Alyona Lihosherstowa stands barefoot in grass in an oversized black suit and white shirt, with a marble balustrade and trees behind her, photographed by Alexei Bazdarev.
Close portrait of Alyona Lihosherstowa with a finger touching her lower lip, an oversized black blazer over a white shirt, photographed by Alexei Bazdarev.
Alyona Lihosherstowa reclines on a marble balustrade with one bare foot extended, the suit jacket open over a white shirt, photographed by Alexei Bazdarev.
Alyona Lihosherstowa sits on a stone railing in golden hour, the silk slip dress catching the last warmth of light, photographed by Alexei Bazdarev.
Alyona Lihosherstowa stands behind a cluster of red roses in an ivory slip dress, a park balustrade behind her, photographed by Alexei Bazdarev.
Alyona Lihosherstowa lies back on a stone surface with eyes closed and one hand in her hair, the ivory slip dress catching the light, photographed by Alexei Bazdarev.
Alyona Lihosherstowa crosses a Milanese street near an Autosilo San Barnaba sign in a white crop top and cream wide-leg trousers, photographed by Alexei Bazdarev.
Alyona Lihosherstowa sits in an office chair set in a Milanese courtyard, in a white crop top, cream trousers and white sandals, photographed by Alexei Bazdarev.
Close portrait of Alyona Lihosherstowa with hair pulled up, arms folded across her knees, photographed by Alexei Bazdarev.

In Milan, Alexei Bazdarev moves through three looks with Alyona Lihosherstowa: an oversized black suit, a silk slip in golden hour at the same park balustrade and finally a white crop top with cream trousers for a daytime walk that ends in an office chair parked in a residential courtyard. The wardrobe changes but the city stays put.

Alyona, represented in Italy by Infinity Management, stands barefoot in grass with the blazer collapsing off one shoulder; she stretches across the balustrade with one leg dangling, white shirt rumpled, hair full and unbrushed. The slip dress frames are intimate as the light turns gold with roses creeping into the foreground. The street look shows her with her hair up, jaw set, posture straight — a working model becoming one with a working city.

The portrait at the end strips everything else away. She looks back at Bazdarev with no styling to hide behind and the whole shoot earns its keep on her face alone.

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