In a candid interview with Finland’s Chaoszine, Ignacia Fernández, the reigning Miss World Chile 2025 and a 28-year-old model, unveiled the unexpected trajectory of her artistic life, charting her evolution from the polished world of beauty pageants to the visceral intensity of progressive death metal as the vocalist and founder of the Chilean band DECESSUS. Fernández’s narrative offers a compelling insight into the convergence of seemingly disparate passions, challenging conventional perceptions of beauty and artistic expression.
The Genesis of a Metal Voice
Fernández’s foray into heavier music began at a remarkably young age. "Ever since I was very young, I loved music, all kinds of music," she recalled, detailing a childhood steeped in diverse musical influences from her parents. While a broad appreciation for various genres was present, rock music quickly became her primary focus. This nascent interest soon evolved into a yearning for more potent sonic landscapes. "But then when I started to grow up, I was feeling the need to listen to more heavier songs."
The pivotal moment arrived around the age of eleven, when she discovered the groundbreaking sound of System of a Down. This discovery marked a significant shift, pushing her musical exploration into more aggressive territories. Prior to System of a Down, Guns N’ Roses had already introduced her to a more energetic brand of rock than her father typically favored, laying the groundwork for her embrace of heavier sounds.
The true catalyst for her vocal aspirations, however, emerged from unexpected sources. Fernández first encountered harsh vocals through the Dutch symphonic metal band Epica. "The guitar player, Mark Jansen, does some harsh vocals, and I was very impressed. I really loved the sound, but it never came to my mind that I could also produce that sound," she admitted. The idea of a woman producing such guttural sounds seemed beyond her comprehension at the time, viewing it as a male domain.
This perception dramatically shifted when she witnessed a live performance video of Arch Enemy’s "Nemesis" in Japan. "And that was the first time I saw a woman singing death metal, and I was really impressed — really impressed. And ever since, I was, like, ‘I want to do this.’" This visual and auditory revelation ignited a fervent desire to emulate the power and ferocity she witnessed, fundamentally altering her artistic ambitions.
Cultivating the Death Metal Cry
Fernández’s journey to mastering death metal vocals was far from instantaneous. "I always wanted to do music," she explained, acknowledging a lifelong inclination towards musical expression without a clear path. The absence of musical instruments in her home meant her early engagement was purely auditory. "It wasn’t part of my daily life. So I never knew what I wanted to do, but I knew it was music." The sight of a woman commanding death metal vocals provided the definitive direction.
When asked about emulating Arch Enemy’s iconic vocalist Angela Gossow, Fernández clarified that while Gossow was a seminal influence, her initial practice involved exploring sounds from various bands. "Actually, at the beginning, I wasn’t listening much of Arch Enemy, even though it was the first time I listened to a woman [singing like that]. I was listening more other bands. I was trying to emulate the sound in my room." She described a solitary and experimental process, fraught with challenges. "My mother probably was very scared — I don’t know — but I was trying, I was trying. I was failing a lot."
Her self-taught method involved extensive online research. "With the computer, I was looking for information, how to do it. I was reading some stuff online, seeing some videos, but I never found a good video." She pieced together techniques from disparate sources, a laborious endeavor that took considerable time. "But I was trying to pick different stuff from here and there to try to do it until I found the sound, but it took a while. It wasn’t a very fast process."
The Agonist’s Alissa White-Gluz also emerged as a significant inspiration. "I have such bad memory. I really don’t know, but I always will remember The Agonist with Alissa White-Gluz. She was definitely one of my biggest inspirations. She is one of my biggest inspirations in music and in singing."
From Solo Pursuit to DECESSUS
Before forming DECESSUS, Fernández had not been involved in any established bands. Her musical journey experienced a period of hiatus due to personal circumstances. "Well, when I developed the sound the first time, I then stopped for many years doing everything that I liked because of some personal things and not feeling very well, et cetera." Upon her return to music, she was resolute in her approach. "So when I came back, ‘Okay, I will start singing again. I will start doing vocal lessons and then I will build my own band.’ And so I did." This commitment led to two years of dedicated vocal training, during which she concurrently began laying the groundwork for DECESSUS.
The Studio and the Stage: First Encounters
The recording process for DECESSUS, undertaken during the challenging COVID-19 pandemic, presented unique obstacles. Studio access was severely restricted in Chile, forcing the band to adapt. "In Chile, it was just when the people could start going out again, but with some permits and for a few hours. And it was very difficult. And every studio was closed. So the guy who recorded me found a home, a place. He set up everything in there."
Fernández recounted her initial apprehension during this unconventional studio session. "I went with my mom and my sister. I was so scared. I didn’t know what to do. And, yeah, it was a very weird experience, but very cool." Despite the nerves, the session proved successful. "But then everything went very smooth, and I was feeling great, and the end result was great. I was happy. I was there for quite a few hours, and then I left home very, like, ‘I did it. I can start doing this. I achieved my first goal.’"
Her debut live performance with DECESSUS was an equally daunting yet ultimately rewarding experience. Unlike her bandmates, who had extensive musical backgrounds and performance experience from their shared history at an art school, Fernández was a complete novice on stage. "The guys in my band, they have played together since they were, like, I don’t know, seven years, eight years. They studied at the same art school, and they had many bands and a lot of experience, but I had never been on a stage, and I was really afraid."
The anxiety was so profound that she contemplated abandoning the performance altogether. "I actually went out, went to a little park that was nearby, sat down with my bottle of water and was really planning and seeing how bad would it be if I just go home. I was going to do it. I was, like, damage control, you know?!" Her resolve was bolstered by the unexpected arrival of her best friend. "Then my best friend came walking. I never knew he was going to the show. And he saved the day. I was, like, ‘Okay, come on inside. Come inside.’ And then I did it." The physical manifestation of her nervousness was palpable. "I was very nervous. I was shaking all the time, so I had to take the microphone with both hands so people wouldn’t notice."
Despite the internal turmoil, the performance concluded on a high note. "It ended up being very nice. The place was full. We sold out the tickets. That was amazing. The people were so energetic. I remember that day in a very good way." This initial challenge underscored the transformative nature of overcoming stage fright and the supportive energy of a dedicated audience.
Vocal Versatility and the Future of DECESSUS
Regarding the potential for clean singing within DECESSUS, Fernández articulated a clear artistic vision. "The thing is that when I built the band, I always wanted it to be just screaming. That was my vision." While she appreciates bands that incorporate both harsh and clean vocals, her initial intent for DECESSUS was singular in its focus. However, she hinted at subtle shifts in their upcoming material. "But we have a few songs in the album, new album that is coming out, that I sing a little bit — just a little bit."
The prospect of revealing her clean vocals elicits a distinct form of nervousness. "Yeah, absolutely. Because it’s different. I mean, of course my screaming is my voice. I’m not using any kind of effect or whatever. It’s not my speaking voice, so it’s like my alter ego. But then if I sing clean vocals, it’s myself, and that makes me very nervous." This self-awareness highlights the deeply personal nature of her vocal expression, with screaming representing an amplified persona and clean vocals revealing a more vulnerable self.
Miss World Chile and the Fusion of Worlds
Fernández’s participation in the Miss World Chile competition garnered significant attention, particularly her decision to perform a DECESSUS song during the semifinals, a moment that subsequently went viral. She explained her rationale to SiriusXM’s Jose Mangin of Liquid Metal: "When the option to enter the contest came, they were, like, ‘Okay, but we have the sport competition, we have the talent competition and everything, so you have to do them.’ I was, like, ‘All right. But I was suspicious about making the music because I was a little bit afraid and everything.’"
Her choice to perform original material was a deliberate act of authenticity. "I was, like, ‘Okay, this is my only talent. I’m going to sing and I’m going to sing a song from my band to at least show what I do.’ Because then if I did another song from, I don’t know, Arch Enemy, I didn’t want them to be mad at me because a beauty contest kind of thing, like, I was like, ‘Okay, if I’m going to fuck it [up], I’m going to fuck it [up] with my music at least.’" This statement underscores her refusal to compromise her identity for the sake of conventional expectations.
The Miss World platform, for Fernández, transcends superficial notions of beauty. "Miss World, for me, is important because it gives you a platform to work on something you are passionate about, to have a voice. It’s called Beauty With A Purpose. So you have to have a social project. You have to do something real." Her passion lies in animal rights, an area she intends to champion. The inclusion of a talent segment in the competition provided an avenue to integrate her musical endeavors.
"And I’m trying to show myself as I am. Of course, I know it’s not common to have a metal vocalist in a beauty contest. I am absolutely aware of that, but it is what I am, so I’m not afraid to show how I am, even though I know lots of people doesn’t like that I will go and sing metal vocals at Miss World." Her candidness challenges the traditional paradigms of beauty pageants, advocating for a more inclusive and multifaceted definition of a complete woman.
A Trailblazing Performance
Fernández represented the Las Condes district in the Miss World Chile pageant, where her performance of an original DECESSUS song, clad in a ball gown and accompanied by guitarist Carlos Palma, captivated both the audience and the judges. The initial shock quickly transitioned into widespread acclaim, with one judge reportedly remarking on the unprecedented nature of such a performance in a beauty contest. This event marked a significant moment, demonstrating the potential for artistic fusion and challenging preconceived notions.
DECESSUS: A Rising Force
Formed in 2020, DECESSUS has rapidly established itself within the metal scene. The band, comprising drummer Martín Fénix and bassist Jaime Pepe alongside Fernández and Palma, has already shared stages with international acts such as Insomnium and Jinjer. Their performances have extended to festivals in Finland and Germany, and they notably opened for Epica in Santiago in September 2024. This trajectory highlights their growing influence and international recognition.
A Life Defined by Duality
Born and raised in Santiago, Chile, Ignacia Fernández has successfully navigated the demanding worlds of modeling and extreme music since beginning her modeling career in 2013. Metal, she asserts, has been "a fundamental part" of her identity, serving as "a refuge, a source of strength and purpose." Her life embodies a profound commitment to her artistic expressions, demonstrating that multifaceted passions can coexist and flourish, redefining success on her own terms. Her upcoming participation in the 75th Miss World 2026 in Vietnam, scheduled for September 5, 2026, promises to be another platform where she can further challenge conventions and inspire others to embrace their authentic selves.
