Who is Rafael Olarra, the Argentine art director photographed being affectionate with Pedro Pascal in New York?

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A Sunday stroll in Manhattan was all it took to put a new name on the pop radar. Actor Pedro Pascal was photographed on the Lower East Side with Argentine art director Rafael Olarra, in images where they appear arm in arm on their way to lunch.

The photos first circulated on entertainment sites like TMZ and then spread across social media, triggering basic but persistent questions: who is Olarra, what does he do, and why does his aesthetic seem to fit any film set without the need for cameras?

So far, neither Pascal nor Olarra have made any public comments regarding the context of the departure. In the absence of statements, what can be verified is limited to what the images show and Olarra's extensive and quite specific career path: the construction of visual worlds for luxury hotels, editorial fashion, campaigns, and cultural experiences, with a strong foundation in the Faena ecosystem .

Olarra is Argentinian, born in Buenos Aires, and his public story is that of a creative trained to move between disciplines. A profile published by Infobae describes a childhood marked by the countryside in Gualeguaychú, outdoor life, and an education that blended art and craft. That same text presents him as "the architect" of the aesthetic universe surrounding businessman Alan Faena, a key figure in understanding why his name appears in conversations about fashion, architecture, contemporary art, and celebrities.

According to this profile, his training included painting, photography, sculpture, and art direction for film at the University of Cinema in Buenos Aires, plus a period of diverse work in Madrid, from occasional jobs to a decisive first opportunity at a photography production company. The idea of Olarra as someone who learns "by doing" is repeated throughout his professional story: an art director who not only designs an image, but also produces it, edits it, and makes it habitable.

The turning point, according to the same account, came when Faena was looking for someone capable of bringing his vision to life, not just decorating a lobby. The Faena Hotel Miami Beach and its associated cultural district became a kind of permanent staging laboratory, with references ranging from theater to publishing. On Rafismo's official website, Olarra himself presents himself as the art director of the Faena Hotel and as someone in charge of "materializing" Alan Faena's vision and enhancing the Faena District, mentioning collaborations and names that serve as a map of his creative DNA, including Baz Luhrmann, Catherine Martin, Ximena Caminos, and Rem Koolhaas, among others.

This type of role explains why her career appears connected to the world of fashion and photography. The Infobae profile details collaborations with photographer Mario Testino and work for publications like Vogue and Vanity Fair, as well as projects for V Magazine. It's the kind of career path that isn't always known to the general public, but in the industry, it serves as an immediate credential: when someone builds a consistent visual universe, doors open on sets, backstage, and in campaigns.

In parallel, Olarra consolidated "Rafismo," his brand and creative direction platform. The Rafismo website showcases work in fashion and commercial collaborations, and his public biography is complemented by a social media profile where he defines himself as creative director at Faena and describes a life filled with travel, climbing, and athletic training. This dimension—that of the creative with the discipline of an athlete—is not a minor detail: it forms part of his personal narrative and the way he positions himself in an industry where identity is also a product.

There is another piece of information that adds context to the New York scene: on Instagram, posts appear that are geolocated or linked to "FAENA New York," suggesting that their relationship with the brand also has ramifications in the city, beyond Miami.

This isn't the first time she's been linked to a Hollywood celebrity. Olarra had a well-known relationship with fellow actor Luke Evans , which lasted at least two years.

For now, the story involving Pedro Pascal hinges on a single event—a public appearance captured by paparazzi—and the contrast between two figures who, from different backgrounds, make a living by constructing personas. Pascal does it in front of the camera. Olarra, behind it. What connects them, if there is anything more than a chance encounter, cannot yet be confirmed with verifiable public information. What can be stated with certainty is that Rafael Olarra is not unknown in the creative industry: he is one of those names that frequently circulate in fashion, cultural hospitality, and art direction circles, until a photo taken on the street propels him into the global conversation.