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ADÉLA and Chris Horan Built a Pop Identity
The singer and her creative director built it out of her Slovak upbringing, her ballet training, and the American pop she grew up idolizing.
By Sergio Ramírez
· Founder · Oct. 20 '26
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"Ain't In LA" music video / Courtesy of CAPITOL RECORDS
In one of the standout frames of ADÉLA’s “Ain’t In LA” music video, the Slovak singer dances alongside children dressed in traditional folk costumes, positioned in front of a printed image of the Hollywood Hills. The children wear embroidered vests and full skirts, while ADÉLA stands at the center wearing baggy jeans and a crop top, her signature hot-pink hair completing the look.
In one of the standout frames of ADÉLA’s “Ain’t In LA” music video, the Slovak singer dances alongside children dressed in traditional folk costumes, positioned in front of a printed image of the Hollywood Hills. The children wear embroidered vests and full skirts, while ADÉLA stands at the center wearing baggy jeans and a crop top, her signature hot-pink hair completing the look.
At first glance, the difference in styling makes for a striking juxtaposition. However, it also captures the tension that is at the heart of the music video: the relationship between the American pop culture ADÉLA grew up idolizing and her own Slovak identity.
At first glance, the difference in styling makes for a striking juxtaposition. However, it also captures the tension that is at the heart of the music video: the relationship between the American pop culture ADÉLA grew up idolizing and her own Slovak identity.
This same tension and the meticulous attention to detail put into the video’s creative direction make “Ain’t In LA” such a compelling introduction to the pop star, especially during her breakthrough era. As a standalone song, “Ain’t In LA” has an infectious chorus that is sure to stay in your head for hours. The video, however, does what any successful music video should do and make the artist as memorable as the song itself. Much of the video's success is due, in part, to the visual identity ADÉLA has developed alongside creative director and stylist Chris Horan.
This same tension and the meticulous attention to detail put into the video’s creative direction make “Ain’t In LA” such a compelling introduction to the pop star, especially during her breakthrough era. As a standalone song, “Ain’t In LA” has an infectious chorus that is sure to stay in your head for hours. The video, however, does what any successful music video should do and make the artist as memorable as the song itself. Much of the video's success is due, in part, to the visual identity ADÉLA has developed alongside creative director and stylist Chris Horan.
If you’re a pop enthusiast, you most definitely have seen Horan’s work. He’s collaborated with the likes of charli xcx, Christina Aguilera and Demi Lovato, most notably helping shape the visual identity of charli’s brat era. What is most fascinating about his partnership with ADÉLA, however, is how it began. According to NYLON, Horan reached out to the singer early in her solo career, before she had the industry profile she has today. Their collaboration would go on to help define the visual world of her debut EP, The Provocateur, and eventually her debut album, PRIMA.
If you’re a pop enthusiast, you most definitely have seen Horan’s work. He’s collaborated with the likes of charli xcx, Christina Aguilera and Demi Lovato, most notably helping shape the visual identity of charli’s brat era. What is most fascinating about his partnership with ADÉLA, however, is how it began. According to NYLON, Horan reached out to the singer early in her solo career, before she had the industry profile she has today. Their collaboration would go on to help define the visual world of her debut EP, The Provocateur, and eventually her debut album, PRIMA.
In an industry where visual campaigns can sometimes feel assembled around music that’s already been completed, there’s something charming about a creative director becoming invested in an artist before there’s an established era to execute. And to me, that speaks to one of Horan’s greatest strengths as a creative director. He understands what makes a pop star distinct and, more importantly, understands how to translate those qualities into a recognizable visual identity.
In an industry where visual campaigns can sometimes feel assembled around music that’s already been completed, there’s something charming about a creative director becoming invested in an artist before there’s an established era to execute. And to me, that speaks to one of Horan’s greatest strengths as a creative director. He understands what makes a pop star distinct and, more importantly, understands how to translate those qualities into a recognizable visual identity.
"Ain't In LA" music video / Courtesy of CAPITOL RECORDS
The fact that Horan sought ADÉLA out so early suggests he recognized the makings of a pop star before the industry had fully caught on. That is a significant vote of confidence from someone who has helped shape one of the most recognizable pop aesthetics of the decade.
The fact that Horan sought ADÉLA out so early suggests he recognized the makings of a pop star before the industry had fully caught on. That is a significant vote of confidence from someone who has helped shape one of the most recognizable pop aesthetics of the decade.
But perhaps the most telling thing about Horan’s work with ADÉLA is how little of her identity he seems to have needed to invent. His creative direction draws from the qualities that were already there and puts them front and center.
But perhaps the most telling thing about Horan’s work with ADÉLA is how little of her identity he seems to have needed to invent. His creative direction draws from the qualities that were already there and puts them front and center.
In a 2025 interview with NYLON, Horan acknowledged that ADÉLA already had a strong artistic vision before their styling process began. The two shared an obsession with pop icons, and he encouraged her to embrace her Eastern European heritage and background as a professionally trained ballerina. That approach is best articulated by the shot I mentioned at the start of the article.
In a 2025 interview with NYLON, Horan acknowledged that ADÉLA already had a strong artistic vision before their styling process began. The two shared an obsession with pop icons, and he encouraged her to embrace her Eastern European heritage and background as a professionally trained ballerina. That approach is best articulated by the shot I mentioned at the start of the article.
Going back to the frame, ADÉLA occupies a contemporary visual language, while the children around her represent elements of the culture she grew up in. Yet, they are all participating in the same performance. The image allows us to read ADÉLA both as a girl who grew up idolizing American pop stardom and as a woman now establishing herself as a pop star in her own right.
Going back to the frame, ADÉLA occupies a contemporary visual language, while the children around her represent elements of the culture she grew up in. Yet, they are all participating in the same performance. The image allows us to read ADÉLA both as a girl who grew up idolizing American pop stardom and as a woman now establishing herself as a pop star in her own right.
In an interview with V Magazine, ADÉLA discussed developing the video alongside Horan and director Fred Gervais. She revealed that Horan proposed referencing the child dancers in Missy Elliott’s music videos, which prompted ADÉLA to suggest dressing children in traditional Slovak folk clothing. That exchange tells us quite a bit about their creative chemistry. For starters, it illustrates how Horan draws on his creative knowledge and cultural references to help ADÉLA realize her artistic vision. His contribution gives her a framework to build upon, while leaving room for her own experiences and identity to shape the final product.
In an interview with V Magazine, ADÉLA discussed developing the video alongside Horan and director Fred Gervais. She revealed that Horan proposed referencing the child dancers in Missy Elliott’s music videos, which prompted ADÉLA to suggest dressing children in traditional Slovak folk clothing. That exchange tells us quite a bit about their creative chemistry. For starters, it illustrates how Horan draws on his creative knowledge and cultural references to help ADÉLA realize her artistic vision. His contribution gives her a framework to build upon, while leaving room for her own experiences and identity to shape the final product.
Moreover, their partnership demonstrates how styling can communicate an artist’s story without requiring an audience to know anything about their biography beforehand. Throughout her emerging career, ADÉLA's aesthetic has drawn from 1990s Eastern European rave fashion, early 2000s supermodels, and her ballet background. Each influence reveals something about her cultural upbringing, artistic training, or understanding of femininity. Together, these references have become recurring elements of her visual identity, appearing across music videos, performances and editorial imagery.
Moreover, their partnership demonstrates how styling can communicate an artist’s story without requiring an audience to know anything about their biography beforehand. Throughout her emerging career, ADÉLA's aesthetic has drawn from 1990s Eastern European rave fashion, early 2000s supermodels, and her ballet background. Each influence reveals something about her cultural upbringing, artistic training, or understanding of femininity. Together, these references have become recurring elements of her visual identity, appearing across music videos, performances and editorial imagery.
"Ain't In LA" music video / Courtesy of CAPITOL RECORDS
Their specificity is also what sets ADÉLA apart from other current rising pop acts. At a time when seemingly every other pop campaign draws from the same Y2K revival references, ADÉLA's aesthetic feels more personal because those influences have a tangible relationship to her upbringing and artistic background. And that specificity is precisely what makes Horan's creative direction so effective.
Their specificity is also what sets ADÉLA apart from other current rising pop acts. At a time when seemingly every other pop campaign draws from the same Y2K revival references, ADÉLA's aesthetic feels more personal because those influences have a tangible relationship to her upbringing and artistic background. And that specificity is precisely what makes Horan's creative direction so effective.
Horan is helping to build a world around an artist, rather than asking the artist to fit into a predetermined aesthetic. ADÉLA’s cultural background, her professional ballet training, and her fascination with American celebrity are all treated as valuable parts of her identity, giving her a visual language that can evolve as her career grows.
Horan is helping to build a world around an artist, rather than asking the artist to fit into a predetermined aesthetic. ADÉLA’s cultural background, her professional ballet training, and her fascination with American celebrity are all treated as valuable parts of her identity, giving her a visual language that can evolve as her career grows.
Perhaps those details are what make “Ain’t In LA” such an effective introduction to ADÉLA as a pop star. The video understands that the most compelling thing about ADÉLA is, well, ADÉLA. And in that shot of her dancing in front of the Hollywood Hills, surrounded by reminders of where she comes from, that understanding comes into focus. Hollywood may have once been a dream, but ADÉLA has arrived with a world of her own. Perhaps that’s what Horan understood from the beginning: the makings of a pop star were already there. His job was simply to make sure the rest of us could see it.
Perhaps those details are what make “Ain’t In LA” such an effective introduction to ADÉLA as a pop star. The video understands that the most compelling thing about ADÉLA is, well, ADÉLA. And in that shot of her dancing in front of the Hollywood Hills, surrounded by reminders of where she comes from, that understanding comes into focus. Hollywood may have once been a dream, but ADÉLA has arrived with a world of her own. Perhaps that’s what Horan understood from the beginning: the makings of a pop star were already there. His job was simply to make sure the rest of us could see it.
SERGIO RAMÍREZ
Founder and editor of ZAYFR, a music and culture publication in Los Angeles. He writes, shoots, and art-directs all of it.
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