Jose Vargas
Veronika Vershel moves effortlessly between the worlds of cinema and fashion, embodying both the vision of a director and the artistry of a model. Fresh from her dazzling appearances at the Cannes Film Festival, she reflects on the profound connection between film and fashion and how each inspires her work. As she prepares for the Venice Film Festival and the new Fashion Week season, she shares her unique perspective on the magic created when these two worlds collide.
You are not only a scriptwriter and director, but also a model. You participated in several fashion shows during the Cannes Film Festival. What excites you most about the intersection of cinema and fashion at this event?
Ahead of another major event in the film world, the Venice Film Festival, and the new Fashion Week season, I’m so glad to have a moment to reflect on the magnificent Cannes Film Festival. It was remarkable how Cannes managed to fulfil its core cinematic mission while also unveiling a wealth of talented designers. This fusion of film and fashion in a single event resonated deeply with my own perspective on a model’s work.
It makes you wonder: who are we? Are we just mannequins for displaying clothes, or are we artistic images — often cinematic ones — that people aspire to embody? Some directors forbid models from showing any individuality, insisting them to walk the runway with a blank, wooden expression.
But the truth is, we don’t just buy clothing — we buy the vision of a better self. It’s no accident that the outfits which catch on are usually ones we’ve seen on a beloved actor or actress, or on someone we admire. We want to emulate a model not simply because she’s wearing beautiful clothes, but because we are drawn to her as a woman and as a person.
This is exactly why, when I walked the runways in both Cannes and Monaco, I made a conscious effort to channel the energy of the film heroines who would wear the designs I was presenting.
For example, in a dress by one of the brands featured at the Apecccf show, Casa Wedding by Sofia Mariage (held on the coast by the famous Hôtel Majestic), I felt just like Audrey Hepburn’s character in Breakfast at Tiffany’s. The dress, with its elegant black corset and accentuated waist, was a strong reminder of her iconic Givenchy look.
And the green coat from Mary Hu seemed to have stepped right off the screen of Alfred Hitchcock’s Vertigo. Its swirling green patterns, like a visual representation of confused consciousness, created a fascinating blend of modern style and a 60s spirit. That retro vibe was mirrored in the elegant hairstyle, reminiscent of a Hitchcock heroine’s. I don’t know if the film was the designer’s direct inspiration, but the Mary Hu outfit absolutely invited that comparison in me. In fact, the entire Mary Hu collection powerfully evoked the atmosphere of the 60s. My look in that coat became a personal favourite from her designer vision.
I am convinced that a designer’s collection only truly comes alive when the models fully inhabit the images that inspired it—just as actors live their characters’ lives in a film. That’s where the real magic of art is born. I am incredibly grateful to our Apecccf Secretary-General, Wenjing Wu (wenjingwu2019), for the invitation and for the opportunity to experience this profound connection between cinema and fashion.
Which looks or collections presented at the Cannes shows impressed you the most? And which of the shows you took part in was the most memorable for you, and why?
It’s incredibly hard to single out the most interesting collections and shows because each one was uniquely captivating. For instance, the IR Worldwide show was unforgettable for its sheer grandeur and diversity. Its director, Iris Rodriguez (irisrodriguez.official), brought together around a dozen celebrated designers like Erick Bendana, Aelita Kamzagaliyeva, Jose Zafra, Giannina Azar, and more. The guest list included living legends such as Michael Cinco.
The collections on display ranged from luxurious evening and wedding gowns to cosmic-style latex outfits. In huge dark sunglasses and towering platforms, we felt like genuine aliens.
This was my first time experiencing the breakneck pace of such a major show. For the audience, everything looks seamless and calm, but backstage it’s pure, controlled madness: you have to change outfits in a matter of seconds, with the final buttons being fastened literally moments before you step onto the runway. I walked in ten shows, and it felt like being on a theatre stage, where an actor—no matter their state, fatigue, or the chaos around them—must deliver a perfect performance on the first take, with no retakes as in film.
The photos below feature two brands that stood out to me for their particular tenderness and elegance, along with a photo of our organiser, Iris Rodriguez, and the show’s honoured guests.
How is the atmosphere backstage at a fashion show different from a film set?
The core difference is exactly what I said: backstage, you have no right to make a mistake. That’s where the nerve-wracking tension and the sheer exhaustion come from — the kind where you can barely make it to your bed at night. On a film set, you can do retakes and then fix things further in the editing room. On the runway, we are like athletes; we either clear the bar or we fail.
Incidentally, I believe models should learn in advance how to fall gracefully — if a heel snaps or you step on your dress. You need to learn how to fall and, more importantly, how to get back up! And you should rehearse your facial expression for such a moment beforehand. It’s a possibility, so you have to be able to exit that awkward situation with beauty and humour, turning a misstep into a moment of poise.
Athletes have it easier in this regard — artistry isn’t a mandatory part of their routine. Actors on a theatre stage can also mask a fall or forgotten lines as part of their role, making it seem intentional. In our profession, mistakes can’t be disguised. We have no room for improvisation; the only things you can use to communicate with the audience are your gaze, your facial expression, and your energy.
This is why the role of the show director is so crucial backstage. They must monitor every second, directing who goes out when, and coordinating the models, makeup artists, and designers. I was particularly amazed by the skill of director Rina (houseofrina2), who held the entire show process in her hands with incredible precision. It was thanks to her professionalism that everything operated at the highest level. During the Cannes Film Festival, I was fortunate to experience her dedication and passion firsthand at two shows I walked in: Apecccf and Monaco Fashion Days.
If you were to officially direct your own fashion show, what would it be like? What story would be behind it?
I would love to create a show that draws parallels between the world of fashion and the world of cinema, particularly the world of one of my favourite directors, Tim Burton. Since his films are so visually rich, I would draw inspiration not only from the characters’ costumes but also from the settings themselves.
My imagination conjures a runway decorated with elements from, say, Tim Burton’s Alice in Wonderland: large, fantastical trees, doors of various shapes from which models emerge, only to disappear into a passage shaped like a tree hollow, pausing for a few seconds at a long table to take a sip of tea along the way.
The looks the models would wear are inspired by the characters’ costumes and details from the film. For example, dresses made of flower petals or featuring card suit patterns, small, feminine hats reminiscent of the Mad Hatter’s headpiece, umbrellas shaped like giant mushrooms and lush flowers, purses designed like pocket watches on chains, and models portraying the funny duo of Tweedledee and Tweedledum in their striped outfits.
Incidentally, I was inspired to create a Tim Burton-themed show by the enormous flower sculptures decorating the centre of Monaco. A lavish show was held there during the Cannes Film Festival by the organisation Monaco Fashion Days(monacofashiondays). At that show, I was particularly struck by the brand NINA’S, which felt like the very embodiment of Monaco itself.
I actually have many ideas for film-themed shows. But my biggest dream is to create a show inspired by my own film, which I am currently working on.
Cannes is a place where the global elite of cinema and fashion gather. What is the most important thing for you at such events: professional connections, inspiration, or something else?
I would say that both inspiration and new connections are important to me. But above all, what matters most to me during the Cannes and Venice Film Festivals is the feeling of personal rebirth. After each festival trip, you realise you will never be the same person again.
That feeling of sitting in the Palais des Festivals at the premiere of a long-awaited film is incomparable. It’s the powerful wave of passion emanating from every filmmaker in the room, all deeply invested in what’s unfolding on screen. It’s the chills you get every time the opening logo appears with the golden Palme d’Or. It’s the feeling of your back against the seat and the sudden, profound realisation that you are part of something monumental. It’s the understanding that, for decades, the magic of cinema has been born in this very hall.
It’s the tears of a director who has laid his heart bare for the first time in a new film, and the long, standing ovation dedicated to him and all the creators. These are all details, but it is precisely these details that make you understand that for a moment, the entire world outside this hall ceases to exist. And all the people inside it, for a time, feel almost like family. In that moment, you understand that even if you are in the midst of a creative or personal crisis, these two hours can heal your soul.
And the depth of the films can change your worldview forever. These moments become some of the most precious in your life. And when you’re sitting at the airport, already sad that the festival is over, you’ll find yourself thinking about how this surge of energy has sparked ideas for your own films. You’ll remember all the talented people you met from both the film and modelling worlds — and now, you will work together to turn dreams into reality.
So for me, the Cannes Film Festival is a whole separate life— one I could talk about endlessly. But I just want to say that it is a period capable of changing you and completely turning your world upside down. It reveals the mystery and magic of the cinema world, which opens up only to those who truly love it.
May this magic accompany us during Cannes’ brother, the Venice Film Festival. And may it once again grant each of us that feeling of being part of something great and eternal.
CoverModel:
Veronika Vershel
@_veronika_vershel_27
Photographer: @genavramenko
Makeup artist and hairstylist: @mscrystalsky
First show: Apecccf
Production: @apecccf
General secretary: @wenjingwu2019
Fashioh Director: @houseofrina2
Photographers:
@pk14_pk14
@laurentbenhamouphoto
@hwwhk
Brands:
@casaweddingbysofiamariage
@maryhu923
Location: @hotelbarrierelemajestic
Second show: IR Worldwide show
Organizers:
@irisrodriguez.official
@maestro_sakr
@yuliyaguerin
Photographers:
@vireshgoerdin
@bundzilo.tanya
@javier.cucurella
Brands:
@le_pardessus19
@madame_mg_couture
@erickbendana08
@bad_sisters
@zafracouture
@aelita.couture
@gianninaazar
@michelleferreracc
@rajeevfernandomd
@trevonyofficial
@partoutcasting
Location:
@leparkmougins
Third show: Monaco Fashion Days
Production: @monacofashiondays
Producer: @zarina.semenyuk
Photographers:
@pk14_pk14
@vasiliygalushkin
@vireshgoerdin
@hwwhk
Fashion director: @houseofrina2
Brands:
@official.ninas
@araftucouture
@bakht_art_caftan_
@elfidaartinoff
@limerense_com
@akel.couture
Location: @hotelhermitagemc
