For Lorenz Namalata, the journey into fashion was never a straight line—it was a series of pivots, discoveries, and leaps of faith. “I knew I wanted to work in fashion because I was enamored by fashion ads,” he recalls. “I didn’t know how then, but I knew I wanted to produce captivating images similar to the ones I see in glossies.”
Years later, Lorenz now oscillates between Manila and New York, where he’s built a career as a casting director, agent, producer, designer, creative director— a versatility he sees as necessary in today’s fast-evolving industry. “I must be able to adapt and be at the zeitgeist of things when needed,” he explains. His schedule is a whirlwind of projects: one moment, he’s working as a casting associate for New York Fashion Week, and the next, he’s back in Manila, coordinating styling for major productions.
In 2019, after recovering from leukemia, Lorenz made the conscious decision to take a chance on himself and push his career forward. The transition wasn’t easy—“Being homesick was definitely my biggest crutch,” he candidly shares. But regardless, true to his relentless pursuit of creativity, Lorenz embraced the challenge, carving out a space for himself in one of the world’s most competitive fashion capitals.
Amid the expansive breadth of his work, at the heart of it all is an appreciation for strong, timeless imagery. “I love when my work is relatable and can sell,” he tells Preview. His approach to casting, in particular, reflects this instinct. Whether selecting talent for Martin Bautista’s BYS Fashion Week show or working on major NYFW productions, he looks for that indefinable “je ne sais quoi” in a model. “There’s a vibe, an energy—it’s almost instinctual that you know they’re going to be a star.
In an exclusive interview with Preview, Lorenz Namalata got candid about his career as a multidisciplinary Filipino creative and how he got his start in the Big Apple.
Preview Creative Spotlight: Filipino Creative Lorenz Namalata on His Career and Navigating New York's Fashion Scene
Can you walk us through your creative journey? What first sparked your interest in this field, and how did you get your start?
"I really want to start my count in 2010. I was entering my sophomore year as a fashion design major in De La Salle-College of Saint Benilde, and that was when I started interning for a start-up, a brand, a designer, and a magazine just to wet my feet! I knew I wanted to work in fashion because I was enamored by fashion ads. I didn’t know how then, but I knew I wanted to produce captivating images similar to the ones I see in glossies."
If someone unfamiliar with your work asked you to describe what you do, how would you explain it?
"I involve myself in fashion production. Whether it’s as a creative director, producer, styling consultant, designer, model/talent agent, or casting associate. I wear many hats because in this day and age, and especially as a freelancer, I must be able to adapt and be at the zeitgeist of things when needed."
You’ve dabbled across multiple creative disciplines over the years. What does a typical day look like for you?
"The past 2 months alone, I was in New York for casting, simultaneously providing ushers for a branded event in [the Philippines]. I’m [currently] back in Manila because I’m working as a styling coordinator for Sir Noel Manapat for the BENCH/ Body Of Work underwear show this March 21. I’m also on board as a creative director for wardrobe for an upcoming TV series. A typical day for me would be listing my to-do's and making sure I allot time per project. You’d find me in my laptop and phone a lot because organizing info is a key element in making sure projects are smooth sailing."
Your roles as an agent and casting director are particularly interesting. What led you to take on these responsibilities, and what was your first experience as a casting director like? Can you share which project it was for?
"When I moved to New York, I had to start from scratch, but I knew I still wanted to do something related to fashion. Casting was something I am grateful that I was able to pursue because I did not know it was an entire industry on its own. My first time as an assistant, we were doing go-sees, and it was like seeing 100-200 models per day in a week. I was surprised at the sheer number of models living in New York!"
"Being a model agent, on the other hand, was being at the opposite end of the table. Whereas in casting you get to choose and hire the models for a project — being a model manager/agent, your task is to build these new faces, promote the established models and find projects for them."
How do your experiences as a designer and creative director shape your approach to casting?
"I love this question! I think that my purview as a designer and creative director actually helps in the sense that I can see the bigger picture. When you cast a model, you consider the team involved. Who is taking the photo? Who is styling? What’s the mood board? You see this, absorb it, and ultimately choose the model or talent who would embody the project the best."
As a casting director, what qualities or characteristics do you look for in talent?
"It’s funny because the je ne sais quo or someone’s X-factor really shines through! It may not translate in photo (because then in-person casting would not be needed) but once you see and meet them in real life, there is a vibe, an energy of a model/talent that it is almost instinctual that you know they’re going to be a star."
Recently, you worked on casting for several Fall/Winter 2025 shows at New York Fashion Week. What was that experience like? As a Filipino creative, what did that experience mean to you personally?
"I love working behind the scenes, and just to be able to apply what I do in Manila in New York is a privilege that I’m grateful for. Working during NYFW is such a rush that I try to take it all in and enjoy it as I go. When I meet models, designers, and people from the brand and/or production, I consider it an opportunity to let them have a good impression of what it’s like working with a Filipino creative. I make sure to be reliable, on top of what I do and of course, easy to work as much as possible."
Having worked in both Manila and New York, how do the two fashion scenes compare? What key differences stand out to you?
"Options. I think New York gives you so much variety, and there’s so much openness to diversity. I was born in Cagayan de Oro and having grown up in a quaint city like that, eventually moving to Manila, obviously consuming everything and anything pop culture, I think there’s still a set box of what it looks like to be commercially viable as a talent. Not that there’s no leaps made in Manila, but New York has just—shall we say—[an] accepting mindset."
Moving into New York’s creative scene was a big step. What motivated you to take the leap, and how did you prepare for it?
"I knew I wanted to experience living abroad, and so studying in London was the first step. New York seemed more easy to grasp because I saw other friends thriving in the creative scene. It was one of those 'if they can do it, I can do it' moments. Ultimately, recovering from Leukemia back in 2019, I made the conscious decision to pursue the dream and bet on myself. I’m glad things worked out because it was and still is such a major and pivotal moment in my life."
Can you tell us about your first creative project in New York? How did you land the opportunity, and what was that experience like?
"Styling SB19 for their 'Where You At' Tour (WYAT) was my first creative project in NY. It was very challenging not having a support system like I used to here in Manila, but somehow friends helped out, and we managed to pull it off. It was their concert in NY, and they also did their first US TV debut, and so it was high stakes of sorts."
"Their main styling team, Rain Dagala and Em Millan, pitched me to help out during the NY leg. I am very grateful to them for always keeping me in mind and just being great mentors in this industry."
What are the biggest challenges of being a creative in New York?
"Although you have 'friends' everywhere, I think — [and I say this] speaking for myself — I did not have any immediate family. I am very close to my family so I found it unnerving at first to be by myself every single time. Those moments you’re not with them can get lonely, and so being homesick was definitely my biggest crutch."
As a multidisciplinary creative, what core philosophy guides your work? What’s your “north star” when making creative decisions?
"I agree when Anna Wintour says that 'commercial is not a dirty word.' I love it when my work is relatable and can sell. I might not have the most out-of-this-world concepts, but what matters to me is a powerful and strong image that conveys elegance, timelessness, and it being polished."
Finally, what advice would you give to young creatives who aspire to take on a path similar to yours?
"Explore but also be realistic. I do understand we all have our different circumstances, and my reality is not necessarily everyone else’s. But in my opinion, you shouldn’t be limited to what people expect out of you and/or what you took up in college. If you have to pivot, pivot! Try which job suits you and never be stuck doing something you dislike doing. I think, just like what everybody else before me says, when you enjoy what you do—people see that, and that’s how opportunities present before you!"
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