Daphne Chouliaraki Milner

As head of Global PhotoVogue and director of the PhotoVogue Festival, what first inspired you to champion photography as a storytelling medium?

Alessia Glaviano

I grew up in a family of artists, so I naturally related to photography and art. At the same time, I had two strong drives: a passion for aesthetics—I was always particular about details—and a deep concern for social justice. I initially studied economics, hoping to work for organizations like the United Nations, but my love for art and fashion ultimately led me in another direction.

I think it’s important to focus on what you do best to make an impact and make the world a better place. At one point, I considered becoming a war reporter, but physically, I wasn’t suited for it. I would have been a liability. Instead, I was drawn to fashion—not for the industry itself, but for its creative representation. Fashion photography fascinated me because it allowed for boundless creativity. You can do whatever you want. As a child, I would buy Vogue to just look at the spreads, especially Steven Meisel’s work. I was fascinated by it. In the 1990s, I moved to New York, worked at Pier59 Studios as an assistant, and helped on the sets of all these huge photographers. That’s when I realized I was most drawn to the editorial side.

In 2001, I returned to Italy because my friend at Art + Commerce arranged a meeting between myself and Franca Sozzani, the legendary editor-in-chief of Vogue Italia. We clicked immediately, and working with her was an incredible experience. She was brilliant, funny, and tough—very different from today’s culture, where people are more cautious about what they say and how they say it for fear of offending others.

But what I noticed, especially in the 1990s in New York, were the major injustices regarding who was telling the story in fashion: Stories were told almost exclusively by white men, with a few white women. I wanted to change that. When I gained the influence to do so, I launched PhotoVogue. The idea was to curate the incredible wealth of talent online and amplify global voices in photography. I also noticed how younger generations were more supportive of each other compared to my generation. Today, there’s a stronger sense of community, which may be because we’re all online, and I think that shift is meaningful.

Daphne

The photography industry has changed significantly over the last two decades, especially with social media creating new opportunities but also pressures for artists. What qualities do you look for in photographers who stand out in today’s saturated online world?

Alessia

It’s always difficult to find the words to talk about what makes an image compelling because great photography works on multiple levels. First, it has to evoke an emotional reaction—something that grabs you instantly. Then, it should invite you to start analyzing it and appreciate the vision behind it.

What excites me about photography is that even when you think you’ve seen everything, someone comes along with a fresh perspective. It’s not just about being different, but about having a vision that feels uniquely personal. For example, I interviewed Pia Paulina Guilmoth a little while back; I didn’t even know her personal story when I first saw the work, and I was so taken by it. It’s incredible.

This is something that always surprises me in a good way. I review thousands of submissions in our open calls, and because I now have a trained eye, I can quickly spot if there is something different about someone’s work. It’s about having a strong vision without merely following trends. The most influential photographers—like Campbell Addy, Ib Kamara, and Rafael Pavarotti—stood out because they didn’t conform to industry expectations. When the world of photography was going in one direction, they chose to go in their direction. They created their own aesthetic, and then they ended up influencing a lot of younger artists.

I think the key takeaway is: Know what’s going on, familiarise yourself with the history of photography, understand the industry, but don’t copy. The more knowledge you absorb, the more you can create something truly your own.

Daphne

The theme of this year’s PhotoVogue Festival, “Tree of Life,” aligns closely with what we focus on at Atmos. Why do you think nature photography and climate storytelling are so vital today?

Alessia

They’re so vital because of what’s happening to our planet—much of it is a direct consequence of human actions. Sadly, we’re seeing pushback not just on climate issues but on many social issues as well. The more resistance we face, the harder we need to fight.

What we’re doing to animals and nature is a complete disaster. It’s heartbreaking that industrial slaughterhouses still exist, treating animals in unimaginable ways. I’ve always believed that representation is everything. Harmful practices persist because media narratives allow them to.

If we can change how people see things—if they recognize that cows are just as emotional as dogs and cats, or that trees are essential for life—we can break through biases and inspire real change. Photography has the power to shift perspectives, which is why visual storytelling is so crucial in this fight.

Daphne

What role do you see nature photography playing in shaping public attitudes toward environmental issues?

Alessia

I always say this about war photography as well, but photography alone shouldn’t carry the burden of change. It’s a starting point; it’s a way to start a conversation and generate awareness. But it’s up to us, as the public, as the viewer, to dig deeper, to read, and to educate ourselves.

I think photography can help push pause for a second, and make someone think. What worries me is how quickly we consume information today—endless scrolling of news or images. Attention has become the new currency. The challenge is not just capturing it, but encouraging people to engage more actively with the stories they see.