Erothots Fashion Studio
Every frame in this lookbook was shot in our own studio, on clients rather than models, in the same daylight you will stand in when you try the piece on. Nothing here is a render and nobody's waist has been narrowed in post.
Shot In Studio Daylight, On Clients Rather Than Models
Contact Sheet
Six Frames In The Current EditionBehind The Camera
If it only looks good on one body, it is not finished.
I am Sthefany Maia, co-founder and lead designer here, and I shoot this lookbook for one reason. Describing a garment does not work. I can write that a bodice has internal structure or that a wool crepe holds a sculpted shoulder, and none of that tells you what happens when a real person turns around in it.
So we photograph the pieces on the people who actually buy them. Different heights, different sizes, different coloring. If a dress only photographs well on one body type, that is a design fault, and putting it on a professional model would just hide the fault from both of us.
The lookbook is also how most people start with us. You find a frame you keep coming back to, you send it to me, and we work backward from there. Sometimes that ends in a piece from the designer collections. Sometimes it ends in a custom tailoring commission because what you want does not exist yet. Either way the frame is the conversation starter.
Six Editions
Each frame carries its own credit line, so you can see the cloth, who styled it, and which collection the piece belongs to. Everything listed here can be tried on in the studio.
This is the frame I show first, because it explains the whole studio in one look. A sculpted shoulder, a waist seam that sits where the waist actually is, and nothing decorative anywhere. The cloth is a mid weight wool crepe, heavy enough to hold the shoulder line without a shoulder pad doing the work.
See This CollectionShot deliberately with the client sitting and then standing, because that is the honest test. The bodice carries its own internal structure, so nothing has to be held up by what you wear underneath and nothing needs adjusting through the day. The bustle was built to her train, not bought in.
See This CollectionBias cut silk, which is the hardest thing in this lookbook to photograph and the easiest to get wrong in construction. Cut on the true bias it moves with you. Cut a few degrees off and it twists on the body within an hour. This one hangs correctly, which is why it is here.
See This CollectionWe shot this one with her arms forward on purpose. Most suiting photographs beautifully with the arms down and pulls across the back the second you reach for anything. There is enough ease built across the shoulder blade here that the jacket moves with her instead of fighting her.
See This CollectionPhotographed in motion, because these garments were designed to be seen moving and a static frame flattens them into nothing. The lining was chosen for a humid summer rather than for the look of it, which matters far more than any detail visible in a photograph.
See This CollectionThe least dramatic frame in the lookbook and the one people book from most often. A slip dress and a knit layer, made in the same cloth quality as everything else, just built at a simpler level of construction. This is usually how someone tests whether our fit suits them.
See This CollectionOn The Day
The rules are the same every time, which is the only reason you can trust what you are looking at.
Everyone in this lookbook is someone who wears the clothes. We ask, we do not pay, and we photograph across a genuine spread of heights and sizes so you can find a frame close to your own proportions.
Nothing is clipped at the back for the camera. Every garment is fitted properly before it is photographed, which is why the frames look the way the piece will look on you.
Styled in house so the whole look holds together. Hair and makeup are done in our own salon, which means the frame shows a combination you can actually book in one building.
North facing daylight, minimal fill, and the client moving rather than posing. We shoot sitting, walking and turning, because those are the moments a badly cut garment gives itself away.
We adjust color and exposure so the cloth reads accurately on screen. We do not reshape bodies, remove creases that the fabric genuinely makes, or slim a silhouette. If a crease is in the picture, it is in the garment.
The Credits
Four of us make this lookbook. Every credit line on every frame points back to one of these people, and all four work in the same building you will visit.
I draft every pattern and run every fitting. I decide what goes into the lookbook and what gets cut, and I am usually the one telling a client honestly that a piece is not right for her.
Ilary decides how each piece is worn in the frame and which pieces are put together. She also runs our one to one wardrobe sessions, so a look you like here can be built out into a full wardrobe.
Ellamae does hair and makeup on every shoot, and the same finish is bookable in our salon. She builds looks around the neckline of the garment rather than treating the two as separate decisions.
Shot in daylight with minimal fill and retouching kept to color only. The brief every time is simple, show the garment as it is rather than as we would like it to be.
Before You Visit
Why It Helps
A rail of clothes tells you what exists. A lookbook tells you what it does once someone is wearing it.
Photographed on clients across a genuine size range, so you can find a frame near your own build instead of guessing how a sample size translates.
Sitting, walking and turning frames show what the cloth does. A static shot hides the two problems that ruin an evening, twisting and riding up.
Cloth, collection, styling and beauty are listed on each frame, so you can rebuild an entire look rather than reverse engineering it from a picture.
Arriving with three saved frames turns a two hour browse into a focused forty five minute viewing with the right rail already pulled.
Color and exposure only. What you see is what the garment does, which means no disappointment when you try it on in the studio.
Each frame tells you whether the piece is a collection item or the starting point for a custom build, so you know the route before you arrive.
Honest Trade Offs
It is a useful tool and a limited one. Here is exactly where it stops telling you the truth.
Every display renders color differently. A silk that reads warm ivory on one phone can look cool white on another, and no amount of correction fixes that at your end.
How I Handle ItTell me at booking that color matters and I will have the actual cloth on the table when you arrive, in daylight.Even with a real client in the picture, her proportions are not your proportions. A neckline that flatters her may sit differently on you.
How I Handle ItWe photograph across a spread of sizes, and at the viewing you try the studio sample rather than trusting the photograph.Occasionally a piece was cut from a single length of cloth. That exact garment cannot be repeated, only reinterpreted in a different fabric.
How I Handle ItThe credits tell you which collection a piece belongs to, and I will say plainly at inquiry if a cloth is finished.It shows a direction rather than complete stock. Plenty of pieces on the rail never make it into a frame simply because we shoot a limited number.
How I Handle ItCome in and see the full rail. The lookbook is a starting point for the conversation, never the whole inventory.Shoes, jewelry and hair change how a garment looks in a frame. The same dress styled two ways can look like two different pieces.
How I Handle ItEvery frame credits its styling, so you can separate the garment from the way it was presented.No photograph tells you how heavy a duchess satin is or how a fine merino feels against skin, and those often decide the purchase.
How I Handle ItSwatches stay in the studio for exactly this reason. Handling the cloth is part of every viewing.Side By Side
Use the lookbook to narrow down. Use the studio to decide.
| What You Want To Know | The Lookbook | A Studio Viewing |
|---|---|---|
| Silhouette And Cut | Reliable, shown in movement | Reliable, and on your own body |
| Exact Color | Approximate, varies by screen | Exact, seen in daylight |
| Fabric Weight And Handle | Cannot be shown | Handled directly from the swatch board |
| Fit On You | Indicative only | Confirmed on the studio sample |
| Full Availability | Selected frames only | The complete rail |
| Time Needed | Minutes, from anywhere | About forty five minutes, by appointment |
| Next Step | Browse the collections | Book a viewing |
Fabric Index
Every frame in this edition, with the cloth used and where the piece lives. Useful if you already know which fabric you want.
| Frame | Look | Cloth | Where To Find It |
|---|---|---|---|
| 01 | The Atelier Edit | Mid Weight Wool Crepe | The Atelier Edit |
| 02 | Bridal And Ceremony | Silk Duchess Satin | Bridal And Ceremony |
| 03 | Evening And Occasion | Bias Cut Silk Crepe | Evening And Occasion |
| 04 | Modern Tailoring | Half Canvassed Wool Twill | Modern Tailoring |
| 05 | Heritage And Ethnic | Silk Blend, Hand Finished | Heritage And Ethnic |
| 06 | Studio Essentials | Washed Silk And Fine Merino | Studio Essentials |
More From The Studio
The lookbook is where most people start. These are the three places it leads.
Six small run lines you can try on in the studio, with standard adjustments included in the price.
See The CollectionsFor when the frame you love needs to be rebuilt around your measurements, or does not exist yet at all.
See Custom TailoringOne to one sessions with Ilary that turn a saved frame into a wardrobe rather than a single purchase.
See Bespoke StylingSalon Services
Every hair and makeup credit in this lookbook was done in our own salon. Browse all beauty salon services or start with these three.
The finish used on Frame 02, built for photography and matched to the neckline of the gown.
See Bridal MakeupStyling designed around the back detail of the dress, so the two decisions are made together.
See Bridal HairSkin prep booked in the weeks before a shoot or an event, never for the first time on the day itself.
See HydrafacialCommon Questions
Almost everything. Each frame credits the collection the piece belongs to, so you can check availability in one click. A small number of frames use cloth that is finished, and in that case the design can be remade in a different fabric as a custom commission.
No. Everyone photographed is a client of the studio. We cast across a real spread of heights and sizes on purpose, because a garment that only works on one body type has a design problem I would rather fix than hide.
Color and exposure only, so the cloth reads accurately on screen. We do not slim silhouettes, reshape bodies or remove creases the fabric genuinely makes. If you can see a crease in a frame, the garment makes that crease.
We shoot a new edition when the collections change, and add individual frames in between whenever a piece deserves one. The fabric index on this page always reflects the current edition.
Yes, and most people do. Bring two or three references and I will tell you honestly what can be interpreted, what cannot, and whether it is a collection adjustment or a custom tailoring job.
Close, but never identical, because every screen renders color differently. If color is critical to your event, say so when you book and I will have the actual cloth on the table in daylight when you arrive.
Yes. Every hair and makeup credit here was done in our own salon by Ellamae, and the same services are bookable through beauty services in the same building as the studio.
For bridal, always. For everything else an appointment is strongly preferred so a fitting room and my time are held for you, but you are welcome to call ahead on the day and see what is free.
Usually yes. Size is straightforward within the collection range. Fabric depends on whether the new cloth can hold the shape, and I will tell you when a softer fabric would collapse the silhouette rather than take the order anyway.
We ask clients directly, and it is always optional and never paid. If you would like to be considered, mention it at your fitting. Nothing is published without written permission first.
The Studio
Send me the frames you saved before you come. I will have those pieces pulled, the swatches out and the fitting room free, so the whole viewing takes about forty five minutes instead of an afternoon.
Book Your Viewing
Tell me which looks you kept coming back to and what the occasion is. I will tell you honestly whether it is a collection piece or a custom build before you spend anything.
