Miss Velvet: The Rock Goddess Rewriting the Rules of Music and Fashion

Some artists perform; others transform and Miss Velvet is the latter. She is an unstoppable force of nature, blending raw rock ‘n’ roll energy with cinematic storytelling and high fashion edge. With a voice that howls like Robert Plant, ignites like Janis Joplin, and stings like Steven Tyler, she doesn’t just sing—she channels, unearths, and resurrects.

Raised in the shadow of Lincoln Center, steeped in the grand theatrics of opera and Broadway, Miss Velvet learned early that performance wasn’t just about sound—it was about spectacle, movement, and emotion. That same high-drama ethos courses through her music today, where each song feels like a scene in a movie—intense, immersive, larger than life.

Her latest project, Triptych, is a sonic and visual masterwork—a fever dream set to an orchestral rock score, guided by the chaos of the Mojave Desert and the sharp precision of couture fashion. Collaborating with designers like Gabriela Hearst and Tom Ford, Miss Velvet uses clothing as armor, as narrative, as a statement of power. In Triptych, every frame is a runway, every lyric a manifesto.

But beneath the sequins and stage lights, there’s an artist in constant evolution—one who has fought to define her voice, sharpen her sound, and balance the extremes of rockstar and mother, muse and maker. Whether fronting a funk-rock band or stepping boldly into her solo era, reinvention isn’t just a career move for Miss Velvet—it’s survival.

Now, with Triptych collecting accolades and a future fashion empire brewing in the wings, Miss Velvet is proving that rock and couture, power and vulnerability, rebellion and reinvention can all exist in the same breath. Because for her, music isn’t just something you hear—it’s something you see, something you feel, something you live.

IRK: Growing up surrounded by opera and Broadway, how has that theatrical world influenced the way you create music today?

Miss Velvet: Growing up surrounded by opera and Broadway, I was immersed in a world where storytelling was larger than life. My mother ran an avant-garde opera and dance company, and we lived near Lincoln Center, so my childhood was spent backstage, watching productions unfold from rehearsal to grand performance.

What fascinated me most was the transformation—the way a performer could step onto a stage and become something entirely new. I saw firsthand how music, movement, and emotion could merge into something visceral, cinematic, and unforgettable. That foundation has completely shaped how I create music today. When I write a song, I don’t just hear it—I see it. The story, the energy, the arc of emotion—it’s all part of a larger world-building experience. Every song is a scene, every live performance is a narrative, and I approach each one as if it were a theatrical production.

That love for grandeur, drama, and immersive storytelling is at the core of my artistry, from the way I perform on stage to the cinematic worlds I create through music.

IRK: Your voice has been described as a fusion of Robert Plant, Janis Joplin, and Steven Tyler. When did you first discover its power, and how did you learn to channel it?

Miss Velvet: If I really go back to the initial combustion of it all—the moment this voice first erupted—I think of being 13 years old. That was the year I lost my father in a tragic accident, and with it, something inside me broke open.

Before that, I had a smaller voice—clean, with classical influence, almost operatic. I had always been in choirs, band camps—great ones like Interlochen Arts Academy—but I had never truly found my sound.

But when my father passed, this undeniable release happened. A primordial scream, a guttural, raw eruption that I had no control over. At the time, I didn’t know how to channel such massive emotions and grief, but the voice was just there. It was happening. It needed to come out. And there was something unnerving about it. Especially as a young girl, my voice didn’t match how I looked—it was wild, uncontained, powerful in a way I didn’t yet understand.

Over the years, I was incredibly lucky to have support, guidance, and mentors who helped me peel back the layers of that voice. And now, looking back, I realize that depth, that rawness, that intensity—it was always there. It became an identifiable piece of me.

But I had to go to the extremes to understand it. On stage, through every iteration of myself, I had to push it as far as possible—to learn the edges, the limits, the full weight of what it could do. That process was essential.

Because at the end of the day, that truest form of my voice has always been my North Star—my beacon, my rawest expression, my way of understanding and processing who I am. Both literally and figuratively, my voice has been the key to everything.

IRK: Triptych is an ambitious, cinematic project. What was the inspiration behind it, and what story are you telling with this EP?

Miss Velvet: Triptych started with a vision, an almost supernatural download. I was sitting on black volcanic rocks by the ocean in Hawaii, fresh off an immersive songwriting session with my collaborator Esjay Jones. I closed my eyes and saw the entire story unfold like a film—an epic, surreal journey.

At the time, I was experiencing deep betrayal, the kind that shakes your world, and as a mother, that pain was unbearable. To process it, I handed it over to my persona Miss Velvet. She became my alchemy, my way to transform real-life experiences into something magical, dreamlike, and safe.

I immediately called Esjay and said, “I know what to do. It’s Triptych. We’re creating a sonic and cinematic world—writing a soundtrack for a film that doesn’t exist yet.”

The project became a full experience: cinematic rock, flamenco guitar, choral segues, orchestral interludes. Every sound, every note was intentional. We reached out to Gus Black, a brilliant director, and built a team led by heart and passion.

IRK: The Triptych music video, directed by Gus Black, has already won major awards. What was the creative process behind it, and how did it feel filming in the Mojave Desert?

Miss Velvet: The conditions in the Mojave were extreme—over 100 degrees during the day, massive desert dust storms. But we leaned into it. The wind, the heat, the mirage-like haze—Triptych guided me the entire time.

One of my favorite moments was Gus thinking on his feet, blocking the wind with trucks so we could keep filming. Those gale-force winds you see? That wasn’t a wind machine. That was the Mojave itself. And somehow, in the chaos, we found something profound.

IRK: You’ve had many artistic reinventions—from fronting a funk-rock band to stepping into a solo career. What has been the biggest lesson in redefining yourself musically?

Miss Velvet: Reinvention has never been about erasing who I was—it’s about building on every chapter. The biggest lesson? Trust the evolution.

Every iteration has been a reflection of who I was at the time. Right now, I feel more expansive than ever, and I know there will be more evolutions to come. Reinvention isn’t about changing who you are—it’s about becoming more of yourself.

IRK: You’ve said that rock and fashion are a “match made in heaven.” How do you see your personal style as an extension of your music?

Miss Velvet: Rock and fashion are both about identity, rebellion, and storytelling. My personal style is an extension of my sonic world—every look is intentional, every outfit tells a story.

On stage, fashion isn’t just clothing—it’s armor. Whether it’s a gold Gabriela Hearst suit symbolizing power and transformation, or a white Tom Ford three-piece suit stripping away excess, every choice has meaning. Fashion allows me to embody Miss Velvet completely.

IRK: You worked with designers like Gabriela Hearst and Tom Ford for Triptych. What role did fashion play in shaping the visual storytelling of this project?

Miss Velvet: Fashion wasn’t just an accessory in Triptych—it was a tool of storytelling, rebellion, and reinvention. Every look had a purpose, every detail added to the journey. The powerful men who wore three-piece suits before did so to assert control. Miss Velvet wore it to break free.

IRK: You frequently attend Paris, Milan, and New York Fashion Weeks. Do you see fashion as another creative outlet, and would you ever collaborate with designers or launch your own brand?

Fashion has always been a love language for me. My mother recently reminded me that I used to sketch runway shows as a child—I saw it all in my mind before I even understood what it meant.

I absolutely see a brand in my future. That vision has been in my mind’s eye for years, and as I continue to evolve, I know it will come to life.

IRK: You’ve spoken about balancing music, motherhood, and your artistic identity. How do you navigate these different roles while staying true to yourself?

Miss Velvet: At first, these worlds felt separate. But recently, the drawbridges have come down. Motherhood has deepened my intuition and respect for myself. It has connected me to the lineage of women before me, giving me a profound reverence for their strength. Now, I see it all as one—every role feeding into the next, shaping who I am.

Photographer: Jayme Thornton @jaymethornton
Creative Director: Cannon @thecannonmediagroup
Stylist: Nicholas Sauer @nicholasjsauer
Model: Miss Velvet @miss_velvet
Retouching: Allegra Pacheco @allegrapacheco
Studio courtesy of @showroomseven
Special Thanks to Mandie and Karen Erickson

Makeup & Hair: Kate Kats @katekatsmua using:
Skin complexion: Armani beauty @Armanibeauty Eyes, eyebrows: Urban Decay @UrbanDecay
Lips: Prep lips: Ole Henriksen @OleHenriksen, Lip pencil: MAC, Lipstick: Anastasia Beverly Hills, Lip Velvet in a shade Pure Hollywood @anastasiabeverlyhills
Hair styling, using these products: Tigi, R+Co, Oribe (@Tigi @R+Co @Oribe)