Having held senior editorial positions at both Vogue Hommes and GQ France, freelance fashion creative Azza Yousif is currently fashion director at The Good Life magazine, whilst juggling various creative endeavours, including film directing. Her first short film ‘Night Tale - Black Circe’ was released in 2023, with future cinematic projects in the pipeline. Yousif’s client list is eclectic, running from Dior to Paco Rabanne parfums, Cartier to Bulgari and more. Having no obvious familial connections to the creative industries - she was born in Cairo to Sudanese parents - Yousif originally considered working within the field of psychology though eventually would go to art school ahead of studying fashion at Studio Berçot in Paris. She currently splits her time between Paris and Athens.

1. How would you explain your rituals, process and practice?

I have two daily rituals: burning incense (usually church incense from Greece) and doing at least one 20-minute guided meditation. The rest of the day is always touch and go, so these two habits help me stay grounded. Regarding process, I love to research and learn as much as I can about the different subjects I’m working on. When it comes to practice, the only one I’m truly committed to is trusting my gut. The final decision on anything I do is always made by instinct.

2. Whose wardrobe would you most like to explore and why? 

That’s a tough one! Probably a fabulous woman who’s been a fashion icon throughout various time periods, like Diana Ross or Cher.

3. Do you have an early memory that you think connects to your creative path now? 

This might not seem to make sense at first, but bear with me. As a child, I was completely obsessed with drawing. Then, when I was around six, I visited my dad at his office—and for a short while after that, if you asked me what I wanted to be when I grew up, I’d say: ‘dad’s secretary.’ In the afternoons, I’d gather all my drawings along with any office stationery I could find around the house, lay everything out on the floor, and pretend it was my desk. I really got a kick out of it.

What most people outside our industries don’t realise is just how much organisational skill is required to be a stylist. You can have all the creativity in the world—but if you don’t know how to simultaneously think of 100 brands every time you prep a shoot, manage each relationship with grace (whether it’s with PR’s, talent, photographers, or publishers), and ensure the prep is solid enough for the actual shoot day to flow harmoniously… all while staying anchored in your vision without tormenting your team in the process—then you won’t last. You’ll either burn out, or people will tire of that chaotic, aggressive energy and stop wanting to work with you.

Now that I’m venturing into film directing, I’ve found those same organisational skills to be so precious. It’s exhausting, and at times painful—but I genuinely love orchestrating art and creation. And when the result finally comes together, it makes all the effort completely worth it.

4. What things in your life are bringing you meaning or inspiration in this moment? 

I’ve recently reunited with my mother and sister, who have been constantly displaced since the outbreak of the war in Sudan two and a half years ago. It’s been a real blessing to spend time with them again. I’m also directing a documentary about Sudan, which is primarily built around archival imagery. Diving into that research has been both deeply fulfilling and inspiring.

5. How would you define beauty? 

It’s always evolving, but right now the beauty that moves me the most is the unexpected. For example, people who’ve experienced hardships but still find the energy to be kind are so beautiful to me. A small flower pushing through concrete. Romanticism to fight these apocalyptic times: now more than ever, we need dreamers—those who can help us envision a brighter future beyond the challenges we face today.