Ariana Raygoza Breaks Down Her Most Iconic Shoots
Forty-One got to speak with Ariana Raygoza about how the LA-based creative blends the world of arts and soccer together into a community practice. But while she’s redefining what it means to be a storyteller on and off the field, Ariana’s portfolio – from editorials, to media campaigns to even her own creations – carries its own unique mix of fashion and athletics. In this article, Ariana breaks down some of her favorite photoshoots, sharing the story behind each and every shot.
So I happened to be in NY when they posted their casting call, and I was already internet friends with Naomi [Accardi], one of the creators of the brand. For our first shoot, I pulled up in my vintage T90 and style it with a button down and scarf. As soon as I came in, everything clicked. Everyone involved – the models, the photographers – had a background in soccer and really made it feel like a community. And the pieces the team styled were sourced all over Europe, they were filled with a lot of history and care that I really appreciated.
After that first shoot, I modeled for them again when they came to LA, and again for their e-commerce campaign. By then, we were a well-oiled machine. I knew all the different poses they asked me to hit and their directions felt so natural to me as a former player. Like my favorite piece I modeled for them was a bubble skirt designed like a soccer ball, with my T90s and the pink leg warmers were shipped from Ukraine. I felt so myself in that shoot, and Systemarosa always gives me that feeling. They’re probably my favorite brand to work with.
For Pleasures, I actually brought my own pieces for this shoot and the dress I wore ended up fitting really well with the shoes they were trying to showcase at the time. I’ve always appreciated the tension between juxtaposing a bold, fashion forward piece with something sporty and that push and pull really speaks to my style. The shoes were a statement already and just pairing with a black dress would’ve worked for some people, but I really enjoy creating something that feels a bit anti-fashion in cohesion but still works in a strong, fashionable way.
One thing I wished the brand did was tag and highlight the models there, because the level of athletic talent there was insane, I hadn’t experienced that before. You had players who played in the pros, the Olympics even and I felt out of my league here. What if they wanted me to do a bicycle kick or something? But they were really just looking for real athletes getting ready for the game and having chemistry with each other. They told us ‘just put your socks and shin guards on like you would a game,’ and I did it the same way I did when I was 13 – zig-zagging them with electric tape. It was really beautiful how each player brought their own ritual for the shoot, and it was such a great time. At the end, we did sprints, we passed the ball and they were probably not trying but I was keeping up! Maybe I could hang with them after all.
Sophie Hird x Quinceanera Shoot
So this was a shoot I had created myself, in honor of my 30th birthday. I’m Mexican but I never had a quinceanera because I wanted to have the American experience of a sweet 16. Needless to say, I regretted that decision and planning one now was my way of rectifying it. I was influenced by the brand Sophie Hird, and their player collectables. This bag here was designed with cards from a bunch of England players from the 90s, early 2000s – athletes I admired as a kid. The shoot represented me and my own version of womanhood – my style with my history on the field. I shot it at Tom’s One Hour Photo in LA, and they did a great job bringing who I am to life.
Shooting for Nike was a surreal experience. They reached out asking if I ever played, and then they showed the clip of the iconic scorpion kick from Rene Higuita asking if I could recreate it. I had to let them know that isn’t actually common at all in soccer, but I sent over clips of me practicing with one leg and that was good enough for them.
So the day of the shoot, I’m getting fitted as a goalkeeper when I hear that not only am I rehearsing tomorrow for the scorpion kick, there’s going to be a stunt team, trampolines, safety crew involved as well. So that night, I practiced jumping on my bed over and over again and got to a point where I felt confident that I could really do this.
The day of rehearsal, the stunt team broke down the move for me, and I must’ve practiced jumping on the trampoline onto the crash pad like 40 times, while getting enough airtime so we can get a good shot. I was in the zone then but I was so sore that night, luckily the medic had heating pads and massaged my upper body to help with recovery.
The day of the shoot, there wasn’t a trampoline – I just had to do a running start. To be honest, I told them I had five good jumps in me, which they were fine with. Then I started doing the jumps, and the notes came flooding in: “Lose the model face. Show the shoes. Jump like this. Don’t let the necklaces and hair cover your face.” Thank goodness the stunt lead came over and told me “they don’t know what they want, just jump like you’re having the best time of your life.” That was the best advice I got all day. That shoot was one of the most rewarding I’ve ever done. I got to show what my body is capable of. And I felt respected for what I brought to the project overall.
