The internet moves fast, and it might move incorrectly at times. Photos of Pedro Pascal walking around New York and Beverly Hills with an arm casually—intimately—wrapped around Olarra’s waist have contributed to the recent spike in searches for “Rafael Olarra actor.” The problem is that Rafael Olarra isn’t an actor. Not in the traditional sense. In many respects, he is something more subdued and possibly more powerful behind the scenes.
Rafael Olarra, who was born in Gualeguaychú, Argentina, attended the Universidad del Cine in Buenos Aires before allegedly honing his artistic abilities in Madrid. Considering his current body of work, which is international, meticulously detailed, and grounded in a cinematic sensibility, the trajectory makes sense.
| Category | Details |
|---|---|
| Name | Rafael Olarra |
| Born | Gualeguaychú, Argentina |
| Education | Universidad del Cine, Buenos Aires |
| Profession | Creative Director, Art Director |
| Current Role | Creative Director, Faena Group |
| Known For | Luxury hospitality design, art direction, media attention linked to Pedro Pascal |
| Reference |
Argentine hotelier Alan Faena launched the upscale hospitality company Faena Group, where Olarra has been creative director since 2015. You’ve felt his impact if you’ve ever entered the Faena Hotel in Miami Beach—the dramatic lighting, the rich reds, the feeling that you’ve entered a dream set by someone who appreciates excess but knows when to use moderation.
Perhaps closeness is the source of the misunderstanding surrounding the “actor” label. Olarra’s social circle consists of celebrities, designers, and artists. He calls himself a “triathlete” and a “adventurous traveler” on Instagram. He looks comfortable in pictures with celebrities like Gisele Bündchen and Cher. Although his work is more architectural than performative, there are visual similarities to entertainment culture.
During a stroll in the Lower East Side of New York in early February, Pascal and Olarra clasped hands before having supper. A couple of days later, they went to see Wuthering Heights together and talked a lot. Images of the two in Beverly Hills, wearing sports attire and grinning widely in the California sunshine began to circulate by the end of February. Pascal lays his chin on Olarra’s shoulder in one of the pictures. Olarra’s arm extends back around him in another.
Fans noticed right away. One online follower said, “He must really be in love,” pointing out that Pascal hardly ever seeks attention from the public about his personal life. Others applauded the seeming absence of spectacle—no formal declarations, no planned disclosures. Regarding the nature of their relationship, neither man has made any remarks.
As the conjecture develops, a recurring pattern becomes apparent. Labels scramble to fill the voids whenever someone in the orbit of fame enters the spotlight, even for a short time. performer. Model. influencer. It’s simpler to classify than to comprehend. However, Olarra’s career defies simple categorization.
His job at Faena, according to his website, is to bring Alan Faena’s vision to life while working with industry titans like Rem Koolhaas and Baz Luhrmann. It’s a magnificent, almost operatic language. However, people with experience working in upscale hospitality know that creative direction at that level necessitates meticulous attention to detail, including lighting angles, fabric swatches, and spatial choreography.
Outside of Faena, Olarra works as a freelance art director for television, theater, fashion ads, and exhibitions. It’s not glamorous in the sense of a typical celebrity. It is an iterative process that shapes settings rather than inhabiting them; it is frequently unseen to the general public. It’s difficult to overlook the contrast between the flashbulb rush of paparazzi culture and that meticulous, behind-the-scenes artistry.
Luke Evans, a Welsh actor well known for Beauty and the Beast, was Olarra’s previous partner. The media was also interested in that relationship, albeit not as much. Perhaps this time, interest has been heightened by Pascal’s level of celebrity, which has been enhanced by his role in The Last of Us.
A larger cultural moment is at work. Public love between two men, particularly those who are well-known throughout the world, has a subtle meaning. The images’ informality—arms clasped, laughter unguarded—suggests ease rather than pretense. Nevertheless, complexity can be flattened by supposition.
Despite being publicly gay and shamelessly visible in his community, Olarra has not established a reputation for coming out as gay. His career is still focused on design and using space to communicate stories. His work, which is ingrained in upscale neighborhoods from Miami to Buenos Aires, is probably going to last longer than the romance allegations.
