Eleanor has added director and photographer Sarah McColgan to its roster for her first commercial representation in the U.S. and U.K.
Her work spans beauty, music, fashion, celebrity and commercial storytelling. Among her high-profile credits is Charli XCX’s “Boys,” co-directed by Charli XCX and McColgan, in which pop chaos becomes a controlled visual system. The video gathers a sprawling cast of cultural figures, locations, gestures, moods, and cameos, yet holds together through color, styling, production design, cinematography, and tone. McColgan has spoken about choosing a specific palette across set design and wardrobe to maintain cohesion through dozens of locations and unpredictable environments, with the art department, DP, and stylists helping keep the video inside one visual world.
That ability to create order without flattening energy is central to McColgan’s craft. Her work for artists including Nas, Mariah Carey, H.E.R., Charli XCX, David Guetta, Tinashe, Kali Uchis, Miguel, Kelly Clarkson, Emeli Sandé, and Hailee Steinfeld shows a director fluent in celebrity image-making without becoming obedient to it. The star is never simply presented. They are framed, heightened, softened, distorted, or revealed through a visual world that knows exactly how much control to keep and when to let instinct take over.
McColgan’s commercial work extends that sensibility across brands including Apple Music, Morphe, Gemz Haircare, Gold Bond, Smirnoff Ice, Netflix, Head & Shoulders, Canon, Joah, VH1, and EOS. In beauty and brand storytelling, she understands that aspiration cannot survive on perfection alone. It needs warmth, texture, personality, and a point of view sharp enough to keep the image from becoming interchangeable.
“I’m not interested in perfection as the end goal,” said McColgan. “The glamour that stays with me is the kind that reveals character, humor, oddness, vulnerability, power. A beautiful image has to risk something. There has to be a feeling underneath it, a tension or subtext. When the visual language and the emotional language become inseparable, that’s when an image starts to feel alive.”
That philosophy also moves through McColgan’s personal work. Her short Bodylands reflects on toxic beauty norms and the constraints placed on women’s bodies, visualizing the body as something sculptural, pressured, and powerful. It reveals a deeper current running beneath McColgan’s commercial and music-video work: beauty as image, performance, pressure, identity, and control.
“Sarah is exactly the kind of unusual suspect we love at Eleanor,” said Eleanor president Sophie Gold. “Her work has all the polish and scale of pop spectacle, but there is always something stranger, more intimate, and more authored happening underneath. She understands beauty as a world, not just a surface, and that makes her an incredibly exciting partner for brands.”
For McColgan, joining Eleanor marks a new chapter in a career already defined by range, instinct, and visual authorship. “Eleanor feels like the right home for this next chapter because they were interested in the voice behind the work, not just the résumé attached to it,” said McColgan. “They understood how my photography, directing, personal projects, and creative direction connect to one another. They saw a larger creative ecosystem, not separate disciplines. That felt aligned with where I am now: less interested in doing everything, and more interested in going deeper into the ideas, themes, and visual language that feel most authentically mine.”
Making beauty misbehave
McColgan’s images carry the sheen of pop spectacle, but never settle for surface. A color palette becomes emotional architecture. A beauty image sharpens into something stranger. A performance slips from iconic into intimate. In McColgan’s hands, gloss is not a finish. It is a tension, a language, and sometimes a trapdoor.
That instinct has made her a distinctive visual voice moving between still and motion. As a director and photographer, McColgan has built a body of work that blurs genres, cultures, and industries, spanning commercial campaigns, music videos, beauty, portraiture, hair, fashion, and entertainment. She has to her credit more than 60 music videos, over 5 billion views, and MTV VMA, CMT, and UKMVA awards and nominations.
McColgan did not arrive at motion by chasing spectacle. She arrived through the still image. Raised in a small town in New Jersey, she found her first language in the darkroom, shooting, processing, and printing her own film before the image ever had to move. There is something important in that beginning. The patience. The chemistry. The obsession with light revealing itself slowly. The understanding that a face, held correctly, can carry an entire emotional weather system before anyone speaks.
That photographic instinct became the foundation of her directing language. After shooting for a local newspaper, studying photography at New York’s School of Visual Arts, and building a body of editorial and advertising work, McColgan carried the discipline of the still frame into motion without letting it become static. Her films move, but they remember where they came from. Every frame is composed with the awareness that beauty can seduce, unsettle, expose, or betray, depending on how long the camera is willing to look.
That is what makes her an unusual suspect in the world most fluent in perfection. McColgan understands major-label scale, celebrity language, fashion, hair, and glamour, but she never lets the image behave too perfectly. Her work keeps the polish visible, then slips something stranger underneath. A surreal detail. A charged glance. A color choice that feels too specific to be decorative. The image stays glossy, but the gloss starts to misbehave.
Crack Magazine described her work as existing in the realm of major-label blockbusters and MTV glitz while veering into left-field territory through eccentric, surreal details. That tension is where McColgan leaves her fingerprint. She does not reject glamour. She makes it less predictable. Less sterile. More alive. In her hands, beauty becomes a surface with a pulse underneath it.
