Through the Lens: Wendy Huynh

Documenting the suburban culture and lifestyle

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

Raised in the eastern suburbs of Paris, Wendy Huynh is a photographer whose practice spans documentary and fashion. Now working between London and Paris, her images often return to questions of identity, culture, and place, drawing on threads that trace back to her own experiences of growing up on the city’s periphery. After graduating from Central Saint Martins in 2016 with a BA in Fashion Communication with Promotion, she founded Arcades, an independent magazine dedicated to suburban life and its communities. 

In this interview, Wendy reflects on her creative journey as a photographer of Vietnamese-Chinese heritage and how she navigates the balance between editorial and commercial work.

Rimowa’s ‘New Horizons’ campaign, shot in Vietnam, 2025. Image courtesy of Wendy Huynh.

Hi Wendy! To start, I would like to know more about your background. When did you first develop an interest in photography, and what led you to pursue it more seriously?

I first started taking portraits of my friends in high school. I remember I would style and photograph them on location, although I am not sure those are pictures to dig out now! But this is my first memory of photography. During my studies at Central Saint Martins, I became interested in people I would see in the streets. 

I loved observing people’s style and how they communicated with one another, especially the young people in my suburbs. That was when I started stopping strangers in the streets to take their portraits, and when my interest in documentary photography began. I thought it was such an amazing tool to create encounters with people.

Travels series, China, 2015. Image courtesy of Wendy Huynh.

Travels series, China, 2015. Image courtesy of Wendy Huynh.

What inspirations or influences have shaped your work? And how would you describe the evolution of your visual style over the years?

In my late teens, I used to love fashion design, especially from Hussein Chalayan and Alexander McQueen. This influenced my decision to study and move to London. I am interested in films. One reference that encapsulates my favourite cinematographic mood is 35 Shots of Rum by Claire Denis. I also enjoy reading, particularly books by Asian authors. At the moment I am reading and enjoying the French-Vietnamese writer Thuận. In the photography world, I admire Matthieu Pernot’s work and his dedication and process within documentary photography. 

Beyond these references, what influences me most is the environment I grew up in and my home. I spent my childhood and teenage years in the suburbs of Paris, which was a love-hate relationship for many years until I lived away from home. Those conflicted feelings helped me create one of the projects I am proud of to this day: Arcades, a magazine on the culture and lifestyle of the suburbs. 

Regarding the evolution of my style, I tend not to think about it. I do not believe in having to fit a specific visual style but in trusting projects that speak to you personally.

I would also like to explore your creative process. Could you walk us through how you approach a shoot, from concept to execution?

I am keen on telling people’s stories, so I would say that having conversations with people, getting those anecdotes and stories that I find interesting, is often the starting point of my work. I think those real moments of ‘research’ are my favourite part of the process. Sometimes I try to find visual ideas to illustrate what I have in mind, although I am more interested in making spontaneous images and accidents rather than trying to refer specifically to visual references.

To sum up, my ideal scenario when working on projects would involve spending time getting to know my subject well, having a clear guide to the stories I want to tell, perhaps some visual references—though not necessarily—and shooting in a spontaneous way that leaves room for accidents and unexpected moments.

I am keen on telling people’s stories, so I would say that having conversations with people, getting those anecdotes and stories that I find interesting, is often the starting point of my work.

Rimowa’s ‘New Horizons’ campaign, shot in Vietnam, 2025. Image courtesy of Wendy Huynh.

Rimowa’s ‘New Horizons’ campaign, shot in Vietnam, 2025. Image courtesy of Wendy Huynh.

Your work often documents people with a distinct documentary style. How do you balance that approach when working within the framework of fashion photography?

When working on commercial commissions and whenever possible, I try to maintain the same work process as I have in my documentary work, such as portraying moments as real and spontaneous as possible, always making sure the subject is comfortable and getting to know the subject beforehand. 

I also like to shoot on location or in environments which add to the storytelling. Of course, it is not always possible to keep that work process, especially seeing how fast-paced the commercial world is. However, I feel that many of my latest commercial jobs seek that documentary approach and my personal perspective, which feels rewarding.

Portraits of East and South-East Asian Women series, 2021. Images courtesy of Wendy Huynh.

Looking back, what has been one of your most memorable projects, and what made it stand out for you?

I would say working on Arcades has been one of the best things for me. It is a personal project that came out of pure passion. It was raw and it did not try to be perfect; it was my way of telling stories as honestly as possible. The publication was also a way for me to get my first commissions. 

Another project that I feel proud of is my series of portraits of Asian women, photographed in London and Paris. The series was made to spark a conversation about the stigmatisation of Asian women and was created just after the pandemic happened, a time when much of the Asian community faced racism. It was also my first time pitching to newspapers. On that note, pitching is something I would encourage people to do as much as possible, especially when tackling subjects that feel personal and close to their hearts.

Dong Xuan Center for Arcades Issue 3, the Suburbs of Berlin. Image courtesy of Wendy Huynh.

Royal Cheerleaders for Arcades Issue 2, the Suburbs of London. Image courtesy of Wendy Huynh.

You founded Arcades in 2016. How did the idea for the publication first come about, and in what ways does it connect with or expand on your photography practice?

I grew up in the eastern suburbs of Paris and felt so far away culturally from everything, even though I could take a suburban train and be in central Paris in 30 minutes. I spent my university years in London, and being far away from home made me realise how the environment I grew up in shaped me. It was also a time when I realised how wrongly the media portrayed the suburbs, especially the Parisian ones, and this is why I created Arcades. 

Arcades was my way of telling the real stories of the suburbs, both the good and the bad, as honestly as possible and highlighting the socio-economic and geographical disparities between the city and its periphery. The magazine was also my way of collaborating with fellow photographers, since the industry can sometimes feel lonely.

Baesianz FC, London, 2022. Image courtesy of Wendy Huynh.

As a Southeast Asian photographer working in Europe, what kinds of challenges and opportunities have you encountered? How has this shaped your perspective as a creative?

I have at times felt dismissed as an Asian woman. I am also a little short in height, which does not help on set! I feel it has taken me a few years for people to respect me, especially in such a male-dominated industry. However, I do feel a slight shift in the industry, as people seem to be more aware of inclusivity and diversity, even though this contributes to an unhealthy way of commissioning. I often get contacted because the subject is either female and/or of Asian descent, or people expect me to only work on projects about my identity and heritage.

Finally, what projects are you currently working on? Are there any dream collaborations or concepts you’d love to explore in the future?

I have spent the last couple of years working mostly on commercial projects, which I enjoy and am grateful for, as they allow me to fund my personal projects. However, I now feel eager to return to personal projects.

I am currently starting to work on building a visual collective memory of my family’s migration history from Vietnam to France and have found my passion again for Arcades and the stories about the suburbs. I am also planning to return to China, where I travelled for the first time in January, and to Vietnam, where I regularly go with my family, for some research time.

Find out more about Wendy’s work on her website or on Instagram at @wendyhuynh. You can also discover more about her publication, Arcades on Instagram at @arcadesmagazine.