For more than 15 years, Olga Yanul has approached fashion as a language of narrative rather than trend. Across the pages of Vogue Ukraine, Vogue Portugal, L'Officiel Ukraine, and numerous international publications, the fashion editor, stylist, and creative consultant has built a career on images that linger long after the clothes themselves have faded from memory. For Yanul, styling has never been about assembling garments; it is about constructing worlds, uncovering character, and finding the emotional thread that transforms a photograph into a story.
Originally from Ukraine and now based in New York City after nearly a decade in Los Angeles, Yanul has built a career that spans continents, cultures, and creative industries. She has collaborated with photographers including Greg Swales and An Le, while directing editorials featuring everyone from Milla Jovovich, Monica Bellucci, and Kyle MacLachlan to contemporary cultural figures such as Doja Cat and James Charles. Despite working across distinct publications and global markets, her perspective remains remarkably consistent: great editorial work begins not with aesthetics alone but with intention. That philosophy continues to shape her work through On The Map Creative, the creative consultancy she co-founded, where she develops brand strategies, fashion direction, content production, and immersive creative experiences for luxury houses and emerging designers alike.
Alongside her consulting work, Yanul has cultivated a growing digital audience, using Instagram and YouTube not to chase fleeting trends but to translate the thoughtfulness of magazine storytelling into a new medium. Her content offers a rare glimpse into fashion beyond the runway—exploring craftsmanship, travel, design, and the creative process with the same editorial sensibility that has defined her print career. In an era when images circulate faster than ever, Yanul remains committed to creating work with lasting resonance. Whether styling an internationally recognized actor, conceptualizing a Vogue cover, or mentoring the next generation of creatives through her own platforms, she continually returns to the same guiding principle: clothing is never the destination; it is the vehicle through which a larger story is told.
Photobook Magazine spoke with Olga Yanul about maintaining a distinct creative voice across international publications, balancing collaboration with artistic authorship, building narratives in the age of social media, and why, despite an industry increasingly driven by speed, she believes storytelling remains fashion's most enduring luxury.

You've worked across several international editions of Vogue and L'Officiel. How do you adapt your creative voice when transitioning between the aesthetics of different global markets, like Ukraine, Portugal, and Taiwan?

It's important for me to maintain a consistent creative voice and aesthetic across the projects I work on. Clients want to work with you for your distinct creative mind. I don't think I adapt my voice. Yes, the magazines have different markets, and before you start the shoot, you have to do some work to understand the title's mindset, market, and advertisers, and chat with their team about goals and expectations. I think it's more about communication with the team rather than adaptation.

Your portfolio features collaborations with high-profile photographers like Greg Swales and An Le. When you're directing a shoot, how do you balance your specific vision with the creative input of the photographer and the model?

I love teamwork, where everyone is heard and considered. When I start with a concept/idea, I always think about the team I will be working with on set: which photographer would be the best for the shoot, what kind of model/talent to cast. Once I have a photographer locked in, we start discussing the initial idea and building it out in more detail together. And once we are all ready, we brief the cast talent about the role and character we would like to achieve. And, of course, we help the talent get into the mood we need on set.

You have styled a diverse range of personalities, from Doja Cat and James Charles to Kyle MacLachlan. How does your approach change when you are styling a specific brand or celebrity versus an editorial story?

It's definitely a different approach. When I'm working with the talent, I always think about his or her personality and representation. I research all the possible characters they've done before and explore their IRL photos and appearances. I always take the talent's story into consideration—they are not just models on set, ready to transform into anything I have in mind. It's a more collaborative approach—I'm interested in showing the talent in a slightly new, edgier, and arty way, but still making sure you can recognize their face and talent.

Is there a different kind of pressure when working with an established icon versus a new, up-and-coming model or talent?

I'm inspired by all the talents I work with, from the moment I confirm the casting for the project (be it a young model or iconic talent)—I start thinking about the entire direction and process as a whole, and get really excited for the set day and results. Of course, working with iconic talent is a little more exciting, especially if you have been a fan of their work.

How has the West Coast atmosphere or the LA aesthetic influenced your current creative consulting and fashion direction?

I'm currently based in NYC, and I did a lot of work in NYC and Paris before I lived in LA. I can't say the geolocation fully influences my aesthetic. LA is amazing for its locations, incredibly beautiful light, and, of course, lots of great talent. I don't think my fashion direction changes much in LA, in terms of creativity—I definitely tend to shoot more outdoors and on film in LA.

Looking back at iconic covers like the Vogue Portugal April 2020 issue or Vogue UA with Milla Jovovich, is there a specific project that you feel best defines your personal style as an editor?

I really love both you mentioned! As an editor, I'm always interested in narrative and artistic research. I use clothing as a tool for storytelling.

Having been a major part of the fashion industry for over a decade, what is the biggest shift you've noticed in how editorial content is produced and consumed in the social media age?

A lot of shoots are done just for content purposes, and that means their longevity is much shorter. And, more than ever, it has to be about the story and narrative. Not just another pretty shot.

You've built a very strong personal presence on YouTube and Instagram. How do you decide which parts of your professional life to share with your audience and which to keep behind the scenes?

I think it comes quite organically. I don't post lots of behind-the-scenes simply because I'm too busy on set. And once I have my plan for filming the next YouTube video, I'm dedicated to it. I created the YouTube Channel to be able to bring my editorial experience into the social world—creatives I'm inspired by, places I like to explore, objects to admire, things to try, etc. Something similar to what I would cover for the magazine, but now it's on my channel. My goal is to create episodes that inspire and remain interesting over time, rather than just daily vlogs.

How has your background and early career in Ukraine shaped your perspective on the global fashion industry, and what unique Eastern European creative aesthetics do you think you bring to your work in the West?

We're nothing without our roots and cultural background. And I'm very proud of mine—it's very layered. I am not sure I think of myself as an editor with Eastern European aesthetics—I have been working with global brands and shot all around the world; maybe we're a little bolder in our styling? I think it’s more for viewers to decide.

As you live in Los Angeles and grow your own digital platforms, how do you define success for the next chapter? Is the goal to continue elevating existing brands, or are you moving towards building a brand or creative studio of your own?

I have been in NYC for two years now, focusing mainly on content creation and working with brands via my creative company, On the Map Creative. My partner, my husband, and I launched the company at the end of COVID. Drawing on our experience in the editorial and creative worlds, our focus is on brand strategy, fashion and creative direction, and experimental activations. You can see some of our work here: www.otm-creative.com.

Opening Paragraph by Emma Green, Contributor, PhotoBook Magazine
Interview Questions by Lily Kalbasz, Contributor, PhotoBook Magazine
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
*Images courtesy of Olga Yanul

Olga Yanul Has Always Believed Fashion Begins With a Story