Through The Lens: Thomas Sito

Jakarta-based visual storyteller for LEMAIRE, IKEA, and Phaidon

‘Through the Lens’ is a series that explores in detail images from fashion image-makers in Southeast Asia, shining a light on their creative and technical processes.

TANGAN Bersama Campaign, 2021. Image courtesy of Thomas Sito.

Thomas Sito’s interest in photography was sparked by a fascination with war photography. It is a formative interest that continues to inform his instinct-driven, emotionally charged visual language. Based in Jakarta, he channels that early obsession into work marked by quiet tension and raw intimacy, gravitating toward editorial projects that embrace spontaneity and layered, observational narratives.

From collaborations with LEMAIRE and Artkea to IKEA and Phaidon, Thomas reflects on the significance of everyday subtleties in his imagery, and how the unpredictability of urban life continues to fuel his creative process.

IKEA x PHAIDON: Us and Our Planet, 2022. Image courtesy of Thomas Sito.

Hi, Thomas! When did you first develop an interest in photography? What was your first camera?

I studied visual communication design, but I was naturally drawn to photography. So when it came time to apply for internships during college, I specifically looked for photography-related opportunities. I landed an internship at Trinaya, which is the umbrella company for publications like Elle and Marie Claire, and it was there that I became acquainted with a few people in the fashion industry. That set things in motion for me.

What initially got me into the practice, though, was war photography. I was especially drawn to Steve McCurry’s work, particularly his images from Afghanistan during the Russian occupation. That is what pushed me to get my first camera, an analogue Nikon FM—the same model he used. I still use it for travels, but for professional work, my first digital camera was a Canon 60D, which I later upgraded to a 6D. These days, I shoot primarily with a Fujifilm GFX 50S. 

What is one of the most memorable projects you have worked on, and why?

In 2022, I was approached to work on a project for IKEA and Phaidon. They were releasing a book, Us and Our Planet, as part of a global campaign that highlighted twelve families living sustainably. One of them was Bali-based architect Elora Hardy. At the time, I was at a low point in my career, feeling a little disconnected from my work and unsure of the direction I was headed. This project pulled me out of that rut and reminded me why I was drawn to the medium in the first place.

What reignited that spark was the return to a more documentary-style approach. It gave me the space to truly connect with the person in front of the camera and try to translate that connection into imagery. Before I even picked up the camera, Elora and I spent a lot of time talking. That process is essential to me, getting the chance to observe someone closely and take in the quiet details: how they move through a space, the rhythm of their day, the stories embedded in their home. All of it shapes the photographs in different ways, lending them a sense of depth and narrative that goes beyond simply making “pretty images”.

IKEA x PHAIDON: Us and Our Planet, 2022. Image courtesy of Thomas Sito.

Last year, you worked with LEMAIRE on the visuals for their new flagship store on Rue Elzévir. Can you tell us what that project was like? 

I have admired LEMAIRE for a long time, so getting that first email felt pretty special. Everything moved quickly from there. Their team was incredibly efficient. Within two days, we had an online meeting to discuss the project and a week after, I was already on a flight to the Philippines for the shoot.

At the time, they were working on their flagship store on rue Elzévir in Paris, with a vision to bring  together materials and crafts from around the world: floors made in Morocco, stone display tables sourced from Spain, and changing rooms constructed from abaca in the Philippines. I spent two days in Batangas documenting the making of those abaca elements, and was given a lot of creative freedom to explore the process. The entire experience felt intuitive and collaborative.

I also got to work with them again to document the work of artist Noviadi Angkasapura for an exhibition shown alongside their Fall/Winter 2023 collection, which featured his prints on the garments. These are the projects I find most intriguing; the ones rooted in the story and the people behind the work. 

LEMAIRE, 2023. Image courtesy of Thomas Sito. 

You’ve also worked closely with brands like TANGAN, Sapto Djojokartiko and multi-brand retailer PILLAR. How do you go about finding a shared visual language when working with other creatives?

I love collaborating with different designers and creatives. There is something exciting about merging visions and discovering a shared language along the way.

There are some collaborators I naturally click with, where we intuitively understand each other and know exactly what we want to create. But I also really enjoy the challenge of working with someone new, finding that common ground, bringing different ideas to the table, and exploring directions I might not have considered on my own. It keeps the work interesting. It’s never boring.

PILLAR campaign, 2022. Image courtesy of Thomas Sito.

Sapto Djojokartiko Fall/Winter 2024 Collection Campaign. Image courtesy of Thomas Sito.

How would you describe your creative process? And how do you challenge yourself to avoid falling into familiar patterns?

Pre-production is a big part of my process. I make it a habit to come to a shoot with a clear plan; something I have thought through and feel very confident in. Of course, things often shift on the day, and I try to stay open and flexible when that happens. But having that foundation allows me to be more present and responsive on set.

It is easy to slip into familiar rhythms, especially when a certain formula has worked in the past. I would not necessarily call it laziness exactly. It is more about wanting to stay in a comfort zone. But that can be risky. One of my biggest fears is becoming irrelevant, so when my work starts to feel too predictable, I take it as a sign to recalibrate.

For me, travel helps with that. It shifts my perspective and breaks routine. I also shoot outside of Jakarta, and that exposure to different places, cultures, and people feeds back into the way I see and shoot.

‘Two Sides to Every Story’, L'Officiel Indonesia, December 2017 Issue. Image courtesy of Thomas Sito.

What has been the most unexpected source of inspiration for your work?

Traveling is definitely a big part of that. I enjoy people-watching, observing everyday scenes, especially in busy cities. I once went for a work trip to Jeju in Korea, which I enjoyed, but honestly, it was a little too quiet for me. I realised how much I feed off the pace and unpredictability of big cities!

Working in Jakarta has its own kind of rhythm, but it can get repetitive and make you feel like you are living in a bubble. That is why exploring other cities is so important for me. When I am in a new place, my senses switch on. I am more alert and aware of my surroundings and more conscious of how things make me feel. It gives me a fresh way of looking at things.

“Working in Jakarta has its own kind of rhythm, but it can get repetitive and make you feel like you are living in a bubble. That is why exploring other cities is so important for me.”

You have photographed Artkea’s annual show campaign for the past two years. What has been the biggest challenge in capturing this project, and how did you overcome it?

I love big, chaotic shoots. When I am working with just one model, the process feels almost sculptural… a lot like Pilates. I guide them slowly, shaping each pose as if I am carving a form. But with a larger group, it becomes more about movement. I would give each person a specific gesture or task, and together it turns into a layered composition. There is something deeply satisfying about coming home after a shoot that is both challenging and just a little wild.

For the latest Artkea show, we worked with 15 models and two kids. Trying to catch that one perfect moment, where posture, expression, and placement are all aligned, felt nearly impossible. That is where post-production came in. I have been drawn to digital imaging since my school days, and it has become a natural part of how I shape and complete a story.

Artkea ‘Abundance’ Campaign, 2023. Image courtesy of Thomas Sito.

You also shot for ANW’s ‘A Walk in Harmony’ campaign. How did you approach translating their concept visually?

I have worked with them a couple of times, and what I really appreciate is how their collections are rooted in a strong concept and narrative, which makes them easy to visualise. They also give me a lot of creative freedom while being open to collaboration and exchange. For example, one of the looks resembled a rectangular sheet of paper, so we decided to twist it slightly at the top right corner to create a gentle curl. They were very open to the idea and even said they would keep the look that way for their upcoming Jakarta Fashion Week show.

ANW ‘A Walk in Harmony’ Campaign, 2023. Image are courtesy of Thomas Sito.

ANW ‘A Walk in Harmony’ Campaign, 2023. Image are courtesy of Thomas Sito.

Looking back at your early work, how do you think you have evolved as a photographer? Are there any projects that you think you’d approach differently?

I think I am drawn to a certain rawness… images that do not feel overly staged. There can still be drama, but it is quiet, revealed through subtlety. For me, it often comes down to the smallest details, from the way a hand rests to the tilt of a finger. I love when people catch those little gestures. 

I rarely look back at past work, and I try not to obsess over the future either. Both can feel overwhelming in their own ways. Thoughts like “I should have” or “what if” can be a trap. There are infinite possibilities, and no real way to know if a different path would have been any better.

People often ask where I see myself in five years, and honestly, I do not know and I am not really interested in knowing. I would rather stay focused on the present and what is right in front of me.

Lastly, what projects are you currently working on?

I am currently wrapping up post-production on a few furniture and beauty shoots. I also recently returned from Tokyo where I was traveling with my parents and ended up staying a little longer for a shoot. 

As for what isnext, there is nothing in particular I am anticipating at the moment. But in my experience, the most exciting projects tend to show up unexpectedly. So we will see.

Discover more of Thomas’ work on his personal website here or at Instagram at @thomasdanes.