VOL.1 ISSUE 3
afi MAG
solo Photo: Neuf Klobatskii Model: Patricio Baca Olcese Hair & Makeup: Arnold Castro Stylist: Luis Mendoza C Ruzado Assistant: Jhorney Velezmoro Location: Tucume, Peru
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editor's Note VOL.1 ISSUE 3
Welcome to our first issue of 2017. This year, Afi will continue to bring to you inspiring photography from around the world. In this open themed issue, we have a variety of fashion and beauty editorials from dramatic elegant dresses to playful sequin filled makeup. In addition, we have three very interesting interview features which we are particularly excited about. This includes fashion and photographer Verginiya Yancheva, professional retoucher Lesya Kostiv, and mix media artist and designer Amy Karle. We just love hearing about their inner worlds, and we hope you find them interesting and inspiring too. Fashion weeks are also great times to get inspried. The London Fashion Week Fall/ Winter 2017 was surely not to be missed and we will show you some great designs from the London Fashion Showcase and the International Fashion Showcase. Afi is still an infant, and we would like to nurture it in a way that suit our readers, therefore do send us a message on what you would like to see in the future. As a reminder, our submission is always open for all you creatives out there. We have decided to encourage a theme in our next issue in April, so do check out our mood board on our website for some inspirations and ideas! We hope you enjoy this issue!
Stay creative! Conrad Lee (Editor-In-Chief) and Afi team
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solo Photo: Neuf Klobatskii Model: Patricio Baca Olcese Hair & Makeup: Arnold Castro Stylist: Luis Mendoza C Ruzado Assistant: Jhorney Velezmoro Location: Tucume, Peru
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Contents VOL.1 ISSUE 3
EDITORIALS “LADY GOLDiva” by Mauro Lorenzo P.7 “Wet and Mad” by Verginiya Yancheva P.23 “Vertigo” by Frank Bayh & Steff Rosenberger-Ochsi P.29 “Behind Blue Eyes” by Alexandre Bùi P.43 “Shine Bright” by Sophie Daum P.49 “The Breath of Seoul” by Julia Buruleva P.61 “Simple Things” by Dasha Denger P.73 “Cold as Ice” by Robert Lipnicki P.89 “The Keeper” by Elsa Dillon P.95
INTERVIEWS Verginiya Yancheva - Fashion & Advertising Photographer P.17 Amy Karle - Mix Media Artist & Designer p.55 Lesya Kostiv - Professional Retoucher P.83
EVENTS London Fashion Showcase at Gibraltar House P.37 International Fashion Showcase at Somerset House P.39
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solo Photo: Neuf Klobatskii Model: Patricio Baca Olcese Hair & Makeup: Arnold Castro Stylist: Luis Mendoza C Ruzado Assistant: Jhorney Velezmoro Location: Tucume, Peru
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Copyright Š. All rights reserved. No content within this publication is to be reproduced in any form without explicit written permission from afi magazine. Opinions and views of contributors are their own and not necessarily those of the publishers. Afi magazine reserves the right to edit any submitted material if required and is not liable for any errors/omissions.
Contributors VOL.1 ISSUE 3
COVER PHOTO Photographer: Mauro Lorenzo Model: Nilu Wadduwage Makeup artist: Monia Iovino Hair stylist: Antonio Candido Stylist: Carol Cordella Dress: Cordella Couture
EDITORIALS | SOLO IMAGES Mauro Lorenzo, Verginiya Yancheva, Alexandre Bùi, Frank Bayh, Steff Rosenberger-Ochsi, Sophie Daum, Julia Buruleva, Dasha Denger, Elsa Dillon, Robert Lipnicki, Ioana Mitro, Luis Pascual Sanchez, Neuf Klobatskii
INTERVIEW FEATURES Verginiya Yancheva - Fashion & Advertising Photographer Lesya Kostiv - Professional Retoucher Amy Karle - Mix Media Artist & Designer
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LADY OLDiva
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Photographer: MAURO LORENZO @maurolorenzo84 | Model: NILÙ WADDUWAGE Wardrobe Stylist: CAROL CORDELLA @karolcordella | Makeup: MONIA IOVINO @mimuaacademy | Hair Stylist: ANTONIO CANDIDO @antoniocandidounique Istituto Cordella fashion School @cordellafashionschool Location: Teatro Politeama Greco, Lecce, Italy
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www.maurolorenzo.com Lecce, Italy
Dress: Cordella Couture
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Dress: Pino Cordella
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Dress: Cordella Couture
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Dress: Christian Dior Boutique
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Dress: Christian Dior Boutique
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Dress: Archive Italian Suit sartorial Hat: Mango
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Dress: Escada Boutique
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Interview Feature
CAPTURE CAPTURE
WITH SOUL Meet Verginiya Yancheva, the professional fashion and beauty photographer, the photography business mentor, speaker and educator.
career in fashion photography has always been a bit of a mystery in its own right. To really break into the industry, not only does it require top level photographic skills, but also a set of people skills that enable one to widen their network. It can be a frustrating period for young fashion photographers just starting out. Thankfully, we have experienced mentors and educators like Verginiya, who not only captures inspiring imagery, but also dedicates her time in sharing with the world how success can be achieved. Through her Fashion photography Podcast, tips from herself and other top photographers have continued to empower the world of fashion photographers. Whilst she regularly interviews other photographers, we think it’s about time she has an interview feature of her own.
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Project for Elle Magazine Photographer: Verginiya Yancheva Stylist: Dimitrina Ivanova MUA: Marina Mladenova Hair: Lyuben Nikolov Model: Pirina Dzhupanova @ IvetFashion Stylist Assistant: Cristiano Pizhov
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“ ” Interview Feature
Tell us a bit about your background? I was born and raised in Europe, and I think this is very easy to catch from my photography style. It’s not intentional, it’s just because your everyday life always affect your work. I started off with drawing, but fortunately soon realised this wasn’t for me, so with the help and guidance of my gorgeous family I ended up in a high school with photography profile. I have biiig family - my parents, my sister, my brother and me - we are all doing very different things from each other but at the same time we are very close. So they were the people who told me back then that it’s ok to follow your heart and you don’t have to do what everyone expects you to do. And they were right, because after the high school I went to University studying visual arts (specialising Photography) as a bachelor, and again Photography as MA. I started off shooting for magazines at 16, and then assisting during my university years. How would you describe your work to someone who’s never seen it? Oh, it’s sooooo hard to explain a photograph only using words, really! But you know, there is this ancient story about the Indians, thinking that the photograph is capturing their souls…. Well, I’m leaving part of my soul in every photograph I take. I think this is the best way to describe my work. Finding a style in photography can be a real challenge. How did you find your own style? It wasn’t really a brainer for me, to be honest….
Im leaving part of my soul in every photograph I take. I think this is the best way to describe my work.
any of them, it’s like chopping off my fingers!
I try to give my best every time, so I know how much efforts every project takes. There are so many genres of photography, what attracted you to fashion and advertising?
I was drawing mostly graphic and clothes, and I’ve always been fascinated by people. So everything clicked quite easily. What does fashion mean to you? In terms of my work it’s mostly forms, lines, colors (if needed) and my type of beauty.
In terms of my everyday life it’s something very, very, very black :D Because that’s what I have mostly in my closet. When it comes to planning an editorial shoot, what is your starting point?
The only thing I wanted to do The first thing I think about is and I still want the same is to the mood I’d like to show to Image: Portrait of Verginiya Yancheva by Georgi Zhekov shoot, and shoot, and shoot… my audience. And the more you do it, the better you become, but all your surroundings, knowledge, friends they influence your work, and your projects, your art is always a What can we find in your camera bag? reflection of you. All sort of weird things, honestly. So I wasn’t looking for my style, I just do what I love doing, and I Apart from my camera and my lenses there are SO MANY batterdo my best to be myself and not anybody else, that’s how I got my ies, someone might thing I’m supplying battery stores. style. I believe many people have found it the same way. I also have a speed flash, just in case, tape, pen, my business cards, rain bag for my camera, some filters and one ladies sock. What is your favourite piece of work so far and why? Ok, that’s weird I have to admit it, but sometimes it’s a good way to make crazy effects if you put it on your lens…. I’m really judgmental when I talk about my work, but life has shown me I also have to appreciate the things around me, so I always really like my latest projects, may be because the memory of the creation process is really fresh hahaha! But I can’t choose
Mostly useful stuff. I don’t like to carry around things I’ll never use, my bag is already 11kilos without them.
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Project for Superior Magazine Photographer: Verginiya Yancheva Stylist: Stanimira Stefanova MUA: Marina Mladenova Hair: Georgi Petkov Model: Antoniya @ Ivet Fashion Model Agency
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If you want to succeed, you have to evolve your work every day, but you also have to know how to deal with people.
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Photography: Verginiya Yancheva MUA: Marina Mladenova Model: Vanessa @ Ivet Fashion Model Agency
Tell us a story about one of your most memorable shoot. There is a story behind every photo shoot, honestly. But since many people are asking me this question, I recently decided to share one BTS story every month, as a video in my social media channels, so you can check them out for more =) How did you come to working with your first major client? I had to work a loooot before this client hahaha! But it was because a word of mouth. In this industry everybody knows somebody, so if you want to succeed you have to evolve your work every day but you also have to know how to deal with people, because you never know what will happen tomorrow. What is the one thing that you would want your future clients to know about you? I really, really, really value my and the people’s time. I always start with good feelings for everyone and I treat the people, the way they treat me.
Project for Neverland Magazine Photographer: Verginiya Yancheva MUA: Alina Manova Model: Magdalena @ Ivetfashion
You are the co-founder of fashion photography podcast, how did that come about? The idea behind the podcast wasn’t mine. It was my soul mate’s – George. He knew I really want to share my knowledge and he was telling me to start the podcast may be more than one year before I decided I want to do it. Then it took us another year to publish it… Turned out it wasn’t as terrifying as I thought, just the opposite, I fell in love with it and soon we’ll be celebrating our 100th episode. George is my editor, my love, my mentor. He knows me soooo well, I’m glad he’s not bored with me, yet :D If it wasn’t him, I’d probably never started the podcast. Tell us a bit more about Fashion Photography Podcast. The Fashion Photography Podcast is one of my biggest passions ever since I got used to listening to my own voice, and that took me a while, because I’ve never been a big fan of it :D Every Wednesday we have an interview with a guest, it might be another fellow photographer, or MUA, or an agent and so on… And every Friday I’m sharing some of my work insights, some tips or answering audience questions.
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Project for 12 Magazine Photographer: Verginiya Yancheva MUA and Hair: Alina Manova Jewelry: Antoaneta Ramjuly Model: Victoria Danekova Yun @ IvetFashion Model Agency
Now thanks to our partners - Jute Magazine and Neverland Magazine our audience is constantly growing. People can download the podcast and listen to it on their mobile devices, or to see some of the photos from every episode on both Jute and Neverland magazine’s web-sites, it’s available also on Itunes, and honestly… we are not planning to stop growing our channels and partner list any time soon. Why is educating others so important to you, and to the photography industry as a whole? I know that this is not an easy business, and sometimes a person might need some guidance, advice and a little bit of care and that these things are not so easy to find, especially from the right people. So I thought if I can provide this, why would I hide? Educating our listeners, students, friend, clients can only help this industry and I strongly believe this will help our work to be valued the way it should be and we’ll grow easily. What do you do in your free time? Retouching hahahha! I love watching movies, eating delicious food and interacting with people. We (George and I) go to cinema almost every week. If we have the time we can go to dance some salsa, because we both love it.
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Quick fire: Tea or coffee? Tea Books or movies? It’s impossible to choose between those two, sorry! :D Dancing or singing? Dancing PC or Mac? PC Any words of wisdom you could give to aspiring photographers new to the industry? It will happen! You just have to believe it and work really, really hard for it. Be brave. Always look for mentors and new ways to learn.et where you’ve started. How can people contact you for work? E-mail and phone: info@vyancheva.com, +359886019032
www.vyancheva.com www.facebook.com/VerginiyaYancheva www.instagram.com/vyancheva
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Educating our listeners, students, friend, clients can only help this industry and I strongly believe this will help our work to be valued the way it should be and we will grow easily.
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Project for Superior Magazine Verginiya Yancheva - Photographer Stylist: Stanimira Stefanova MUA: Marina Mladenova Hair: Georgi Petkov Model: Antoniya @ Ivet Fashion Model Agency
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Kryolan ultra foundation OB1, OB2 CORRECTOR Kryolan concealer circle X1W, X62 Spiral Couvrance and lipstick Chenyu 102 Eye shadow Kiko black Blush and glow IsaDora lipstick Chenyu 102
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WET
&
MAD
Photographer: VERGINIYA YANCHEVA @vyancheva Model: ALEX - IVET FASHION @ivetfashion Makeup: VIOLETA CHANEVA @vilimakeup www.vyancheva.com Sofia, Bulgaria
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VERTIGO Photographer: FRANK BAYH & STEFF ROSENBERGER-OCHS @frankundsteff Model: JANINA V. @Brodybookings Wardrobe Stylist: BEATA ISABELLA NITZKE @beata_fashionstylist Hair & Makeup: RAHEL TÄUBERT @rtaeubert WWW.FRANKUNDSTEFF.DE Stuttgart, Germany
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Coat: Sanna Schubert Tights: Hudson Scarf: Sanna Schubert
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Hat: H&M, Tights: Hudson, Shoes: Graceland
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Overall: Sanna Schubert (www.sannaschubert.com), Shoes: Mave, Helmet: Vintage / Photographers own
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Jacket: Sanna Schubert, Trousers: Sanna Schubert, Shoes: Graf-A, Sunglases: Stylists own
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Jacket: Sanna Schubert, Leggins: Falke, Shoes: Stylists own, Sunglasses: ASOS
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Dress: Sanna Schubert, Hat: H&M, Gloves: Sanna Schubert, Shoes: Stylists own
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Overall: Sanna Schubert
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LONDON London Fashion FASHION Showcase WEEK 2017
GIBRALTAR HOUSE - 18th Feb Designer Rajvi Lodhia (elelcie) Model Jasmine Dhillon
uring London Fashion Week 2017, our editors attended the exclusive London Fashion Showcase held at the Gibraltar Embassy. Hosted by The Freelancer Club, this private event showcased work from emerging designers with live model installations over four floors within the Embassy. Designers include Gail Howard with her elegant collection with spanish influence; Stella Courtney with colourfully dyed designs; Rajvi Lodhia and her elelcie brand with light and flowing fabrics; and Maria Bustillos with her futuristic white and grey collection.
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D Designer Rajvi Lodhia (elelcie)
Events Designer Stella Courtney
Designer Gail Howard Designer Stella Courtney
Designer Gail Howard (right) with model Esther Ajie
Designer Gail Howard Model Tyla Brown
Designer Rajvi Lodhia (elelcie)
Designer Gail Howard
Designer Maria Bustillos Model Jasmin Brunner
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LONDON International Fashion FASHION Showcase T WEEK 2017 SOMERSET HOUSE, LONDON
he international Fashion Showcase at Somerset House in London was one of those absolute must-see public events during LFW 2017. Created by the British Council, British Fashion Council and Mercedes-Benz, the works of over 80 designers across 26 countries can be seen all under one roof. With the theme of Local/Global, each country’s collections and featured installations gave a real insight into the very fabric of their culture. Our editors had a good romp through their work and will show you some of our favourites.
India Designer @ka_sha_khan
Egypt Designer @norinefarah Room Designer @raph.caric
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Poland Designer @agatabirek
Events
Czech Republic
Guatemala Designer @van.meus
Germany Designer @studiowilliamfan Taiwan Designer Yiting Chen
China Designer Angel Chen Russia Designers @sainttokyo, @naidal, @turbo_yulia, @artemshumov, @za_za_fashion , @lumiergarson
Guatemala Designer @thelma_espina
Romania Designer @emesebako
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Photo: Joanna Mitroi Photography | Model: Esmee Balcewicz @Mahogany Model Management | Hair & Makeup: Kitty Nofah | Designer: Vinnette Grant Ubridled | Wardrobe stylist: Ioana Mitroi | Location: Chessington, London
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Behind
Blue Eyes
Photographer: ALEXANDRE BUI @axb.42 Model: AMANDA STRACHAN - Look Model Agency @lookmodelagency Makeup: MONIQUE NOELLE RUSSELL @joliebymoniquenoelle Assistant: SOFÍA HERNÁNDEZ @adrianasofiaaa Post Production: MAX RUZHINSKIY @ruzhinskiyretouch www.alexandrebui.com
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Berkeley, CA
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MAC Face & Body Foundation Kryolan Anti-Shine Powder MAC Studio Finish Concealer Kryolan Cream Eyeliner “Ebony” Kryolan Multi Gel Kryolan Glimmer “Silver” MAC “Please me” Lime Crime “Coquette” DUO Lash Glue RICO Star-sequin MAC Nailpolish “Nocturnelle”
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RIGHT - Kryolan Cream Eyeliner “Ebony” MAC In Extreme Dimension & False Lash Mascara, Lime Crime “Coquette” Lipstick DUO Lash Glue, RICO Star-sequin, RICO round sequin
SHINE BRIGHT
Photographer: SOPHIE DAUM @sosodaum | Makeup: JOSEPHINE WINTER @mrs_fressmaschine Model: SAMIRA @samira_la | Model Agency: LOUISA MODELS @louisamodels Assistant: KIM SAHIN @klsfotos WWW.SOPHIEDAUM.COM
Hamburg, Germany
All looks with MAC Face & Body Foundation, Kryolan Anti-Shine Powder, MAC Studio Sculpt Concealer
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MAC Face & Body Foundation Kryolan Anti-Shine Powder Mac Studio Sculpt Concealer MAC Paint Pot “Painterly” MAC False Lash Mascara MAC Eyeshadow “Cork” “Soft Brown” MAC “D for Danger” with “Retro” DUO Lash-Glue RICO round sequin
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MAC Face & Body Foundation, Kryolan Anti-Shine Powder MAC Studio Sculpt Concealer Urban Decay Eyeshadow “Naked” MAC False Lash Mascara DUO Lash Glue MAC Clear Lipgloss Sugarpill “Goldilux” Pigment RICO Star-sequin RICO round sequin
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LEFT - MAC 24-h-Eyebase MAC Eyeshadows “Brulé” “Cork” “Soft Brown” MAC “Clear Gloss” Essence Glitterdust “unreachable” MAC Nailpolish “Nocturnelle” DUO Lash Glue RICO Star-sequin
ABOVE MAC 24-h-Eyebase MAC Eyeshadows “Brulé” “Cork” “Soft Brown” MAC “Clear Gloss” Essence Glitterdust “unreachable” MAC Nailpolish “Nocturnelle” DUO Lash Glue RICO Star-sequin
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Photo: Breathe dress by Amy karle (left) with model Lisa Iannone
Interview Feature
SCIENCE, ART & FASHION Meet Amy Karle, an artist and designer who uses the mind, body, science and technology to create art.
orking across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is her subject and medium. Emulating patterns in anatomy, psychology and nature, Karle’s artwork taps our concepts of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Her work speaks to a wide audience because it explores and communicates fundamental truths of what it means to be human.
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Through a unique negotiation of art, design, science and technology she creates garments, sculptures, experiences, and performances using physiology, consciousness and technology to create representations of our internal states so that we may study the mind and body and even learn to reprogram it. Her bioart has established a new discipline in the art world.
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Tell us a bit about your background I was born and grew up in upstate New York. I’ve lived and worked in Manhattan, Milan (Italy), Detroit, and San Francisco. I’ve always been an artist since I was young, it’s the way I express myself best, the language I speak most fluidly. It’s my way of communicating what it means to be human with other people. I’ve always been interested in the body and healing and augmenting the body as well… I was born with a rare birth defect and couldn’t always do what other kids did. I had to learn what it meant to have freedom within constraint [of the body]. I had several surgeries until an experimental surgery worked when I was a teen. The way this life experience shaped me – and the understanding that others have life experiences and struggles that shape them - has consistently appeared in my work. I identify as both an artist and designer – to me, art and design are on a continuum where art is more personal: to make sense of one’s own world, and design is more global: to support others to help them make sense of their world. I’ve worked as an industrial designer in the Fashion and Automotive industry and have been working as a full-time professional artist for the past 12 years.
Interview Feature
What is the philosophy of your artwork? In creating and sharing my artwork, my intention is to contribute to social, political, and technical development by 1) inspiring people to ask questions about what it means to be human 2) opening minds by using technologies to explore and enhance being human in innovative ways 3) inspiring an understanding that there are opportunities for looking at things in new and different ways. Our life experiences shape who we are. At some point, we all have life experiences that confront us with questions of who we are, why we are here, why is there suffering; and have us stand in the awe and mystery of life, like how life is formed. Creating my artwork is a way for me to explore these topics and communicate an understanding with others that we are all human, and all have this shared experience of being human and living through our bodies. Some of these things are hard to discuss and hard to look at. Take for example the number of people who turn away from the sight of surgery, or speaking about death. I create artwork as a way to enable people to look at the beauty and mystery in the structure of how life works like my “Breathe”, dress, 2016 inspired by lungs or “Regenerative Reliquary”, 2016, and to share the common experience in these life events that everyone goes through. Creating representations of our internal states allows us to study the mind and body and even learn to reprogram it. This idea that we can change ourselves both physically and psychologically is fundamental to positive growth, development and well-being.
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I create artwork as a way to enable people to look at the beauty and mystery in the structure of how life works.
Photo: Breathe dress by Amy karle, modeled by Lisa Iannone photographed by Amy Karle
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Many of your works are related to the human body, where did that inspiration come from? Life experience – being born with a life threating birth defect, death of people I loved from a young age, being a mother and the mystery of how life forms from 2 cells, survives and thrives, and where those cells come from. Also my mother was a biochemist who worked with the brain and heart and father was a pharmacist. I grew up in the lab and pharmacy with them. Their work and conversations undoubtedly influenced my perspectives and flirtation with anatomy and physiology. We live through our bodies and it is our way of knowing this world. For me, a simple and profound way to bring about a change in our consciousness and how we feel is by what we wear. Think for example, of the way you feel in a suit, vs. a ball gown, vs. a sweat suit. I call this idea “Immersive Consciousness”, the idea that the garment that we’re wearing, the car that we’re driving or the space that we are in brings about a change in how we feel about ourselves. I design fashion from this perspective: what is the way that the person wearing the garment wants to feel, while still keeping within and referencing the theme of the garment or line. I also seek to bring about changes of consciousness from the inside out. For example my “Biofeedback Artwork”, 2011 and “Resonation”, 2015 shows that we all have a strong internal landscape of invisible information, a conclusion from viewing or participating in this work is that we can use this energy to change how we feel about ourselves, our circumstances, and our health and well-being. I am still working on merging the art and design even more, and I think pieces like “Reprocessed”, 2009 a gown made out of gorgeous pink lunch meat really do merge the two.
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In terms of fashion, you created some really striking designs from 3D fabric laser cutting. Can you describe the process in creating such an outfit? Thank you. I start with conceptualizing the design. This can be inspiration from imagination, nature, or a material or digital modelling environment that I’d like to explore designing with. Different approaches are required for different designs. The overall approach I have been working with is that I take a 3D scan of the body in order to make a custom fit pattern or I use a template, then I bring this into the digital environment and simplify it. I double-check the measurements of the body or universal form to ensure the best fit. I then overlay my design on the 3D scan or template. This design can be brought in from a hand drawing (as with the “Breathe” dress, 2016 where I made an anatomy – style drawing for the design) or modelled around a 3D scan in the digital environment (as with my dress based on ligaments, 2016). Throughout the process I apply my knowledge of traditional pattern making techniques to ensure the best possible fit. Once the garment is designed and scaled to fit correctly, the challenge is to get it out of the computer and into the real world in a wearable way. This is the area for huge growth in the technology that we have today. Computer Aided Design (CAD) models can be then sent to 3D printers, or flattened into patterns that can be laser cut out of a variety of materials. Once the pattern pieces are made, they have to be hand finished and constructed. Even though working with new technologies can be challenging and time consuming, I have a solid foundation of form/function thinking, traditional tailoring and craft techniques to apply to innovating with new tools. The new technologies can then be seen as another tool in a toolset to help create pieces that I couldn’t have otherwise created.
Photos from left to right: Garments by Amy Karle based on anatomy: lungs, ligaments and nervous system
Which step in this process is most challenging? The technology is not yet developed to do all the things I would ideally want it to do. For example, I’d like to be able to 3D print an eco-friendly, multi-material dress with embedded functions that has zero waste and can go from the printer bed to being worn in the same day. We’re just not there yet. Many of the advanced softwares are hard to use and can take years to become fluent in. That doesn’t mean I let it stop me. I find myself often facing the choice of a known way of creating something or making the investment to learn and even develop the tech to create something that I may not be able to make in any other way. The challenge is that I may invest all this time to learn a new software or technology but the final outcome may not be as successful as an outcome of the known methods. Like learning anything else that is new, it is a process that takes a long time to become masterful. The beginning projects are not going to be as strong as years of experience – but that experience has to start at some time. I use my amount of passion as the guidepost of which path to take – if I feel driven towards using a new technology, even if the outcome is unknown then I go with it. Patient persistence is required, and a new way to think about approaching design through this new tool is often required as well… like thinking through when and why does it make sense to 3D print something rather than hand make if for example. The challenge is to understand the technology thoroughly enough to understand what it can and can’t do – and how to design for that.
There is a common misconception that using new technologies makes creating easier and faster. That is not always the case, especially when creating one of a kind or limited run art pieces. I believe it’s also very important to consider how can we utilize the technologies we have to reduce cost, waste, and toxicity. This requires developing our thinking and collaborating with other fields. How did the idea of laser cut outfits come about? I’d been working with concepts in generative and parametric art and designed a series of “generative corsets”. I thought about how I could create CAD designs in a way that could handle complexity, was wearable, soft and organic. I drew on my past experience creating dynamic patterns into fabric by burning, and applied that idea to this project. Laser cutters can both read computer files and cut with heat into a variety of fabrics. In the CAD environment, I flattened the designs into pattern pieces and then exported them to the laser cutter to be cut in soft materials. I then machine and hand sewed the pieces into garments. The design inspiration for my most recent laser cut garments was based on human anatomy. In the process of making these pieces, I addressed current industrial challenges of: utilizing 3D scanning to create custom fit patterns and garments, advanced pattern making in 3D digital environments into real-world soft goods, and creating zero and low-waste fashion designs.
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The piece in this collection that is closest to my heart is the “Breathe” dress, 2016 based on the anatomy of human lungs. It was inspired by Lisa Iannone, my close friend from childhood who is fighting Pulmonary Hypertension, a terminal illness of the lungs. She has inspired me with her strength and grace and I wanted to create a piece that celebrated her beauty through her fight. Apart from laser cut garments, you have used branding techniques on fabrics, what does that involve? I had collected metal grates with interesting patterns – many cast iron Victorian floor registers – and heated those to red hot in a metal forge, then stamped the pattern into fabrics to create custom fabrics for a very organic lace-like look. I made these into garments while considering the way the mind and body is branded with the experience of circumstances and illnesses and we can put that back together and move forward in ways that are more interesting and beautiful. In 2009, you created a dress out of lunch meat, could you tell us more about that? “Reprocessed”, 2009 is a pink gown was made out of cold cut ham [unfit for consumption] that spoils, withers and shrinks in a short period of time. It’s a reminder of the ephemerality of physical beauty and the body. (centre) In this age of accelerated digitisation, technology is undoubtedly transforming everything around us. How do you think the fashion industry will evolve as technology grows? Technology and fashion have always had a mutually influential relationship. It’s one of my favourite topics and I could talk about this for hours. From design and production to marketing, sales, and shopping experiences, the entire fashion industry is uniquely positioned to evolve as technology grows. Some of the areas I get excited about are:
and a machine-learning program could analyse them, understand how I design and make suggestions for 100 more designs that look like what I would design. I could also add criteria for the program to follow and integrate into the designs. I’d then fit those designs to an individual’s measurements, and export it to be 3D printed or laser cut and sewn or otherwise fabricated into a final piece. Aside from digital experiences, physical and visceral experiences that create emotional connections will continue to be exceptionally important as fashion is something we bring into our homes, touch, feel and wear on our bodies. It engages our senses, our perception of our self, our feelings. Big data and personal data will play a role in making meaningful recommendations of the physical environments people like to shop in, hang out in, clothing on display and for sale in those spaces, and fabrics and designs they connect with. Computer vision and deep learning can help suggest, narrow down and select choices during shopping and even have knowledge of one’s closet and calendar, and recommend expertly styled options of what you could wear that day. I love the idea of having a robot that could pick out the perfect outfit out of my closet and lay it out for me every day. Fabric technologies. Sustainability and waste has historically been a big issue in the fashion industry. We have the opportunity to create garments with no waste, and create sustainability in materials and products. We can hope to see more eco-friendly fashion, as well as many developments in materials including nanotechnology, embedded sensors, and smart textiles as just a few examples. Wearables. I think we will see an expansion in wearable tech that could surpass the smartphone in many arenas: communication, documentation, and health… think beyond fitness trackers to include medicine and vitamin delivery. As we become more dependent on and integrated with our devices, wearable tech will increase. Our machines will become more wearable and our technology will become more fashionable. Say in a few decades down the line, what futuristic fashion wear would you like to see and wear? (if anything is possible)
Customization and Personalization: Virtual and augmented reality will play a Photo: Reprocessed Meat dress by Amy Karle much larger role, including the ability to try on garments in digital fitting rooms before they’re even proI think about this a lot. A big question I’ve been asking myself is how duced. A person could submit their measurements through a 3D would I like to transform my body and myself? Who would I make scanning app on their phone, or can be scanned in an instant in a myself into? This is the true frontier of fashion to me. dressing room. They could see what a garment would look like on I’ve been thinking of larger ways of integrating fashion into the them, and change color and fabric then place their order. Advanced body, so that we can make short term and long-term modifications automation on the manufacturing level could create could create to our appearance and health. I’ve been contemplating what huthe garment with a perfect fit to their body, and have it shipped man and transhuman assets I would like to adorn and enhance my- maybe by drone, while the entire production process can be self with but don’t know yet. tracked on a phone. We’re already seeing brain computer interface wearables and adAutomation will affect almost all manufacturing industries. Our vanced fabrics that can provide reads on what the body needs, I work will increasingly become about collaborating with machines look forward to wearing garments with smart interfaces that can and new technologies even more so than now. The human posiprovide information back to my body to trigger it it to release what tions will be more about what we can uniquely offer as humans it needs to be the happiest and healthiest it can be. I am confident and creatives, and how we can work with machines to make our this can be done in a fashionable way. lives better. I am excited about the role of machine learning, artificial intelligence and “Artificial Imagination” as I call it to support artists and designers to create new patterns and designs that humans haven’t thought of, at a much faster rate with greater complexity and intricacy. For example, I could input 10 of my patterns
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At the end of the day I’m most concerned with being healthy and beautiful. I believe we can be both and that futuristic fashion can help us with that.
Photo: Various art projects by Amy Karle
What project are you working on now? Right now I’m working on a “Generative Body” sculpture that leverages anatomical and prosthetic 3D scan data, machine learning and robotics to sculpt body forms... and a deep learning project for making fashion patterns, garments and artwork, or in a broad scope to teach computers and others people to think creatively and design. Another project I’m working on is a 3D bioprinting project about the human heart and the experiences that we have written on our hearts. What advice would you give to an aspiring artist? Work on yourself and your business development, whether you work for yourself or someone else. This is probably the most important advice I could give to aspiring artists and designers. Be clear on your why. This is the base of your purpose. Spend your time on what you are passionate about, build up your skills in the area that you want to grow, and focus your energy consistently
working in that arena. Learn and become well versed in traditional techniques, they are a solid foundation that will be valuable to anything you create. Follow your passion, even if it leads you to new tools and unchartered territories. Consider what you offer and can contribute, and share that. Bring it to your work. Many employers, benefactors, and exhibitions want to see what you bring to them, not why you want what they offer – think about how you can work together to co-create something that is much greater than you could on your own. Surround yourself by a supportive team and ask them to help you out when you need it! Keep going and keep trying.
www.amykarle.com www.facebook.com/AmyKarleArt www.linkedin.com/in/amykarle
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THE BREATH
SEOUL OF
Photo: JULIA BURULEVA @brulliant | Model: SANG IN KIM @Sanginkim987 Makeup & Styling: SANG IN KIM | Director: IRINA BARANOVA Assistant: SUJIN JEONG | Location: Seoul, South Korea WWW.BURULEVA.COM Barcelona, Spain
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solo
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solo
Photo: Luis Pascual Sanchez | Model: MARÍA DEL PINO | Makeup: Ebony Makeup - Laura S | Hair Stylist: Antonio Manuel Santos Albarran | Creative Director & Wardrobe Stylist: Nuri García | Designer: María Luisa Lara Torrejón
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SIMPLE THINGS
Photographer: DASHA DENGER @dashadengerphoto Model: CAITLIN WELBORN @welbs90 | Hairstylist: DASHA DENGER | Hair & Makeup: CAITLIN WELBORN Stylist: DASHA DENGER | Asistant: SCOTT DYE Location: Davenport IA, Bettendorf IA & Rock Island IL WWW.DASHADENGERPHOTO.COM Davenport, Iowa
TOP/ passport PANTS/ xhilaration SHOE/ se boutique ACCESSORIES/ charlotte russe
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COAT & DRESS/ leslie fay vintage ACCESSORIES/ charlotte russe SHOE/ mossimo
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TOP & SKIRT/ express ACCESSORIES/ liz claiborne & charlotte russe
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SKIRT/ moa BLOUSE/ stylus ACCESSORIES/ charlotte russe
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DRESS/ cynthia rowley SHOE/ stylists own PURSE/ merona ACCESSORIES/ stylists own
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(RIGHT) DRESS/ montau COAT/ allison woods SHOE/ east5th SUITCASE/ stylists own
(MIDDLE) SWEATER/ mango SKIRT/ stylists own vintage find SHOE/ call it spring
(LEFT) JACKET/ stylists own vintage find SKIRT/ chaps BRALETTE/ forever21 SHOE/ merona
SWEATER/ gap SKIRT/ mango
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DRESS/ stylists own vintage find SHOE/ charlotte russe PURSE/ stylists own
JACKET/ alberta DRESS/ guess SHOE/ stylists own
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Interview Feature
FROM GREAT TO PERFECT Lesya Kostiv, professional fashion and beauty retoucher talks about her life retouched with a laptop and graphics tablet.
etouching has almost become an essential part in the production of any high-end fashion and beauty imagery. It can be viewed as a form of art, allowing photos to be morphed into endless possibilities. Great retouchers require critical eyes that pick up minute details, as well as have a deep understanding in the aesthetics of its subjects. These set of skills of course, don’t come easily without hours of practice, failing and improving.
R
Lesya Kostiv is a professional retoucher based in Rzeszów, Poland. Having started off as a hobby, her career as a retoucher sparked at the age of 18. Since then, her work has been featured in numerous magazines worldwide; including Vogue, L’Officiel, Marie Claire, FHM and the list goes on. Working behind just a laptop and a graphics pad, Lesya has been able to travel the world whilst working in her “digital darkroom” to make great images, perfect.
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Tell us a bit about yourself Well, I’m professional fashion & beauty retoucher. I’m 24 years old and I’m from Ukraine. But as I can work from any point in the world I’m trying to travel a lot, to live in different countries and still trying to figure out where I would like to settle down. I have a masters degree in economics and finances, but I’m one these lucky, happy people who made their dream come true and turned their favorite hobby into a successful, lifetime career. How did you get into your retouching career? I was eighteen. I was visiting a friend of mine, a photographer, who was hiding from his clients because he could not get their photos done on time. He hated doing the retouching. I decided to open Lightroom to try and help him out and loved immediately. From that point on, I had a favorite hobby, which in time grew into freelance and eventually my profession. At that time, of course, I had no idea that scum a profession even existed or what could come out of it. For a few years it was just a fun way to spend my time and
Interview Feature
Image: Before and after retouching by Lesya Kostiv.
to make some spending money while I was in university. However, with time, my clientele began to grow, I stated receiving more interesting projects, and in three years it became a full-time job. I became a professional, entered the international arena and at this time I have been doing it for seven years. What do you love most about retouching and post-processing?
often an ability to draw. You could spend a few days on one photo, which is great for a hobby, but not very practical for a full-time job. Therefore I decided to focus on a field which had more strict standards and timelines, that field being fashion and beauty. There are usually more strict requirements, you are just trying to make the result look like the covers of top beauty magazines and the best commercial advertisements.
This might sound strange from a person who spends nearly all her What in your opinion is the most challenging aspect of retouch? hours working alone, but it’s the people. The best part of retouching, for me, is working with great photographers, When you begin working in this field, you share the with who I often become quite good friends. An exresults with the world and receive back a ton of critIf you’re ever hilarating part of freelance, is that you’re working icism, followed with thoughts that you should realwith people from all over the world, from different embarrassed by ly focus your life on something else. However, you cultures and different schools of photography, but your past work, must do what you really want to, even if it takes you together you form a team who works on the same as long as everyone else, and even if at times that’s great, that twice project. In addition, of course, it brings high satisfacyou convince yourself that you might not have the is a wonderful talent. You will achieve your goals only if you believe tion that the work that you do has a visual result. You can look at it a year later and see how much you way to see just in yourself. have grown. For example, it is often interesting to how far you’ve Of course, another tough challenge is self organilook at the evolution of one’s creative taste, espezation. You make your own hours, you chose your come. cially your own. And if you’re ever embarrassed by own projects, and you alone are responsible for your your past work, that’s great, that is a wonderful way deadlines. When you are working with a dozen stuto see just how far you’ve come. dious/ photographers simultaneously, and want to take a vacation, What type of images do you love retouching most? Why? I began largely working with fine art photography and composites, which is a field which requires a notable amount of creativity and
you must resolve that will all of them. It’s important to analyze your traits, whether you’re a person for whom it is a challenge to focus on detailed work, requiring high amounts of detailed attention for hours, then retouching might be a boring and tiring way to spend your time. For me, however, Dodge & Burning is very similar to
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meditation and I enjoy it, but even so it is often stressful to handle non-normative hours, sometimes sleepless nights, sudden deadlines and the physically inactive lifestyle. Luckily, my loved ones get used to my crazy shedule, but not so many people around can support and understand if you’re creative and workaholic at the same time. If we were to sit at your work desk now, what would we find? I work with a Macbook Pro and a Wacom Intuos Pro graphic tablet, so my “workstation” is very mobile, and often I chose to work from cafes or coworking spaces. When I work from home, on my table there will also lay an iPhone, iPad and a black thermos full of my favorite ginger tea.
Then, I do all of the editing in Photoshop. I make the basic skin, hair, background and clothes cleaning on the empty layers. You have to get rid of all the visible blemishes, spots and wrinkles, flyway hair, etc. All of the main skin retouching is made with Dodge & Burn technique (that’s why you need a graphic tablet). This is the only way to make the shot look not overly retouched. Clean, but still good looking and realistic. You also have to take care of the hue, tone and lightness of the different parts of the body and face, as everything has to look uniform and not look distracting or out of place. Color grading is the last, but one of the most important parts. One of my tips - work on your color before retouching skin to decide on the final look you want to see, then turn off the color tables and work entirely on the skin. At times, you might spend long and unnecessary time cleaning, when in reality the only thing missing was a well adjusted contrast and tone.
What software do you use mostly for your retouching? There are definitely only two major softwares that one needs for professional retouching - Capture One for RAW conversion and Adobe Photoshop for the following editing. And, of course, a graphic tablet (for me, any Wacom tablet is perfect for this). When I began retouching, I was convinced that the secrets to better results lie in software, plugins, retouching panels, but that was a huge mistake which kept back on the same level for a very long time. The main secret, is a high quality original photo and the decisive certainty for what you would like to see in your result. To achieve this, you must work on your creative taste and literally train your eyes to become more accustomed judging with analyzing hundreds upon hundreds of photos. Can you tell us your workflow technique in retouching? In reality, there aren’t very many variations as to the best retouching process, so my friendly advise is this: close all the “how to” videos on youtube which claim to teach you the “best and fastest” methods. Because you can only do a quick job, or you can do the best job. You can’t do both. And, frankly saying, professionals don’t really make such tutorials for public, instead they retouch photos of Angelina Jolie or Vogue cover or at least give some private lessons :) First you have to do the raw conversion. I hope everyone knows we should shoot only in RAW, this is the only way to keep all of the quality, light, and the possibility to adjust the colors fully and correctly. I use Capture One as it has the best profiles and gives you as much natural skin tones as possible. There are also a lot of tools for color correction, so it is best to choose the main tone direction at the very beginning.
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High end retouching can be a lengthy process, is there anything you do during your retouching to keep you entertained? I know people who need to fully concentrate on their work and are easily distracted by outside sources, but I am not one of them. I’m used to doing multiple things simultaneously, so when all of the main organizational efforts have been completed and emails answered, I often turn on movies, documentaries, English lessons on my iPad as a pleasant background and work till late night. Would you find it hard to stop in the middle of retouching? Actually I find it very necessary and important to stop from time to time. Make tea, coffee, go for a short walk, give your eyes a little rest and even after ten minutes you will feel and see a huge difference in your work and all of the potential mistakes you could have made. When a client hands you the RAW images, how do you ensure you and your clients have the same vision for the final image? What information would you like to know from your clients? Professional photographers almost always create a “mood board” before a shoot and give references to the retoucher. However, even if they don’t have any, you have to be flexible and just have a talk, analyze his website and get know what is the core of his inspiration and the main goal. Together you can figure out what the result should look like, and even create some brand new ideas. In the same time there are many clients who give me the full freedom of creativity and I choose my own references and inspiration.
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“
You must work on your creative taste and literally train your eyes...
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Image: Before and after retouching by Lesya Kostiv.
What do you do in your free time? Oh, that question almost makes me cry. My job is my main passion, so I don’t actually have much free time, but I try to spend the time with my loved ones, visit a gym at least two times a week, improve my English. I love traveling. I used to teach retouching to people in my city, have been visiting business and marketing conferences and am now thinking about continuing my education abroad as I am sure you have to constantly attempt to self-improve, for the world doesn’t stand in one place. You have an impressive portfolio of work. Do you have a favourite? Tell us more. Thank you so much! A portfolio is an incredibly important part of a retouchers success, so it is essential to take good care of it and to keep it regularly updated. Not everything that people seem to like will be commercially successful, and vice versa. Likes on social media aren’t clients, you must remember that. Ninety percent of my commercial work doesn’t make it to the internet, and I’m sure that my most beloved projects are still ahead. All truly interesting and important projects are special and exhilarating for me. You really have come a long way since you started, with top clients such as VOGUE, L’OFFICIEL and Marie Claire. What advice would you give to beginner retouchers?
A few years ago, when I was working with photos strictly around the area of my home, provincial city, I could not imagine working on such a high, international level. In regards to the top magazines and the largest fashion labels, they tend to work with big retouching houses, retouchers that are represented by the top agencies, and only rarely - freelance retouchers. A lot of the success, therefore, depends on experience and a talented team. When you are new, you tend to work with people who are also new, and your work will not be on the highest level, but as you and your skills evolve, you will also work with more experienced and talented professionals and receive higher level projects. My advice then, is to work hard for your goals, but be flexible in your methods. How can people contact you for work? You can always contact me through my website www.lesyakostiv. com , email - kostivlesya@gmail.com and instagram - @lesyakostiv I am available for collaboration, as well as for a quick tip!
www.lesyakostiv.com www.facebook.com/lesya.kostiv www.instagram.com/lesyakostiv
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Cold AS ICE Photographer: ROBERT LIPNICKI @robertlipnicki Model: ELEANOR BYRD @eleanormbyrd Hairstylist: GURPAL BANSAL @gurpalbansal Makeup/Styling: STEFANIJA VEKTERE @stefanijamakeup Assistant: GYTE GAVENAITE Retoucher: ALLEN TURNER @alllen_turner Jewellery: LINNIE MCLARTY @linniemclarty Felicities PR @felicitiespr Location: ME Hotel London @me_londonhotel WWW.ROBERTLIPNICKI.COM
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London, United Kingdom
Green long-sleeved top/ BASHARATYAN Black tulle skirt/ YUVNA KIM Jewellery/ LLINNIE MCLARTY
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Green long-sleeved top/ BASHARATYAN Black tulle skirt/ YUVNA KIM Jewellery/ LLINNIE MCLARTY
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Cream top/ BASHARATYAN Black tulle skirt/ YUVNA KIM Shoes/ FINSK Jewellery/ LLINNIE MCLARTY
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Cream top/ BASHARATYAN Black tulle skirt/ YUVNA KIM Shoes/ FINSK Jewellery/ Llinnie Mclarty
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THE KEEPER Photographer: ELSA DILLON @elsadillonphotographer Illuminate Management @illuminatemanagement. Model: GRACE HOLT @graceyeshe Busy Models @busymodels HMUA - CHELSEA BROWN @chelsea_brown_hmua Illuminate Management @illuminatemanagement Stylist: GEMGEM @gemgemstyling Location: Cape Byron, Australia
MR VINTAGE - Duffle coat, MORA COLLECTIVE - Wide leg white jeans, FALLEN BROKEN STREET - The Sea, TEMPLE OF THE SUN - Rings
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www.elsadillonphotographer.tumblr.com Cape Byron, Australia
MORA - BLACK NET TOP ROWIE - GREY KNIT SKIRT FALLEN BROKEN STREET - THE SEA CAP
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Mr Vintage - Duffle coat, Mora Collective - Wide leg white jeans, Fallen Broken Street - The Sea, Temple of the Sun - Rings
Mr Vintage - Velvet jacket & Men’s belt, Rowie - Ribbed knit pencil skirt, Mora Corduroy cap, Temple of the Sun - Rings
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Mora - Black net top, Rowie - Grey knit skirt, Fallen Broken Street - The sea cap, Temple of the Sun - rings, Top Shop - Knee high boots
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Mora - Marching band jacket Rove Designs - Bonjour beautiful romper Mr Vintage - Military hat Costume Box Hosiery - Opaques Temple of the Sun - Rings Top Shop - Barnaby heeled boot
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Mora - Hand knitted cocoon dress, Fallen Broken Street The campaign, Temple of the Sun - Rings
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SKIN PREPREPARATION / Bioderma - Cleaning water, Model Co - Rose water toner, Embryolesse - Moisturizer BROWS / Eye of Horus - Dule brow definer HUSK EYES / Eye of Horus - Black gel liner, MAC - Paint pot ocra MAC - copper pigment, Urban Decay - Blondie eye shadow, Eye of Horus - Saphire Blue goddess pencil LASHES / Eye of Horus - Black goddess mascara COMPLEXION / Kryolan - Concealer wheal, Kryolan - HD foundation ivy, Hour Glass - Ambiante lights palette LIPS / Kylie Cosmetics - Dolce K CHEEKS & CONTOUR / Tom Ford - Love lust, Charlotte Tilbury - Filmstar bronze and glow HIGHLIGHT / Becca Moonstone
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Rove Designs - Boho day top, Sheana - Festival shorts, Mr Vintage - Weave belt, Fallen Broken Street - The campaign hat, The Costume Box - Opaques, Temple of the Sun - Rings, Top Shop - Barnaby heeled boot
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Rove Designs - Boho day top, Sheana - Festival shorts, Mr Vintage - Weave belt, Fallen Broken Street - The campaign hat,The Costume Box - Opaques, Temple of the Sun - Rings, Top Shop - Barnaby heeled boot
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Mora Collective - Calipso jumpsuit & leather cap Rowie - knit scarf Mr Vintage - Weave belt Top Shop - Knee high boots
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Rove Designs - Boho day top, Sheana - Festival shorts, Mr Vintage - Weave belt, Fallen Broken Street - The campaign hat The Costume Box - Opaques, Temple of the Sun - Rings, Top Shop - Barnaby heeled boot
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solo Photo: Neuf Klobatskii Model: Patricio Baca Olcese Hair & Makeup: Arnold Castro Stylist: Luis Mendoza C Ruzado Assistant: Jhorney Velezmoro Location: Tucume, Peru
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