For the new issue of System Collections, Wright created looks for fifteen models shot over 80 pages. Here, he shares a behind-the-scenes look at his creative process for this unique shoot.
Interview by Houssem El Ghoul
For the new issue of System Collections, Wright created looks for fifteen models shot over 80 pages. Here, he shares a behind-the-scenes look at his creative process for this unique shoot.
Matea Brakus wears Miu Miu
System: What kinds of conversations were you having with stylist Suzanne Koller and photographer Johnny Dufort about the vision for the story before and during the shoot?
Tom Wright: It’s an organic process working with Suzanne and Johnny. We were aligned in terms of what’s going to work creatively for the picture. Every morning, there was a conversation and ideas were exchanged about how we could make the models look cool and modern while retaining who they are. I feel like being able to recognise the models was very important for the story.
Caitlin Soetendal wears Carven
Did your approach shift at all as the days went on?
As the shoot progressed, I felt excited about the story. It’s quite hard to know how something like this is going to develop.
What’s one detail that makes a difference once it’s on camera?
It’s just about keeping your eye on the hair. Hair looks different from every angle, so you need to be prepared to evolve the hair for the picture and what looks good for the garments.
Fatou Kebbeh wears Dior
With so many girls, how do you keep a sense of continuity without everything feeling the same?
Thom [Walker] and I have a great relationship; we really understand each other. When you’re working with so many models, you need to work closely – with the same cognitive function if you will! It’s imperative. I feel like together we added those little nuances here and there that make things feel different, but kept in the same world.
What was the biggest challenge of working on the looks for 80+ images?
The biggest challenge is keeping the energy up as a team. Throwing ideas out there and working as a collective. Once you find the rhythm, you have to keep working with it.
Have you ever worked on a project like this before?
Yes. I worked on System Collections Autumn/Winter 2025-2026. That was also challenging, but both are iconic and I’m very grateful to be back.
Coumba Mballo wears Valentino
Was there a moment when the hair really set the tone for the shoot?
Hair can really elevate a model’s character. There was one particular look I did on Frauke [Nijs], it was my favourite of the shoot. We added a full head of extensions, wove the hair around in a figure-8 pattern, then heated the hair and brushed it out to create quite an extreme amount of volume and texture. I feel this added a lot of strength.
Frauke Nijs wears Hermès
Are there any particular techniques or tricks you used during the shoot?
There’s a great look we did on Libby [Taverner] for texture and volume that isn’t difficult. It’s quick and effective. All you have to do is section your hair, add hairspray, braid it to the ends, and clamp it with straightening irons until you’ve evenly heated all your hair. Let your hair cool. Undo the braids, then brush out.The only thing you need to consider is how big you want your hair. The more sections of hair you do, the bigger your hair will be.
Looking back, what ties the hair together?
I feel like we really embodied the models’ own character with each of the girls. Whether that was elevating what was there or keeping things a little more natural. For me, that was the thread that brought continuity with such a major shoot.
Kris Krystal wears Tiffany & Co.