VICTORIA DE LA FUENTE
DC: YOU HAVE A BRILLIANT EYE FOR VISUAL STORYTELLING AND HAVE LED THE CREATIVE DIRECTION FOR MAJOR EDITORIALS AND CAMPAIGNS. HOW DO YOU APPROACH BUILDING A NARRATIVE FROM SCRATCH WHEN STARTING A NEW PROJECT?
VF: I don't start with moodboards. I start with people. I spend time with the founders and really understand what makes them tick, what they're drawn to, what they actually care about. You can tell pretty quickly what's real and what's just positioning.
Then I zoom out and look at the market. What feels overdone, what's missing, where there's actual space. The narrative lives in the tension between those two things. What's true to the brand, and what hasn't been said yet.
From there, it's about building a world, not just images. Something cohesive enough to recognize instantly, but open enough that people want to step into it. If it feels too constructed, it won't land. The goal is always that it feels like it already existed.
DC: OPERATING AT THE INTERSECTION OF FASHION, PHOTOGRAPHY, AND DIGITAL STRATEGY, HOW DO YOU BALANCE YOUR RAW ARTISTIC VISION WITH THE COMMERCIAL REALITIES OF MODERN E-COMMERCE?
VF: I don't really see them as opposing forces anymore. The idea that you have to choose between a raw artistic vision and something that converts is a bit outdated. If anything, the work that performs today is the work that actually feels like something. People are so oversaturated with content that anything overly polished or overly "optimized" just gets ignored. The rawness is what makes someone stop. The strategy is what makes them stay and take action.
For me, it's less about balancing and more about sequencing. The creative comes first: the feeling, the world, the point of view. Then the digital layer comes in to support it. How does this live? Where does it travel? How does someone enter it and what do they do once they're there?
That's also a big part of what we're building with DOOMSCROLLR. The whole premise is that you shouldn't have to dilute your vision to fit into an algorithm just to reach your audience. You build the world exactly how you want, and then you own the relationship with the people who connect to it. From there, commerce becomes a natural extension, not the starting point. At the end of the day, the brands and creators that are actually winning right now are the ones who don't treat creativity and commerce as separate departments. The artistry is the strategy.
DC: HOW DO YOU SEE LATIN AMERICAN AESTHETICS AND CREATIVE TALENT EVOLVING AND INFLUENCING THE GLOBAL FASHION CONVERSATION TODAY?
VF: I've been lucky to work with some of the most incredible Latin American designers, first in luxury department stores and now through consulting. I remember when being a Latin designer still felt niche, almost like a category. That's just not true anymore.
What's changed is the energy. Latin American creatives aren't being "discovered" anymore, they're setting the tone. There's a real confidence in pulling from heritage without over-explaining it or watering it down for a global audience. The things that used to be labeled "too much"—the color, the sensuality, the emotion—are now exactly what people are looking for.
There's also been a shift away from trying to fit into traditional European fashion codes. It feels more like rewriting them. The point of view is stronger, more personal, and honestly more interesting because it actually comes from somewhere. And the new generation gets it. They're not just designing, they're building worlds. They understand branding, community, distribution. It's not just about making something beautiful, it's about making people feel something and want to be part of it. If anything, it's not that the industry suddenly became "welcoming." It finally caught up.
DC: YOU'VE CARVED OUT A VERY DISTINCT AND SUCCESSFUL PATH FOR YOURSELF BEHIND THE CAMERA. HOW HAS YOUR UNIQUE BACKGROUND AND UPBRINGING SHAPED YOUR WORK ETHIC AND YOUR PERSONAL DEFINITION OF SUCCESS?
VF: I grew up with parents who really modeled what it means to work hard and go after what you want. No shortcuts, no safety net thinking. A lot of my work ethic comes directly from that. I am pretty strict with myself when it comes to work. I take it seriously because it is a reflection of me, but also because I genuinely care about what I am building and putting out into the world.
My definition of success has changed a lot. When I was younger, I tied it more to being seen. Having beautiful things, being in the right rooms, being validated by the right people. And I do not think that is wrong, it just is not the whole picture. Now it feels much more internal. Success is having the freedom to make decisions that actually align with my values and being honest about what those values are, even when they do not look impressive from the outside.
Building a startup has been very humbling in that sense. There is a long stretch where no one really gets it and no one is clapping and you are just working quietly. You have to learn how to believe in something before it is validated. That is a very different muscle. Especially now when we are constantly exposed to these highly edited versions of other people's lives online. It can really distort your sense of progress if you let it.
Motherhood sharpened all of this. I have zero tolerance for anything that feels performative or misaligned. Time feels different now. It forced me to get very clear on what actually matters and what is worth my energy. So for me now success is being able to trust my instincts, stay focused on what I am building, and make decisions that feel right for my life. It is quieter but it is a lot more real.
DC: LOOKING BACK AT YOUR EARLY DAYS AS A CREATIVE, WHAT WAS AN AESTHETIC "RULE" YOU USED TO SWEAR BY THAT YOU NOW COMPLETELY REJECT?
VF: I've never trusted "rules." Most of them are just fear dressed up as taste. The minute something starts to feel like a formula, I lose interest. I'd rather follow instinct, make something that feels a little off, a little too much, a little mine. That's usually where anything good actually happens.
DC: FINALLY, LET'S TAKE A TRIP BACK TO YOUR ROOTS. IF WE WERE TO SPEND 24 HOURS IN YOUR HOMETOWN—THE CITY WHERE YOUR VISUAL LIBRARY FIRST BEGAN TO TAKE SHAPE—WHERE EXACTLY WOULD YOU SEND US?
VF: If I had you for 24 hours in Lima, I'd basically just make you eat and shop the entire time (and you'd thank me for it).
We start strong at Osaka, which is hands down my favorite Nikkei spot. Then we walk it off on the Malecón. There's something about being by the water that just resets everything.
Shopping is very targeted: Mozhdeh Matin, Escudo, DNI. And if you're willing to dig a bit, the Barranco flea market always has something good hiding. Somewhere in between: quick drive down the Costa Verde, a stop at Museo Pedro de Osma (it's beautiful, trust me), and ice cream at Heladería 4D—lúcuma always.
Sunset is non-negotiable at La Rosa Náutica. I used to go there as a kid so it hits in a very specific way. Dinner at La Huaca Pucllana because dining next to a literal ruin feels slightly surreal and the food actually delivers. Then drinks at Rafael—a classic.
You'll leave full, a little overstimulated, and already thinking about when you're coming back. Which is exactly the point.
