Tejashree Raul's Editorial Photoseries Pulls You Into A Fantasy Of Playful Excess

Tejashree Raul is a London-based creative director who is able to imbibe her work with an almost ethereal magnetism. Her photoseries and editorials channel the vivid beauty of both real and imagined worlds; compelling you to stop and take in every detail of the visual narrative that's unfolding. We spoke to her about her recent editorial photoseries, 'Eden of Enchantment.'

Tell us a little about 'Eden of Enchantment'.

Eden of Enchantment is series that is imagined as a storybook realm. The protagonist embarks on a journey into dramatic maximalism and a land symbolizing whimsy and opulence, with each scene more vibrant and mystical than the last.

The designer wanted to create garments that reflected the vivid, sustainable mayhem of the Heidelberg Project in Detroit. Focusing on the ethos of transforming waste into elaborate, colourful art while promoting sustainability, the editorial captures the essence of playful grandeur. The clocks at the Heidelberg Project symbolize our past, present, and future, aligning with Plato's idea of time as a 'moving image of reality'. Inspired by the illusion, the protagonist transcends time and reality, embracing the juxtaposition of human emotions, the innocent spirit, and the antagonist through each look.

How do you approach your craft and what's the first thing you do while conceptualizing a photoseries or editorial?

My creative process begins with a brain dump of all the ideas flowing through my mind into my journal. I jot down everything, no matter how illogical or impractical it might seem, as this helps me unblock. With a background in psychology, I seek out concepts with deeper meanings, ensuring every element of my work - from colours and outfit silhouettes to brand collaborations to casting, and poses - is backed by thorough research and significance.

As a creative director and stylist, I simultaneously think of concepts in a broader sense but also think about how to translate them through details like accessories and props. Everything needs to align with the theme. The photography, make-up, and hair all need to blend beautifully, so a thorough plan of action and a step-by-step process is important for me to create. I take the most time in that stage of ideation.

My aim is always to evoke emotion in the viewer, making them feel something profound when they look at my series. In our fast-paced digital society, I want my work to make viewers scroll back up and pause. I want to compell them to read the concept and absorb the details, much like they would in an art gallery. Because to me, editorials are truly a form of art.

What influences and shapes your work as a creative?

I consider myself a deeply nostalgic person, often finding comfort in 90's movies, old storybooks, and family photo albums. I find that looking back provides me with rich material for reflection and creativity to move forward. The process of looking back at photos and listening to the stories my parents tell me, stories that I have lived but somehow forgotten growing up, makes me introspect and get in touch with my inner child through art. I love incorporating elements from the past into my work, whether it's through vintage clothing, items borrowed from my parents or grandparents or certain themes that people can relate to growing up.

Reflecting back on my journey, my friends and family have undoubtedly been a source of motivation for me to push myself and to create something that will make them proud. I am truly blessed to have a close knit family where we openly discuss concepts.

I show them the looks and I talk about the team, the brands, and the logistics. They have heard it all and have stood by me. Beyond my family, I love connecting with fellow artists. Engaging in conversations with people who have a passionate drive to create meaningful imagery and tell compelling stories is incredibly inspiring. Seeing the dedication in their eyes and the depth in their work reminds me why I do what I do. I aspire to be one of those people. I often find myself diving into the work profiles of such artists, losing track of time as their stories captivate me, making work feel less like a job and more like an inspiring narrative.

What did this project teach you?

This was my first project where I wore multiple hats — art director, set designer, creative director, and stylist. It was incredibly rewarding and fun. Through this experience, I truly realized the power of a good team. This profession is all about collaboration and trust. It's not just about talent but also about the kind of person you are, you need people who are understanding; who respect your vision. We were a team of five women, and we seamlessly navigated each look; listening to ideas and being open to changes without any ego clashes.

It was just pure love for the process and the art we knew we were creating. I also realized how much I love planning and organizing, and how work does not feel like work when you are truly passionate about the story. I went on a walk with a plastic spoon to dig in some stones, grass/leaves, sticks to use for the shoot; to make it look more realistic. It was really funny how that was a crucial part of the process.

Who are some artists who are currently on your radar?

In India, I love the styling work of James Lalthanzuala, it is incredibly moving. In London, I love the conceptual photography of Jonathan Arundel.

What's a project that made you stop and say "I wish I'd done that."?

The current issue of The Dirty Magazine: 'Identity', shot by Tim Walker.

Photoseries Credits:

Photography – Kirtana Rajeev (@kirtanarajeev)

Creative Direction - Tejashree Raul (@tejashreeraul)

Model - Annabel Kiao (@annabelkiao)

Styling – Tejashree Raul (@tejashreeraul)

Hair and Makeup Artist – Shannon Leach (@mua.martine)

Designer – Charlotte Holly (@charl0tteh0lly)

Art Direction and Set Design – Kirtana Rajeev and Tejashree Raul (@kirtanarajeev | @tejashreeraul)

You can follow Tejashree here.

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