Krystin Inman: Inside Her Material World

THE FABRIC OF VISION

INTERVIEW BY: EMILY ARAUZA

APRIL 23, 2025
There are people who follow trends, and then there are people like Kyrstin Inman, who create space. At just 23, the Houston-based stylist and creative director behind @Orphicfacility is redefining what it means to be multidimensional in a digital age. Her platform, Material Magazine (@material.entity), isn’t just a zine—it’s a living archive of artistry, community, and underground culture. With a gaze that sees the unseen and a style language that speaks in textures and tones, Kyrstin curates more than looks; she curates feeling. In a conversation that felt more like a portal than an interview, she opened up about creative risk, sacred collaboration, and building legacy in a city still finding its own cultural mirror.

This is Kyrstin: unfiltered, visionary, and deeply human.

Kristin Inman: “Hi, my name is Kyrstin Inman also known as @Orphicfacility on instagram. I am a multimedia artist with a primary focus on styling, and the founder/ creative director of Material Magazine (@material.entity)”

Emily Arauza: “I admire how you’ve carved out such a distinct presence both through your styling work and with Material Magazine. I’d love to start by asking how old you are and what initially drew you into the world of multimedia art and styling. Also, what inspired the creation of Material? I’m curious about the intention or feeling that sparked it.”

KI: “I’m 23 years old, and I’ve been an artist for as long as I can remember. Some of my earliest memories are of drawing and creating, it’s always been second nature to me. Growing up, my mom worked as a personal stylist and really encouraged me and my siblings to be expressive and embrace who we truly are. I looked up to her so much. Clothing has always been one of the most powerful ways I express myself. I see personal style as a form of self-discovery, your wardrobe is like a time capsule that evolves with you. While growing up, I was active in theatre working as a costume designer, and during my last two years of high school, I was head of the costume department. That experience made me realize just how powerful storytelling can be through clothing and costume design. Even the smallest details can carry so much symbolism and meaning. After high school, I went through a really challenging period. I was diagnosed with celiac disease during my sophomore year, and it took a while for my body to fully recover, so I didn’t go to college right away. During that time, I explored painting, collage, and jewelry design, but none of those mediums felt quite right.  After the pandemic, I decided to move to Austin, Texas, to attend ACC for graphic design. While living there, I discovered a vibrant and growing fashion scene. A few independent fashion magazines were popping up, and my friend encouraged me to get involved because of my style and deep love for fashion. It only took one photoshoot for me to realize fashion styling was my true calling. That experience reignited something in me, it became my purpose and filled me with new life. I spent two years in Austin building up my styling portfolio and immersing myself in that creative world. Eventually, I moved back to my hometown of Katy, and while being home, I realized just how much I missed the sense of community I found in Austin’s fashion scene. I’ve always been a natural leader, so I decided to take everything I’d learned and start something of my own. That’s how Material Magazine was created. I wanted to make a space for creatives in Houston to explore fashion, make connections, and grow. I wanted to build the kind of community I had found in Austin, but right here at home.”

EA: “Everything you shared carries such intention. From your roots in costume design to the way you view clothing as a personal archive, there’s something powerful about the throughline in your story; creation as a means of both survival and self-definition. The fact that Material was born out of a longing for community says a lot. It’s not just about aesthetics. It’s about building something that didn’t exist yet.

I’m interested in how you experienced that shift from being part of something to becoming the architect of it. What does it mean to you now to be a founder and creative director, not just stylistically but spiritually? And when you think about Material as a platform, what kinds of narratives or energies are you most intentional about amplifying through it?”

KI: “There’s a huge shift that happens when you go from being part of a project to leading one. Creating something like a magazine takes dedication and hard work. It's not just about creativity, but also commitment and consistency. I’m incredibly grateful to have had the support of both my mom and dad throughout this process. They’ve given me so much guidance, especially when it comes to the business side of things. From the start to the magazine’s release, it was a 9-month process. I was working on it every single day, even while clocked in at my day job. Despite all the stress, it’s been one of the most rewarding experiences of my life. What I care most about is creating a space for people’s talent to breathe and speak for itself. As a creative director, I gave teams a clear starting point for inspiration. Fashion is the core of this project, and I focused on teaching everyone how to learn and get inspiration from iconic designers like Gaultier, Thom Browne, and Margiela. While encouraging them to build upon that inspiration and to take it in a direction that’s authentic to their own vision. Collaboration is another essential part of what I emphasize. Being a creative in a team means learning to let go of ego and be open to others perspectives. At the same time, you need to be confident in your own voice and ideas. The balance of listening while still contributing is crucial. It’s a skill every creative needs to develop, especially when turning this from a passion into a career.”

EA: “That level of commitment really shows. Nine months of building while balancing a day job—that speaks to a kind of creative endurance that often goes unseen. The way you lead with both structure and space for individuality is powerful. Referencing Gaultier, Thom Browne, and Margiela as teaching tools also speaks to your ability to bridge legacy with emerging talent. I’m curious how that mindset translates across geography. What’s the cultural shift you’ve felt moving from Austin back to Houston? How does each city speak differently to your creative process? Also, you mentioned the guidance your parents gave you, especially on the business side. What’s one piece of advice from them that’s really stayed with you, something you return to when things feel overwhelming or uncertain?”

KI: “I think the creative atmospheres in Houston and Austin are different, but they definitely share some similarities. Both cities have so much to offer. Austin is smaller and more close-knit, with a well-established creative scene that made it a bit easier to get involved when I was first starting out. It’s also where I really began to establish my own personal aesthetic with fashion photography. Houston, on the other hand, is much larger and filled with a wide range of styles and voices, which gave me the opportunity to find a space that truly resonates with me and my vision. Honestly, either city is an amazing place to explore fashion and grow creatively, and I’m really grateful to have experienced both. There’s so many talented people in Texas. One thing my parents have always reminded me is never to doubt myself and to trust my instincts. Everyone’s path is different, and if you stay true to who you are and lead with good intentions, everything else will naturally fall into place. Self doubt is your biggest enemy, don’t let it win.”

EA: “That contrast between Austin’s intimacy and Houston’s expansiveness really paints a full picture of the creative range in Texas. I love how you’ve been able to draw from both environments to shape not just your aesthetic, but your overall approach. It says a lot about your adaptability and vision as an artist. And what you shared about your parents—that reminder to trust your instincts and stay grounded in who you are—feels like the kind of wisdom that fuels longevity in any creative pursuit.

You mentioned drawing inspiration from designers like Gaultier, Thom Browne, and Margiela. I’d love to hear more about what specifically resonates with you in their work. Are there certain collections, philosophies, or design choices that have influenced the way you approach styling and direction?

Also, thinking about someone who’s just starting out, maybe someone who feels that same fire but doesn’t know where to begin—what’s something you’d want them to hear from you? What do you wish someone would have told you in your early stages? And just to go a layer deeper, beneath all the titles and output, who is Kyrstin when no one’s watching? What are the moments that refill you, that bring you back to your center when the work gets loud?”

KI: “There’s always something to learn from the greats like Gaultier, Thom Browne and Margiela, they all have such distinctive styles and perspectives. But I think Alexander McQueen is the designer I look up to the most. He was such a creative spirit, he had ideas running through him constantly. Which is something I can relate to. And he never took no for an answer, he knew that he was talented and didn’t let any obstacles get in his way. He also came at the fashion world with a very new bold approach which a lot of people at first didn’t like and didn’t understand at all. But he didn’t change what he was doing, he didn’t mold his art to fit what was “in.” When he got appointed as the creative director of Givenchy, his first collection was given awful reviews. But if you were to show anyone that same collection today, I bet you that they would say it was incredible. Even while he was at Givenchy, he was working on his own brand simultaneously. which is also something that I feel that I am doing with leading Material while also focusing on growing independently. Alexander McQueen used his designs to tell stories. Each collection had something to say, and it was always something that needed to be said. The world had to catch up to him. And sometimes that’s something we all need to remind ourselves of. We all have our own unique voice and when you’re a creative in any capacity, you should make the art you want to see, not what you think will get you the most likes or story reposts. Be authentic to yourself, and the rest will catch up to you. And don’t sit around waiting for opportunities to come to you, you could be waiting forever. Go out and create them for yourself. Grab a friend, do a photoshoot. Do ten with that same friend if it feels right. Just keep making. Art should be fun, expressive, and true to you. You don’t need a full production team to make something meaningful, just you and someone who “gets it”.  Outside of the fashion world, my life looks pretty different. I work at a wine tasting room, which has a completely different vibe, but I love it. There’s something really grounding about having a consistent place to show up to. That job is actually what funds all my creative projects. When I’m not working, you’ll probably find me watching a movie. So far this year, I’ve watched 83 films. I'm a huge Letterboxd user. Watching movies has always been my biggest escape. It’s rare that a day goes by without one; they help me unwind and often inspire my creative work too. Films have been a comfort to me since I was a baby, and they’re a big part of how my family bonds, we all love movie nights. I’m also super close with my family and spend a lot of my downtime with them since I still live at home. Between everything I juggle, it can be hard to see friends regularly, but I make it a point to carve out time at least once a week for my best friends, especially Rafael, my best friend of 10 years. Anytime I’m feeling overwhelmed, just sitting at his apartment helps all the anxiety melt away.”

EA: “You mentioned Alexander McQueen earlier, and the way you connect to his story really stood out. There’s something so powerful about his refusal to compromise—how he made space for his own voice even when the industry didn’t fully understand him. That comparison you drew between his dual role at Givenchy and your own journey with Material while growing independently—that’s a bold parallel, and it speaks to your creative drive and discipline. You also talked about how important it is to stay authentic, to create the art you want to see—not what you think will perform well. That’s such a valuable reminder, especially now, when so much of creativity is filtered through algorithms. And I love that you highlighted the simplicity of just grabbing a friend and making something meaningful. That’s real. Outside of your creative world, you’ve built a routine that keeps you grounded—working at the wine tasting room, spending time with your family, and escaping into film. You mentioned you’ve already watched 83 movies this year, which is impressive. So, what’s a film you always return to? Or maybe a director whose body of work consistently speaks to you? And reflecting on everything you’ve done so far with Material and beyond—what’s been your biggest personal takeaway?”

KI: “David Lynch is one of my favorite directors, known for his unconventional dreamlike approach to storytelling. He was always a strong believer in allowing his work to speak for itself, he often refused to explain the meaning behind his films. Lynch thrived in the abstract, his stories invited you to feel, rather than analyze. Many people found his work confusing; part of experiencing his art is learning to let go. The best art doesn’t require explanation. You can’t force a single interpretation with art, when others may see and feel something entirely different. Whether it’s Eraserhead, Mulholland Drive, or Twin Peaks, each viewer has their own unique interpretation and experience with that work of art. My biggest takeaway from my journey as a stylist and starting Material is that you really can do anything you set your mind to, even when it feels impossible. Keep going, but also know when it’s time to take a break. Your mental health is just as important as your career goals, and you can’t be your best self without taking time to rest and reset. Another key takeaway is to trust the timing of your path. You can’t rush the process, things will happen when they’re meant to. And when opportunities come your way, don’t just jump at them, take the time to consider if they truly serve you and your well being. Saying no doesn’t mean you’ve missed your only chance. The universe always has a plan, and what’s meant for you won’t pass you by.”

EA: “That perspective on Lynch is so aligned with how you approach your own work—art that’s meant to be felt, not explained away. There’s something so freeing in that idea of letting go and allowing meaning to emerge organically. Just like Lynch invites his audience into ambiguity, you’re building a world through styling and direction that encourages people to engage emotionally and individually. That’s rare. And powerful. What you said about trusting the timing of your path—that hit. There’s so much pressure to constantly be producing, constantly saying yes. But you’re right, discernment is a kind of strength. Protecting your mental health, listening to your intuition, letting yourself rest—those are all forms of longevity. You’ve already built something meaningful with Material, and it’s clear you’re playing a long game, not just chasing moments. So with everything you’ve done, everything you’re learning and becoming; I would like to ask you, what’s the ultimate goal? What’s the vision you’re walking toward, both creatively and personally?”

KI: “My goal is to be a stylist and creative director on a bigger scale. I’d love to work with actors and singers, styling them for campaign shoots, album covers, and maybe even red carpet events. I’d also like to work for different designers as a creative director for their latest collection campaigns. It’s all very fluid but that is my goal in my own personal career as of right now. 

As far as Material goes I’d love to keep growing it out. Maybe get it to the point where we have press passes / get invited to NYFW. I don’t like the idea of being tied to one thing forever, so I can’t say Material will be around forever, but right now we’re just getting started and I’m really excited about where it’s headed.”

EA: “That vision feels expansive, but also so grounded in who you are. And I love how you’re letting Material evolve naturally, without forcing permanence. There’s freedom in knowing something doesn’t have to last forever to be impactful. What you’re building is already creating space for others to grow, and that ripple effect matters. As we wrap up, is there any final advice you’d offer to someone trying to find their voice in this space? Anything you’d want the next wave of artists and stylists to carry with them?”

KI: “My Advice to anyone just starting out is, don’t feel like you have to have it all figured out right now. Life is different for everyone, and just because your moment comes later than someone else’s doesn’t mean you’re any less talented. Art should never feel like a competition and as long as you’re creating the kinda art that feels right to you that’s all that really matters. Stay authentic to yourself and the rest will come!”