Shoot for Hunter ‘DOWNPOUR’ collection

This shoot looks at the Seven Deadly Sins through a modern, consumer-driven lens. Instead of treating them as old religious warnings, I’ve approached them as behaviours we see every day in advertising, beauty culture, social media and the pressure to want more. Each image focuses on a different “sin”, showing how desire, excess and comparison have become normalised, even aspirational. The series plays with that tension seductive on the surface, but slightly uncomfortable underneath questioning how much of what we crave is actually ours.

Here I represent the deadly sin of greed through politics. In today’s contemporary society, it is often debated whether politics functions for the general good of society or whether it operates as a power dynamic driven by ego and control. The image exposes these hierarchies of power and the indulgence in material privilege that can come with political authority and access to public money.

Men are frequently associated with this kind of political greed, particularly within the UK, where incidents such as those involving former Prime Minister Boris Johnson during the COVID-19 lockdown gatherings highlighted questions around accountability and self-interest. I have therefore selected the United Kingdom as a direct example of this greed, mirroring ideas of self-indulgence and the neglect of wider public responsibility. Here, power is positioned at the forefront of selfish desire rather than communal interest.

sloth - a digital paralasis

Here I represent the deadly sin of sloth through paralysis — specifically technological paralysis. In contemporary society, technology has become so embedded in daily life that it begins to immobilise us. Our bodies remain present, often still and inactive, while our minds drift into the endless scroll of social and online media. The image reflects this detachment: a physical stillness contrasted with a mental overstimulation that exists elsewhere.

This form of sloth is not simple laziness, but a passive surrender to digital immersion. It becomes increasingly difficult to break away, as algorithms are designed to hold our attention and encourage prolonged engagement. Over time, this creates a cycle of passivity and exhaustion — less focus on lived reality, more dependence on mediated experience. The result is a subtle but powerful disconnection from the present moment.

Envy - the green eyed monster

This photographic series explores Envy through a contemporary lens, examining how digital culture has intensified our obsession with perfection. Inspired by the psychological duality in Black Swan, the project reimagines the “black swan” as a modern figure shaped by comparison. constantly measuring herself against curated, unattainable online ideals.

Today, envy thrives in subtle ways. Social media presents polished versions of beauty, success, and femininity, encouraging individuals to feel like the imperfect counterpart in a world of “white swans.” The pressure to be flawless becomes internalised, turning ambition into quiet rivalry, not just with others, but with the self.

Visually, the series explores themes of light and dark: softness versus shadow, elegance versus distortion. The ballerina embodies this tension, suspended between aspiration and insecurity. Green undertones reference the “green-eyed monster,” positioning envy as something internal and seductive in its pursuit of perfection, yet corrosive beneath the surface.

As part of my wider exploration of the Seven Deadly Sins, this work reflects how envy has evolved in the digital age as something no longer loud or obvious, but embedded within the aesthetics of perfection we consume daily.

If you’d like, we can sharpen it further to sound more high-fashion editorial or more academically critical depending on where it’s sitting on your website.