You’ll Never Meet My New Friends
Trained as an architect before fashion and portrait photography, Spanish artist Gorka Postigo blends structural precision with emotional nuance—his work spanning high fashion campaigns and intimate reflections on the layered nature of human experience. He possesses the rare ability to be fully immersed in both realms, moving fluidly between them bringing elements of each to the other. Gorka Postigo has shot high-fashion editorials and campaigns for leading brands including Miu Miu, Jean Paul Gaultier, Carolina Herrera, Paco Rabanne, and the 2025 reimagining of Dolce & Gabbana’s iconic Light Blue campaign starring The James and Vittoria Ceretti. His work has appeared in major publications such as AnOther, Icon Magazine, Vogue Italia, and Vogue Spain. His series Presente Futuro, shown at La Fresh Gallery in Madrid, offered a tender portrait of Spain’s transgender youth, while his latest project, the deeply personal You’ll Never Meet My New Friends—launched at Paris Photo 2025—maps grief, community, and renewal through a series of portraits taken internationally in the aftermath of Postigo’s own loss. In this conversation, Postigo speaks with hube about community, craft and the experiences, both beautiful and hard, which unite us all.
h: Paris is a city full of history and stories of creatives finding their voice, but it’s not exactly a cheerful place. How has living there shaped your creative ambitions and direction?
Gorka Postigo: Paris, I feel that nowadays it feels like a dream to be living and working here. I have the feeling that in the arts and in photography, it has become the epicentre of the world, or at least a very important spot where you have, every two weeks, major art events where people from all around the world and the best craftsmen and women are based. So right now, to do my practice in Paris means being surrounded by the best people. It really feels very challenging and inspiring at the same time—amazing. I mean, it has the fame of being tough, but I think the character of the city has evolved. It has become way more international. It’s always been, but even more, I feel that it has become a very cosmopolitan city, and you have people coming from all over the world all the time, and it feels very, very, very vibrant and very inspiring.
h: How has your background in architecture influenced your approach to composition? Would you say your process is more technical or more instinctive, shaped in the moment?
GP: Architecture has definitely shaped the way I compose, the way I see things, the way I frame things with my camera. There is definitely something that’s still there. Studying architecture was extremely influential and is still present in my practice, even though I don’t do architectural photography directly. It is there not only in the composition of the scene, but also in how I conceptualise a project or an image. I think that can be seen in the still lifes I shot for this last project, for the book You’ll Never Meet My New Friends. I think it becomes more architectural. There’s clearly a very carefully staged composition where I try to balance elements, which can be understood or read as something more architectural. Architecture gives you these skills of understanding, of transmuting an idea, of transmitting a concept, and that is very valuable. I feel very lucky to have had the chance to study architecture.
