Evan Williams Is Redefining the Rules—One Look at a Time
At just 21, Evan is already dismantling the traditional boundaries of the fashion industry. Moving from Perth to London in pursuit of something bigger, he didn’t just find opportunity—he created it. Seamlessly shifting between model and stylist, his trajectory is less about fitting into fashion’s mold and more about reshaping it entirely. With a fearless approach, an instinct for storytelling, and a refusal to conform, Evan represents a new generation—one that doesn’t ask for permission.
BAHM: You made a bold move from Perth to London at just 20. What pushed you to take that leap, and how did the city reshape your vision of fashion?
EVAN: I know it may sound cliché—something many people my age say—but I felt an instinct I couldn’t ignore to move to London. It wasn’t something I could fully explain, just a certainty that this was where I needed to be.
Being homeschooled from 13 to 17 meant I matured quickly, and from an early stage I knew I wanted to leave Australia and pursue something bigger. At the time, I was balancing modelling with university, studying acting. When I turned 20, I made the decision to commit fully—I worked as a bartender, saved what I could, and moved to London to pursue a career in fashion.
Coming from a smaller city like Perth, arriving in London made me realise just how vast and competitive this industry truly is. I was thrown into the deep end almost immediately, stepping into large-scale projects at a high level across fashion and entertainment. It required me to let go of what I thought I knew and adapt quickly—learning on the job, under pressure.
That experience taught me something essential: no matter the scale of the work, growth comes from being willing to learn and to keep going. You don’t always have the answers, but you develop them through doing.
At the core of it all is passion. If you genuinely love what you do, that drive carries you through the uncertainty, the pressure, and the intensity. It’s what allows you to keep showing up—and to keep moving forward.
Evan, within a month, you were already modeling and styling—something many take years to break into. What do you think set you apart so quickly in such a competitive industry
EVAN: I moved to London in August 2025 and was immediately thrown into castings and agency meetings—constantly being assessed on whether I was skinny enough, beautiful enough, or unique enough. That level of scrutiny began to take its toll, especially as I suddenly had no creative outlet like I did back home.
In Australia, before drama school, I studied Film and Television, majoring in Costume Design. I was modelling while also working behind the scenes as a student stylist, which
gave me a dual perspective—I understood what was required both in front of and behind the camera. That balance shaped how I approach the industry today.
While modelling brought incredible opportunities—working with photographers and brands like Mugler and Issey Miyake—I quickly realised it wasn’t enough on its own. I needed more creative control.
That shift came when I began assisting at a costume rental store. After about a month, I was introduced to Bea Åkerlund. I interviewed at her Soho townhouse—an experience I still remember vividly. I had just come from a Mugler commercial, and she even asked why I looked so “red carpet ready.” Shortly after, I was offered a role as a styling assistant on the Duran Duran Halloween concert.
At the time, I saw it simply as an exciting opportunity—not the turning point it would become. While balancing modelling—continuing to shoot and work within fashion—I quickly learned that styling required full commitment. It became my priority.
That period was intense. There were stretches with almost no time off, where life revolved entirely around work. But it forced rapid growth. I learned lessons in months that might take years in a slower environment.
More than anything, it taught me mindset. You have to approach this industry as a constant student—open to not knowing everything, willing to learn, and resilient enough to keep going. It’s that perspective that keeps the work exciting and allows you to grow continuously.
That’s something I’ll carry with me into every future project.
BAHM: You had the opportunity to step into a creative direction role early on. How did that experience influence your approach to both styling and modeling today?
EVAN: I came to London with limited experience in styling—mostly through film and television school and smaller projects—but modelling was something I had understood since my teenage years. In many ways, they exist within the same world, but they demand very different things from you.
As a model, you’re hired for your look. As a stylist, you’re hired for your vision and your work ethic. In my experience, modelling rarely asks what you bring beyond appearance, whereas styling demands everything—your creativity, your communication, and your ability to execute under pressure. It’s often said to be a creative role, but in reality, it’s 10% creativity and 90% discipline, organisation, and resilience.
Stepping into large-scale projects so early in my career made me understand what real hard work looks like. I learned quickly from those around me that this industry isn’t for the faint hearted. While it can appear glamorous—and at times it is—it’s ultimately built on relentless dedication and a deep belief in yourself.
These experiences also taught me how to navigate different professional identities. As a stylist, you need to be decisive, confident, and in control—your presence and work ethic carry the project forward. As a model, professionalism is still key, but the strength lies in letting go—releasing control and trusting the process.
BAHM: Assisting on major projects like the Duran Duran Halloween concert is no small feat. What did working behind the scenes teach you about the power of styling in performance and storytelling?
EVAN: Working on the Duran Duran project was my first major production, and if I’m being honest, I had no idea what I was doing at the start. I had moved to London only a month prior, with little understanding of how styling at that level operated—let alone what it meant to work alongside legendary creatives like Bea Åkerlund.
Being behind the scenes on that project taught me just how powerful a clear vision can be. Watching Bea work—her intensity, precision, and passion—pushes everyone around her to rise to that same level. Each day was demanding, and there were moments where I genuinely questioned whether I could keep up. But you learn quickly in environments like that. Perseverance becomes everything.
What struck me most was the level of detail. Nothing was overlooked—from the colour palette of the background singers to the shoes each individual wore. Every element was intentional, and nothing was ever done halfway. It showed me that great styling isn’t just about the clothes—it’s about building an entire world.
I also came to understand the importance of collaboration. Working alongside industry talents like Stephen Jones and other creatives, I picked up small but invaluable lessons that have stayed with me. The pace of learning was intense—what might take years elsewhere, I absorbed in a matter of weeks.
Despite the long hours—sometimes from 4am to 11:30pm—you show up, you give everything, and you maintain a level of professionalism at all times. You present yourself well, and you never deliver anything less than your best.
After months of work, arriving in Manchester and seeing the scale of the production—the stadium, the crowds—was surreal. It made everything feel real. Bea’s reputation as one of the best in the world is entirely earned, and her vision and work ethic will continue to influence me for the rest of my career. Having had the opportunity to work with her not once, but twice, is something I deeply value.
Even in the most overwhelming moments, when everything feels impossible, seeing the final result—on stage, on screen, or in print—is one of the most fulfilling feelings I’ve ever experienced.
BAHM: You’ve said you refuse to bend to industry norms. What does staying authentic look like for you in an industry that often demands conformity?
EVAN: Coming from a small city like Perth, Australia, being a young queer person isn’t always accepted—at least, in my experience, it wasn’t at all. There’s a quiet pressure to conform, and being authentic or having your own point of view can feel frowned upon.
I was homeschooled from a young age and began acting at 14, which became my first form of escape. Then I found fashion—and everything shifted. Fashion became a way to express myself physically, when being myself in everyday life didn’t feel like an option. I tried to be someone else, and it never worked.
What I came to realise is that not bending to other people’s expectations is my greatest strength. As a model, I was never interested in blending in—that felt boring. I wanted to do things my way. While that can make it harder at times for agents to place you, it’s also what makes you stand out. There are thousands of models, but there is only one you.
That same mindset applies to styling. You learn the foundations, but it’s how you interpret them that sets you apart. It’s not about fame or attention—it’s about passion. It’s about feeding your life through what you create.
Authenticity isn’t something I have to force—I simply can’t be anyone else. That energy, that self-assurance, becomes contagious. The right people feel it, and when they do, it creates something powerful.
I truly believe that loving who you are and what you do will take you exactly where you’re meant to go. The challenge is staying self-aware in an industry that often tries to dilute individuality. At the end of the day, you have to return to yourself—your values, your boundaries.
Don’t bend just to blend in. Yes, sometimes you hold your tongue to protect your position— but never lose who you are. That’s the thing people remember.
BAHM: Now working as a full-time stylist at Archive by Natalie while still modeling selectively—how do you balance the creative identities of being both in front of and behind the camera?
EVAN: Working as a stylist at Archive by Natalie is a dream for me. I’m surrounded daily by exceptional designer pieces and a community of glamorous, fashion-driven individuals. What means the most, however, is Natalie’s passion. Despite her humility, she has built a space people are drawn to for her impeccable taste and genuine warmth. To be part of that community is something I truly value.
The use of archival fashion across editorial, red carpet, and film/television feels especially relevant right now. The industry is looking back—revisiting what has been done, and reimagining it for today. Being part of that process is incredibly exciting to me.
Managing creative identities is something I learned very quickly. As a stylist, you’re expected to be decisive, communicative, and creatively driven—you lead. As a model, while creativity is still essential, there’s an expectation to be more adaptable and open to direction. I navigate
both by stepping into distinct professional mindsets: when styling, I take control; when modelling, I allow myself to release it.
BAHM: You’ve crossed paths with icons like Madonna, Lady Gaga, and Kate Moss. How have those encounters shaped your ambition and perspective on success?
EVAN: Working in Hollywood was never part of my plan. I never imagined I would be in the same room as people I grew up listening to or admiring. But what I quickly realised is that fame, in many ways, is an illusion—it’s not something tangible you can hold. What is real, however, is presence.
Being around artists and public figures carries an energy that’s difficult to describe. But interestingly, I’ve never felt a difference between an A-list or a lesser-known name. The people who are truly dedicated all carry themselves with a similar focus and intent—it’s not about status, it’s about discipline.
What changed for me was how I viewed the idea of “Hollywood.” The glamour isn’t what defines it. Behind it is an immense level of work, pressure, and consistency. The people who succeed at that level do so because they work relentlessly.
Observing that firsthand was incredibly grounding. It removed the illusion and replaced it with something far more valuable—respect for the craft. Being in those spaces didn’t make me feel intimidated; it made me feel inspired.
It reinforced the idea that success isn’t about image—it’s about commitment. And that level of dedication is something I carry with me in my own work.
BAHM: You’ve also worked with renowned London photographer Christopher Bissell. What was that creative collaboration like, and how did it influence your understanding of image-making and visual storytelling?
EVAN: I met Christopher Bissell almost by chance—we live on the same dock in London, and one day we simply crossed paths. From the start, there was a shared energy. We both love what we do, and more importantly, we love to experiment with it.
We planned one shoot—and that first shoot was extraordinary.
Through Chris, I learned that you don’t need a full production, large crews, or expensive equipment to create something powerful. What matters is vision, skill, and dedication. For that first editorial, I styled myself, turned up, and within an hour we had wrapped. By the next day, the images were shot, edited, and finished—some of the strongest work I had produced to date.
There was something very pure about that process. Fast, instinctive, and completely driven by creativity. In many ways, it felt like how fashion should be.
Since then, we’ve collaborated on over seven editorials, each one pushing further than the last. The process is simple: an idea, a conversation, and within a week, something bold and fully realised.
I owe a lot to Chris—not just for bringing me into his world, but for reinforcing something essential: passion overrides everything else. It’s not about ego or material excess—it’s about talent, instinct, and commitment to the work.
Some of our shoots have been as unpredictable as they are ambitious—climbing yachts in heavy storms, riding bikes through hail, shooting on rowboats, even taking over Piccadilly Circus. And we’re only just getting started.
BAHM: In less than a year, you’ve built an impressive portfolio of styling gigs and modeling work. As you step into this next chapter, what does “growth” mean to you—and how do you plan to keep evolving on a global scale?
EVAN: It’s been less than a year since I moved, yet the lessons have felt endless—and the experiences, unforgettable.
Growth is something I hold close. It isn’t something you can control or predict; it simply happens, quietly shaping you as you move through life. I’m proud of what I’ve been part of, but I’ve come to understand that growth isn’t something you consciously chase—it becomes embedded in you, like breathing.
You take risks. You push yourself, even when you don’t want to. Eventually, that instinct to just do—to step forward without overthinking—becomes second nature. That’s the energy I want to carry into the next chapter of my life.
I turn 21 in May, and my focus for the year ahead is simple: push forward for the joy of it, work relentlessly, and, as Christopher Bissell once taught me, love what you do without limits.
Because in the end, I believe the real secret is this—be unapologetically yourself, commit fully to what you love, and let everything else unfold.
