There’s something elusive about Drew Neros, a tension between softness and control, visibility and distance. While fashion first introduced him as an image, the person behind it exists in constant evolution: moving between modelling, photography, branding, creative technology, and the intimate architecture of aesthetics itself. His world feels cinematic yet restrained, polished yet searching. In this interview for Yummy Twelve, Drew speaks candidly about perfectionism, online identity, sensuality, creativity, and the strange vulnerability of being both observed and understood. What emerges is not just the portrait of a model, but of someone quietly building meaning behind the surface.
The images are cropped/made safe for online purposes, full images available inside Yummy Issue Twelve
Photo story by sasha olsen, interview by Adrian Gomis Exposito
An Interview with Drew Neros
AGE. Who is Drew Neros when the campaigns are wrapped, the notifications stop, and no one is watching? What parts of yourself exist outside the image people know?
DN. Honestly, I’m a very calm and down-to-earth person. I’m also pretty funny and goofy with the people I know and trust, but in general, I’m quite calm. I really like exploring things, observing life, and just experiencing different sides of the world. Outside of the image people may know, I’m just someone who is curious, thoughtful, and still learning a lot about myself.
AGE. You’ve spent more than a decade moving between modelling, photography, design, and digital marketing. Do you see all these disciplines as separate worlds, or are they different languages of the same creative instinct?
DN. Modelling has been my full-time work for many years. Photography started more as a hobby, but I also work as a photographer from time to time because I genuinely enjoy it. Design is something I’ve done as well, but I wouldn’t say it’s my main focus. Right now, digital marketing and creative technology are the main things I’m focusing on. I think some parts are separate, especially the marketing side, but the creative things definitely help each other. Modelling, photography, visuals, branding, they all speak to each other in some way. They are different tools, but they come from the same creative instinct.
AGE. You’ve worked with names like Vogue Italia, Vogue Arabia, GQ, and Bloomingdale’s. Looking back, was there a moment when you truly felt you had stepped into the industry you once imagined from afar?
DN. Honestly, yes. When I was working with those names, I remember thinking, “Damn, I can’t believe I’m actually working with these brands.” I never really imagined that I would end up in those kinds of magazines or campaigns. Now I’m just very grateful for all the opportunities I’ve had. I’m thankful for everything that brought me here, and hopefully, there is even more to look forward to.
AGE. Your work exists at the intersection of creativity and technology: branding, AI automations, web design, and content creation. What excites you most about blending something deeply human with something highly digital?
DN. Honestly, the creative mind never really rests. It’s always full of ideas, and that’s what makes it beautiful. You live, you experience things, and sometimes ideas come in the most random moments. What excites me about technology and AI is that now you can actually take those ideas and bring them to life much faster. You can sit with something that excites you, use today’s tools and skills, and create a whole world around it. When you see the final result, it feels incredible. Sometimes I look at an image, a website, or something I’ve created and think, “Wow, I can’t believe I made that.” Of course, it doesn’t happen every time, but when the idea is strong and the execution is right, it feels very rewarding.
AGE. Aesthetics seems central to everything you do, but aesthetics can sometimes become a mask. How do you keep your work visually beautiful without losing honesty underneath it?
DN. These days, when you open Instagram, it feels like everyone has a perfect life. Everything looks beautiful and aesthetic, but we all know that’s not always the truth. A lot of the time, it’s a mask people put on to look better or make their life seem more perfect than it really is. I think the key is to be honest and not exaggerate everything too much. It’s nice to stay humble, live your life, and capture the beautiful moments when they happen. Aesthetics is important, but it should still have something real behind it. Otherwise, it becomes empty.
AGE. You travel constantly and draw inspiration from different places. Is there a city, landscape, or fleeting moment abroad that quietly changed the way you see yourself?
DN. Honestly, I’ve travelled a lot, and I feel like every part of the world has changed me in some way. Every place teaches you something different. It made me more open-minded and more aware of how different people live, think, and see life. I think travelling helps you understand yourself better because you’re constantly being exposed to new cultures, new rules, and new ways of being.
AGE. Entrepreneurship often demands relentless movement, while creativity needs space to breathe. How do you protect your imagination from becoming consumed by productivity?
DN. I try to keep productivity for the morning because that’s when my brain works better and understands things faster. Then I leave the creative part more for the evening, when I feel more relaxed. I think creativity comes easier when there is less pressure. When your mind is calmer, good ideas can come up more naturally. For me, that balance is important.
AGE. You help brands build strong visual identities online, but identity itself can be fluid. Do you think people are becoming more authentic online, or simply better at curating themselves?
DN. I think people are mostly getting better at curating themselves. But at the same time, it’s nice to see that some people are trying to be more real online now. The truth is, sometimes curation is part of the job. Everyone presents themselves in a certain way. But I do think people can feel when something is too fake. Authenticity matters, even if it’s still presented beautifully.
AGE. Modelling introduced people to your image first, but your creative projects reveal another side of you entirely. Do you ever feel misunderstood because of the way people initially perceive you?
DN. Yes, honestly. I think this is one of the problems in the world, people often judge you by first look, the first impression, or the image they already have of you. With modelling, people see the outside first, but they don’t always know what’s behind it. They don’t always see the creative mind, the ideas, the work, or the person underneath. So yes, I do feel misunderstood sometimes.
AGE. Your work carries a very polished energy, but what does imperfection mean to you? Is there beauty in things that feel unfinished or slightly undone?
DN. Honestly, this is something I’m still learning. I’m a big perfectionist, and it has ruined many good things for me before. I know perfection is not always good, but somehow I grew up with that mindset, and it stuck with me. I’m learning every day that imperfection can also be beautiful. Sometimes things don’t need to be perfect to be meaningful. But I’m still fighting with that part of myself.
Quick-Fire Questions
AGE. A place you return to mentally when you need clarity?
DN. Definitely the beach, or a long road where I can go rollerblading.
AGE. What has inspired you lately outside of fashion?
DN. Honestly, many things. Sometimes, just walking on the street without music inspires me. You observe things around you, and somehow, it helps you understand life better.
AGE. A detail people rarely notice about you?
DN. That I can be quite serious, even though I’m very easygoing.
AGE. One object you never travel without?
DN. Headphones.
AGE. Your ideal way to spend a slow morning?
DN. A long black coffee on a terrace, breathing fresh air. That’s a very good start to the day for me.
AGE. Something that instantly sparks your creativity?
DN. Getting things done. When I finish the things I need to do, I feel more relaxed, and then creativity comes easier.
AGE. A habit you’re trying to improve right now?
DN. Learning languages and staying consistent with them.
Unveiling His Yummy Side
AGE. What does the word “yummy” mean to you personally? Is it sensuality, confidence, pleasure, or something more unexpected?
DN. Honestly, “yummy” is such an interesting word because you can use it in many ways. For me, it means something sweet, something nice, something you don’t get every day. It has a playful energy, but also something a bit sensual and special.
AGE. Your visual world feels incredibly intentional and cinematic. When you approach a shoot, do you think more about emotion, composition, or storytelling first?
DN. I think mostly about emotion and composition first. Storytelling comes afterwards. At the beginning, you plan the mood and the visual feeling, and then once you are shooting, you kind of fall into the story naturally.
AGE. The story you created for Yummy feels both intimate and elevated at the same time. What kind of energy were you hoping people would feel when they looked at the images?
DN. I wanted it to feel artistic, calm, but also a little spicy. Something intimate, but still elevated. Not too obvious, but with a quiet tension.
AGE. Shoots often create strange little memories that never make it into the final images. Was there a moment behind the scenes that stayed with you long after the camera stopped?
DN. I think it was the feeling of exposure. This kind of shoot was quite new to me, so that feeling was interesting. It stayed with me because it felt different from what I’m used to.
AGE. You understand both sides of the lens, as the subject and the creator. Has being photographed changed the way you photograph others?
DN. Definitely. Being photographed has helped me a lot with photography because I know how it feels from the other side. I know what looks good, what feels awkward, and what I want to see in the final image. Sometimes I already see the image in my head, and then I need to explain it to the model so we can create exactly that moment. It helps me understand both the visual and emotional side of shooting.
AGE. What’s more attractive to you: someone with mystery or someone emotionally transparent?
DN. Honestly, a little bit of both. Mystery is always attractive, but at the same time, you don’t want too much mystery; you still need to understand the person. I like it when someone is emotionally open, but still interesting. If everything is too obvious too quickly, it can become boring.
AGE. What’s the sexiest thing someone can whisper to you at the right moment?
DN. Honestly, I’m not sure. Maybe something that shows we’re both on the same page and that things are going the way we both wanted.
AGE. What’s your relationship with tension during intimacy — do you like teasing, restraint, and anticipation, or intensity without waiting?
DN. Definitely teasing, anticipation, and getting to the interesting parts slowly. It’s nice to play around with the tension and go with the flow.
AGE. What’s the most seductive thing someone can wear without trying too hard?
DN. I think something that feels effortless. Something simple, but with confidence. It’s not always about the clothes; it’s more about how the person carries themselves.
AGE. Are you someone who enjoys building tension slowly, or do you prefer instant chemistry and spontaneity?
DN. I prefer building tension slowly. Instant chemistry is great when it happens, and spontaneity can also be nice, but I like to feel interested and hooked. When something builds slowly, it feels bigger and more exciting.
A Final Note
AGE. Five years from now, what kind of life do you hope Drew has built, not just professionally, but emotionally and spiritually too?
DN. Honestly, in five years, I hope I’m much calmer and more strategic. I hope I’m happier with who I’ve become and proud of the life I’ve built. Even now, I’m learning every day and trying to implement those lessons into my life. Hopefully, all of it leads me where I want to be professionally, emotionally, and spiritually.
