vogue Beauty italia
J U N. 2 0 1 9 N. 1 0 0 € 5,0 0
Creouscolo Italiano
COURSEWORK 2 Fashion portfolio (individual) 50% QM. CHRISTINA THORDAL ANDREASEN BA Fashion marketing & communICation, Level 6, 2017-2018 6FAMK003C Visual Arts CWK2 Chiara Legittimo, Gina Ripoll, Anna Mary Rowe word count: 978 words
Photographer: Lydia Metral, credits Styling: Christina Thordal Andreasen, Model: Brais García Rivera. Hair & Make-up: Christina Thordal Andreasen. Contrasting Panels Blazer €1.085, Polo Ralph Laurent. Poplin Stretch White Shirt €380, Prada. Straight-leg Grey Jeans €494, Alexander McQueen. 18 karat gold hoop, €122, Versace.
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Photographer: Lydiacredits Metral, Styling: Christina Thordal Andreasen, Model: Gonzalo Edo Anton. Hair & Make-up: Christina Thordal Andreasen. Striped Long-Sleeved Cotton-Jersey T-shirt, â‚Ź110 MR. P.
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Photographer: Lydia Metral, Styling: Christina Thordal Andreasen, Models: Brais García Rivera & Gonzalo Edo Anton. Hair & Makeup: Christina Thordal Andreasen. Left: Embroidered Striped Cotton T-shirt, 130€ AMI. Right: Striped Long-Sleeved Cotton-Jersey T-shirt, €110 MR. P.
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Opposite: Photographer: Lydia Metral, Styling: Christina Thordal Andreasen, Model: Brais GarcĂa Rivera.
Above: Photographer: Lydia Metral, Styling: Christina Thordal Andreasen, Models: Brais GarcĂa Rivera & Gonzalo Edo Anton. Hair & Make-up: Christina Thordal Andreasen.
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Photographer: Lydia Metral, Styling: Christina Thordal Andreasen, Model: Gonzalo Edo Anton. Hair & Make-up: Christina Thordal Andreasen. Light-Blue Unstructured Striped Linen pants â‚Ź320 BARENA.
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Photographer: Lydia Metral, Styling: Christina Thordal Andreasen, Models: Brais García Rivera & Gonzalo Edo Anton. Hair & Make-up: Christina Thordal Andreasen. Striped Cotton-Poplin Shirt €320, Maison Margiela. Contrasting Panels Blazer €1.085, Polo Ralph Laurent. 18 karat gold hoop, €122, Versace.
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GOLDEN HOUR 21st Century love story. t was the Italian film director Luchino Visconti’s 1971 adaption “Morte a Venezia” of the German Novelist Thomas Mann’s 1912 novel “Death in Venice”, who lit a fire under the historically strict social protocol on sexuality, desire and freedom, and it smouldered for the next century. Assisted by great cinematic creations, (Luchino Visconti’s “Death in Venice” (1971) and most recent Luca Guadagnino’s “Call me by Your Name” (2017)) as milestones in giving birth to a modern narration on homosexuality, the social protocol and conversation on sexuality today has become a symbol of freedom and break with conservative societal ideals, gaining increasing recognition and momentum over the last three decades. Particularly, the year of 2017 marks a creouscolo or golden hour, as the Italian word translates, for sexual liberation, challenging the creative industries in interpreting this major socio-cultural change. That year, a landmark moment for LGBT communities occurs as Vogue Italia launches the 2017 September issue with two LGBT covers (Exhibit 4), Vogue Paris cover featured a transgender model and Teen Vogue defied its white-washed, heteronormative past, by featuring a highly diverse cast of actors, models and musicians, the same year that marked the 50th anniversary of the decriminalisation of homosexuality in England (Peoples, 2017). A new mood of inclusivity is sweeping through institutions young and old pushing an opponent to the discriminating social policies towards transgender and LGBT communities initiated in 2017 by The President of The United States, Donald Trump (CNN, 2018).
Photographer: Lydia Metral Location: Platja de la Nova Icária, Barcelona.
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The beauty editorial thus narrates a tale on a 21st Century love story portraying a modern conversation on the treasure, beauty and vulnerability of unique relationships. The story develops as it introduces two characters, indirectly referring to Achenbach and Tadzio through the styling, and from the fourth image merges them in style and body.
an element to assist the visual communication of the merging and uniting of the two characters in the relationship. Respectively from the fourth image of the editorial, the two young men are physically and visually united by body and dress, despite striped shirts or bare torsos, stressing the intimacy and identity connection between the two.
This idea is communicated through a creative process giving emphasis to a concept of mere human naturality with reference to both the physical and emotional context of visualising the nature of the relationship portrayed by the models. To stress this natural direction, high importance is given to showing bare skin, torsos and physical merging of the bodies, additionally representing youth, sexual attraction and eroticism as depicted in Death in Venice by the underlying theme of homoeriticism through Achenbach’s desire and attraction towards beauty represented by the role of the young Polish boy Tadzio. However, the editorial specifically pursues to celebrate this beauty and nature of the relationship, changing the discourse on sexual and emotional attraction towards the same gender that historically has communicated homosexuality in a highly negative discourse as a strange internal otherness and possible cause of self-destruction (Green, 1904).
As commented in CWK1 the technical aspects and medium-close up camera angels play an important role to Visconti in communicating the emotional and facial context when portraying the internal through of the characters. Likewise, is the technical image setting for the editorial, that highly relies upon medium-close up frames to visually erase the distance to homosexuality and move closer to understanding the topicality and beauty of the most fundamental elements of human existence, sexuality, life and death. Of significant importance for the success of the editorial is the talented photographer Lydia Metral, applying her highly valued and professional input on the technical aspects and art direction. Metral’s skilled approach, photography style and passion towards such thematic images have been crucial for the development of the editorial theme and visual expression.
Complimentary for the natural art direction and in line with Luchino Visconti’s adapted screenplay “Death in Venice” (1971) that has its main setting at the Lido in the north-eastern seductive and romantic Italian city, Venice, a warm summer of 1911 (Exhibit 3), the location for the editorial is situated in natural surroundings and on a clear, sunlit afternoon by the beach Platja de la Nova Icária, Barcelona. The styling of the editorial is indicative for the luxurious, yet relaxed representation of vacation and beachwear worn by the well-positioned of society at the Lido of 1911 as depicted the novel and later screenplay. The styling therefore generally consists of striped pieces as references to the Venetian beach and sailor attire, while additionally combining it with finer eveningwear, as the editorial cover portrays. The styling is furthermore considered as
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Vogue Italia is the chosen publication for the editorial as it most recently introduced homosexuality to its covers that very much translate the message of unconditional love, while simultaneously continuing the legacy of Vogue Italia pushing the boundaries of cultures across the globe. Additionally, the theme topicality for the magazine and its nationality comes in highly beneficial as Italy gave legal recognition to same-sex civil unions in 2016, after much protest, making the country the last founding nation of the European Union to do so. The editorial may moreover contribute to visually and emotionally support previously and still oppressed communities in a time where especially the American political climate seems at its darkest on the matter of sexuality. A homosexual-themed cover or editorial from Vogue Italia may be more crucial than ever.
Opposite: Photographer: Lydia Metral. Location: Platja de la Nova IcĂĄria, Barcelona. Above: Photographer: Lydia Metral, Models: Brais GarcĂa Rivera & Gonzalo Edo Anton.
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Photographer: Lydia Metral Location: Platja de la Nova Icรกria, Barcelona.