively as a CD comes more down to the casting environments I create and the people I feel inspired to put forward. To become a mainstream talking point as well as making people feel seen. ![]() The reason I do my job is to bring forward the people who’ve historically never been part of the “luxury” narrative and as much as those issues are so much bigger and more complex than what can be solved with a runway appearance, the visibility does matter in the broader discourse. I’ve been really lucky to get to work with people who have inspired, allowed and pushed me to do the kind of casting I am doing, such as Sinead O’Dwyer or photographer Sharna Osborne. My personal life, being queer and being in queer spaces, allowed me - from the second I arrived in London - to connect with creatives who are passionate about creating a more inclusive world. Since the start of your career, you’ve become known as one of fashion’s most inclusive casting directors - what’s your take on that? I definitely wanted to do things on a bigger scale, so I moved to London a few years later, where I got the chance to be an assistant booker at IMG MODELS - being a model agent was never my calling, so that was followed by assisting an established casting director for a couple of years before establishing Emma Matell Casting in early 2022. I stopped school shortly after and started a ‘hobby-sized’ street scouting company in Copenhagen, focusing on finding fresh faces that felt different from what was already there. From there on, I knew I wanted to do something in that world and I began bringing friends and strangers into the agency and spent all my free time doing my own little photoshoots. I started scouting for a local agency in my hometown Copenhagen when I was 14 years old after a week-long school internship. Tell us a bit about how you got into casting.
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