Yana Shevarkova has built a career on transforming constraints into compelling visual stories. As a creative producer, she sits at the intersection of concept, execution, and storytelling—shaping ideas from their earliest creative spark through to final delivery. Her work spans luxury, fashion, sport, and documentary, with campaigns for brands such as adidas, BVLGARI, Mandarin Oriental, and Estée Lauder, as well as collaborations with world-class athletes including Cristiano Ronaldo, Aryna Sabalenka, and Grigor Dimitrov.
While her projects often involve high-profile talent and complex logistics, what defines her work is not access—it is authorship. Yana is deeply involved in the creative architecture of every project: developing concepts, shaping narratives, defining visual language, and designing workflows that protect the integrity of the idea, no matter how limited the time or conditions. This approach has led to work that has been recognised internationally, including Gold and Silver awards at the Cannes Dolphin Corporate Media Awards for her documentary projects.
GLAMOUR: Your work moves between luxury campaigns, athletes, and documentary storytelling. How do you define your creative role?
Yana Shevarkova: I see myself as a creative producer in the truest sense—I am responsible for how an idea feels, not just how it gets made. I develop concepts, refine treatments, and work closely with directors, cinematographers, and editors to ensure the final film communicates a clear emotional point of view. Whether I am producing a fashion-led campaign or a documentary, my focus is always on narrative and tone. I want the audience to feel something specific, and I reverse-engineer every creative decision to serve that feeling.
GLAMOUR: Your projects often operate under extreme time pressure. How does that shape your creativity?
Yana: Time pressure has become part of my creative language. When you are given ten minutes with an athlete or a celebrity whose schedule is planned down to the minute, there is no room for creative ambiguity. I design concepts that are built for precision. That means creating visual systems that can communicate an idea instantly—through framing, movement, wardrobe, or environment—rather than relying on volume of content.
For example, when working with Aryna Sabalenka, her availability was extremely limited. Instead of trying to force a traditional shoot structure, I built the narrative around her existing archive material and combined it with carefully designed studio shots. The result preserved her energy and authenticity while allowing the film to feel intentional and dynamic, rather than compromised.
GLAMOUR: Many people associate production with logistics. How do you ensure your creative voice is present?
Yana: Logistics are a tool, not the point. I use structure to protect creativity. In pre-production, I spend a lot of time defining what must be captured versus what is flexible. I create shot hierarchies and narrative priorities so that even if conditions change, the core idea survives.
On an adidas campaign with Grigor Dimitrov, we faced a major creative limitation: he could not appear in the brand’s latest apparel due to contractual restrictions. Instead of treating this as a problem, I redefined the entire visual concept. I placed him in a tuxedo within a neo-classical palace setting, turning the absence of product into a statement about elegance, discipline, and timelessness. The constraint became the concept—and ultimately, the reason the campaign stood out.
GLAMOUR: Your documentary work has also been award-winning. How does that influence your commercial projects?
Yana: Documentary has shaped how I see people. It has taught me restraint and honesty. Even in commercial work, I avoid over-directing personalities. I look for moments of truth—how someone stands, pauses, or reacts when the cameras are supposedly not rolling. That sensitivity has been key to building trust quickly with high-profile subjects.
Winning awards at Cannes Dolphin affirmed that audiences respond to clarity and intention, not excess. I carry that mindset into every campaign: strip the idea down to what actually matters, then build it back up with purpose.
GLAMOUR: You often mention psychology as part of your process. How does that translate on set?
Yana: Psychology is central to my work. When someone walks on set, especially an elite athlete or global figure, I have seconds to read their energy and adapt. I adjust my communication style, the pace of the shoot, even the physical distance I keep. My goal is to create a sense of control and calm, because that is when people give their best.
This is not about managing egos—it is about understanding human behavior. When talent feels respected and understood, the camera sees it immediately.
GLAMOUR: Finally, what advice would you give someone looking to thrive in your world?
Yana: Understand your subject, and embrace constraints. The magic happens when you operate at pace, under pressure, and still find a way to surprise yourself—and your audience.
