Toronto fashion photographer specializing in editorial, campaign, and commercial fashion photography. This collection features high-fashion portraits, creative direction, apparel campaigns, and cinematic visual storytelling created for designers, brands, magazines, and creative agencies. Based in Toronto and available across Canada for fashion editorials, lookbooks, advertising campaigns, and contemporary visual projects.

I came up looking at my mother’s Vogue magazines. Fashion, to me, was always about freedom — the freedom to be seen exactly as you choose.

When I started working in fashion photography in Iran, something was happening. Social media was changing everything — brands were waking up, editorial work was emerging, a real visual culture was taking shape. But there was a wall none of us could ignore. The Islamic Republic’s compulsory hijab laws didn’t just dictate what women could wear — they dictated what I could photograph, what a model could express, what a brand could show. Every shoot was a negotiation between creative vision and a set of laws that could put the photographer, the model, and the business owner all at serious risk. Crossing those lines wasn’t a creative choice — it was a legal and personal danger for everyone in the room.

So I learned to work within the impossible. Finding light in the constraints. Building images that felt alive despite the framework forced around them.

Then the Woman, Life, Freedom movement changed everything. In September 2022, the death of Mahsa Jina Amini — arrested for allegedly violating mandatory hijab laws — ignited protests across Iran. For me, it was a moment of clarity I couldn’t walk back from. I believed then, and I believe now, that no woman should be forced to wear anything against her will. But rather than responding with reform, the government escalated — introducing severe new penalties, prison terms, and restrictions that made compliance not just expected but legally enforced for every private business operating in the country. sardarfarrokhi

The company I worked for had no choice but to follow those laws. And I had no choice but to leave.

I walked away from the work I had built, the market I understood, and the creative community I had grown inside — because staying would have meant becoming complicit in exactly what I stood against.

I came back to Canada carrying that experience, that tension, and that eye. Today, through my published editorial work and my role at House of Jewellery in Toronto, I continue building the visual language I always believed fashion deserved — one where the only thing directing a woman in front of my camera is the story we’re trying to tell together.