If you see a photograph taken by Petra Collins, it will likely look familiar, even if you don’t specifically associate it with a particular person. The Canadian artist’s work has become a key reference point in Gen Z aesthetics: a pioneering and intimate portrait of the female gaze that addresses taboos and anxieties, from eroticism to violence.

Collins is the precursor to the visual aesthetic linked to Sam Levinson’s series Euphoria. According to several reports, Levinson initially hoped to involve her because of her influence, but she did not ultimately participate, though some of her ideas are said to have shaped the series.

Collins has connected with audiences since the beginning of her career, uniquely portraying the effervescence of adolescence and later evolving toward more introspective perspectives. Her aesthetic — marked by glitter and pastel colours — serves as a vehicle to explore femininity in its many forms, both the celebrated and the feared.

The Canadian artist became interested in photography in her teens, after many years of trying to pursue a career in classical dance, like her sister, Anna Collins, whom she has photographed on numerous occasions. However, during that time, she was diagnosed with a connective tissue disorder that made it impossible to continue, so, as she had always wanted to make films, she picked up a camera.

Although initially disillusioned with the prevailing “masculine, black-and-white, and boring” gaze, her work gained particular popularity in the 2010s following the creation of Rookie Mag, the online magazine created by actress Tavi Gevinson, to which Collins contributed. This was a turning point for her, as it allowed her to explore femininity and its more subversive aspects with greater depth and boldness.

“I only had Tumblr, and that was it — so this website where we could post these photos was so revolutionary. It was funny because I also didn’t connect with girlhood at all. I remember using pink because the color pink was so subversive to me because I just didn’t feel like pink,” Collins told i-D Magazine.

Her work, besides being an aesthetic reference point, is as explosive as it is raw. In addition to portraying different kinds of feelings and relationships, the artist also delves into the darkest aspects: “When I was working out what femininity was, it’s so dark and dangerous and disgusting and violent,” she said.

Collins’ recent work shows her ability to visually define different eras of major pop stars. One of her latest collaborations was with Rosalía, who enlisted the Canadian photographer and filmmaker to create the music video for Focu ‘ranni, one of the rawest tracks on her new album LUX. It’s a heartbreaking track about a wedding that never took place, the end of a relationship, and a shared universe that falls apart. Collins translates this into a dark and intimate video, where women play a key role in supporting and accompanying the singer.

She also recently worked on Olivia Rodrigo’s music video for the song Drop Dead, which is also the first single from her third album, You Seem Pretty Sad for a Girl So in Love, due out June 12. The video could easily fit on Tumblr, given its aesthetic and references to the “girl internet” universe. What’s most striking is that, despite its contemporary feel, it was filmed at the Palace of Versailles.

Beyond Rosalía and Olivia Rodrigo, Collins has also collaborated with other major figures in the music industry, including Cardi B, Carly Rae Jepsen, and Selena Gomez, among others. It is clear that the female gaze of the new generation has both a name — and a pioneer.

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