Story

Taking risks.
Breaking rules.

Every evolution begins with a huge step. One Hundred Muses was built to test what Cambodian fashion photography could become when image-making was treated as authorship—not assignment.

PHNOM PENH CAMBODIA EST. 2008

Sarin Preap by Chem Vuth Sovin & Alex Tee

THE ARCHIVE

We arrived at this work through curiosity, refusal, and craft.

From the OHM Statement

One Hundred Muses was not designed to follow inherited rules of taste; it was built to test what Cambodian fashion photography could become when image-making was treated as authorship.

Each frame was shaped by collaboration between photographers, stylists, makeup artists, hair teams, performers, and designers who understood that elegance becomes powerful when it carries risk. The pictures move between restraint and provocation while keeping the emotional surface precise.

This archive is both a record and a proposition. It insists that editorial fashion from Phnom Penh belongs within a wider visual conversation—not as imitation, but as a language with its own discipline, appetite, and distinctly Cambodian confidence.

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—MANIFESTO—

"We did not begin with permission. We began with instinct, pressure, resourcefulness, and a desire to produce images that could hold their own."

From the Founding Statement

Inside the Archive
100Muses 03Sub-projects 2008—Ongoing And Ongoing
—IN THE FIELD—

"Every shoot demanded negotiation between ambition and limitation. Clothes, bodies, light, gesture, makeup, and mood all had to resolve into a single frame that felt inevitable."

Ke Chankesey by Chem Vuth Sovin & Alex Tee

—A QUIET BELIEVER—

Every project that endures is held up by someone who believed in it before there was anything to see. For One Hundred Muses, that person is Sothy Sovithya—known to many simply as Alex Soth.

Since 2018, he has been the archive's steadiest financial backer, supporting the majority of its shoots through those early, formative years. He chose to invest not in a guaranteed return but in a possibility—that Cambodia's creative industry could grow into something the next generation would be proud to inherit.

His support has never been loud. It has been consistent, generous, and grounded in real faith in the people doing the work. One Hundred Muses exists in the form it does today, in large part, because Alex chose to back this vision while it was still finding its shape.

For Sothy Sovithya—who saw what this could become, and helped it endure.

—IN CLOSING—

The story of One Hundred Muses cannot be reduced to style alone. It is a story about persistence—about trusting that Cambodian image-making could be elegant, confrontational, sensual, and self-defined without asking to be translated first.

Phnom Penh · Cambodia · 2008—Ongoing