Belgian photographer Regine Mahaux, renowned for her longstanding work with the Trump family, recently defended the latest official portrait of First Lady Melania Trump, asserting that the image captures Melania’s “kindness.” The remarks, made during an interview with Vanity Fair on Wednesday, January 29, have ignited a spirited discussion on social media.
Mahaux, who has been photographing the Trumps since 2008 under assignments from Getty Images, has documented many pivotal moments in their public lives. Her portfolio includes Melania Trump’s first official portrait as First Lady in 2017 and the ceremonial events of the January 20 presidential inauguration.
The 2025 official portrait of Melania Trump presents a striking black-and-white image of the First Lady wearing a tailored Dolce & Gabbana tuxedo, complete with a cummerbund and a crisp white shirt. Standing in the Yellow Oval Room of the White House, with the Washington Monument framed in the background, Melania exudes an air of reserved elegance.
In the photograph, the 54-year-old former model poses with her hips slightly angled and her fingers tented atop a reflective table, eyes locked intently on the camera. While many have interpreted the image as projecting seriousness and authority, Mahaux sees something more personal in her work.
“The goal while capturing the official portrait of Melania was to ‘always do something that really reflects her,’ Mahaux explained. ‘I feel that her kindness and involvement and her engagement are reflected in this picture.'” Despite Mahaux’s intentions, the portrait has drawn criticism on social media, with some accusing it of being overly retouched.
The photographer, however, countered these claims, emphasizing her commitment to authenticity. “The picture didn’t need to be retouched because we wanted to keep the authenticity,” she insisted, adding that the day of the shoot was overcast, lending a natural, subdued light to the scene. “It was gray, and Melania looks good in gray, and everything looks good in gray,” Mahaux noted.
Mahaux’s assertion that the portrait reflects Melania’s “kindness” was met with skepticism and mockery online, particularly on the social media platform X. Users questioned the sincerity of the claim, with many doubting whether such a quality could be captured in a single photograph.
Tweets reacting to Mahaux’s comments ranged from sarcasm to outright disbelief. One user wrote, “Kindness? I must be looking at a different portrait,” while another commented, “If this is kindness, I’d hate to see indifference.”
As the debate over the portrait continues, Mahaux stands by her work, suggesting that true artistry lies in capturing the essence of the subject beyond public perception. Whether or not the image succeeds in conveying the qualities Mahaux describes, it has undeniably sparked a lively conversation about the intersection of art, politics, and public image.