Time flies — seems like most of us have barely realized that it’s 2020 already! If you enjoy getting all nostalgic about the past or dreaming about the future or just looking at things from the perspective of time, the #003 PH print issue is right for you. “Decades” is devoted to the artistic perception of the category of time — visual and associative and so sensual.
Publisher & Editor. in . Chief | Irina Rusinovich Art Director | Designer Diana Loseva
Publishing Editor | Writer Yulia Kryshevich Online Editor | Liubow Melnikowa Contributors Ami Colberg Mia Varrone YIAN LEE Tatyana Ilina Anna Priakhina Ekaterina Deeva Sasha Gapanovich Jessica & Pepe Molina Midory Aquileta Isra Quiroz Katya Warped Anna Istomina Tatyana Kostrova Katya Volkova Ksenia Cinema Emily Nicholas Andy Chiu Cathy Vony Wong Yemima Cahyani Pujile Aileen Indah Shafyra Lilya Bondarenko Ulya Nastya Tenderova Maria Goralkina Marie Malysheva Marat Mukhonkin Nadejda Weiland Sophie Peters Marcos RodrĂguez Velo Kristina Okan Silvie Sousa Eva Emma Shrayber Natalya Saraeva
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Irina Maria Danilova Laura Martinova Misha Ka Olesya Parfenyuk Sabine Grodd Olivia Rutscha Sasha Grigg Anton Gulevsky Anastasia Govorova
ON COVER
Sophie KĂśhrmann Photographer Sabine Grodd Design and Illustration Diana Loseva Style Olivia Rutscha Make Up Oliver Haenisch & Nadja Haider
For more information please contact hello@puprlehazemag.com www.purplehazemag.com All material in this issue is exclusive to PURPLEHAZE MAGAZINE and may not be reproduced without prior written consent. All copyright remains with the contributors
Our gallery has a year round open submission policy for our monthly exhibitions and accepts artwork from emerging and established artists in all media: painting, drawing, printmaking, sculpture, photography, digital art and mixed media. You may submit your artwork as a “general submission” or to a specific exhibit that we have listed on our website.
Our Contacts /@haze.gallery / www.haze.gallery Mo, Tu, Wed, Thur
12.00 - 14.00 & 16.30 - 18.00 Saturday 12.00 - 14.00 Friday appointment only
Address Bülowstraße 11, 10783 Email: contact@haze.gallery Tel: +49172 4269258
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editor’s note DEAR FRIENDS This year the publication of the #003 print edition of Purplehaze Fashion and Arts Magazine coincided with the coming of spring. Here we are, feeling young and inspired and anticipating the most beautiful time of the year. Although, can some of the times be considered better than the others? Probably, yes, in our personal perception, based on a unique experience. Still, there are some recognizable traits about each time period that make it different from the other — that’s how decades are shaped in the collective cultural belief. The new print edition of PH is just about that — how art, photography and design have gifted distinctive features to time frames so that now we have different associations with the period of the 50s and the 80s, for instance. Personally, I find Time an exciting topic to speculate on, so I hope all our contributors felt the same while creating works for this Decades Issue. I wish a pleasant reading to all who are with us. Stay inspired!
Yours, Irina Rusinovich Editor In Chief PURPLEHAZE
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art section 16 my magritte /p h o t o s t o r y / 30 buzzy-wuzzy busy fly /p h o t o s t o r y / 44 ghosts /p h o t o s t o r y /
57 coneyisland
/p e r s o n a l i t y /
passionate about giving a voice to the voiceless – shining a light on those whom society has often placed in darkness
66 sunflower
/p h o t o s t o r y /
78 exhibitions to see in 2020 /e d i t o r ’ s contents
choice/
fashion section 90 player /e d i t o r i a l / 103 interview with Miles Ajdridge /p e r s o n a l i t y /
114 material girl
/e d i t o r i a l /
127 nomads party/e d i t o r i a l / 142 marlene in me /e d i t o r i a l / 149 emily /e d i t o r i a l / 159 cats /e d i t o r i a l /
purplehaze
/decades issue/
*decades section 171 interview with Dusya Sobol /p e r s o n a l i t y /
180 i’ll be your mirror /e d i t o r i a l /
190 industrial museum /e d i t o r i a l / 201 little russia /e d i t o r i a l /
212 the reenactors
/p e r s o n a l i t y /
this space is carefully prepared and filled with historically accurate relics that transport the event participants to another world; sheep skins, haystacks, wooden carts, and canvasses where they spend cool nights and hot days contents
223 decades /e d i t o r i a l /
236 decades of changes : art history at a glance
/a r t i c l e /
245 dirty renessaince /e d i t o r i a l / 259 contacts /e d i t o r i a l /
purplehaze
/decades issue/
Contributors, if you had a choice, which decade would you want to live in? And why? Lilya Bondarenko /p h o t o g r a p h e r / @ bussardel As a person devoted to art, I would like to go back to the time of real creative discoveries. Such a discovery for me, for example - was the new look style, which triumphantly appeared on the world’s catwalks thanks to the brilliant fashion designer Christian Dior. The 50s of the twentieth century in France were very different from the way of life of the Soviet Union. As a child born in the USSR, this is very familiar to me.
The rigid framework, the lack of fashion as such, and the suppression of dissent do not make me want to go back to the past of my country. It is quite another matter in European countries, where art was born. I would like not only to witness creative experiments and discoveries, but also to be a direct participant in events that changed the world and the course of history.
Diana Loseva /d e s i g n e r / @medianaaadi As for me - a person who is looking for inspiration in different eras, it is important to integrate visual and conceptual solutions of different decades into my work. Perhaps now is the moment, where we are approaching the realization that the succession and symbiosis of cultures can be the beginning of a productive future in all areas.
Dusya Sobol /p h o t o g r a p h e r / @dusiasobol I like to be here and now, exactly at the time where I live now. I found the period of the 90s with the crazy vision and experiments of photographers. Two thousand years, the heyday of the digital era of photography, filled with aesthetics and taste.
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Sabine Grodd /p h o t o g r a p h e r / @ sabine_grodd The emancipation of women, the diversity of today’s forms of life, the relaxation of manners is not without the rebellion of student youth in the 1960s. Therefore, the 60s are one of the defining times and I am very interested and I would like to take a little trip back in the time. There was also a lot going on - Elvis Presley, Aretha Franklin, Bob Dylan, Otis Redding, Tina Turner etc.
The gospel, soul and R&B elements such as pop or jazz had their very own sound. The first moon landing with Apollo 11 took place in 1969 and the Woodstock Festival of the hippie movement. It must have been a great time, if not always easy, but what a decade it is.
Katya Wrapped /p h o t o g r a p h e r / @ katya_warped I like living in our time. With all the ensuing pros and cons – although very slowly, society is becoming more tolerant.
Olesya Parfenuyk /p h o t o g r a p h e r / @ olesyaparfenyuk The 1850s. It was a time of great innovations, including the collodion process I am very interested in. Being generally fascinated by art, fashion, literature and architecture of the 19th century, I enjoy collecting antiques and curiosities from that time I find on flea markets and to visit places that make me step back in time. Sometimes I feel like I was born in the wrong era.
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Jessica Juliao & Pepe Molina
Photographer:
MYMAGRIT
/photostory/
TTE
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wardrobe stylist:
Midory Aguileta hair & make-up artist:
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Isra Quiroz model:
L i va Vo n S a l i n a @ M Z AG E N C Y
wardrobe stylist:
Midory Aguileta hair & make-up artist:
Isra Quiroz model:
L i va Vo n S a l i n a @ M Z AG E N C Y
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Buzzy-Wuzzy Busy Fly /photostory/
photographer: K a t
y a W a r p e d (@katya_warped) model: K s e n i a P l a t o n o v a ( @ i m _ p l a t o n o v a ) stylist/makeup artist: A n n a I s t o m i n a ( @ a n n a _ i s t o m i n a _ m a n i a c ) designer costumes: T a t y a n a K o s t r o v a ( @ t a t y a n a _ k o s t r o v a ) coin: R o m a n S a y f e e v ( @ r o m a n s a y f e e v ) accessories: K a t y a V o l k o v a ( @ v o l k o v a _ c u l t u r e ) video: K s e n i a C i n e m a ( @ k s e n i a _ c i n e m a )
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BuzzyW u z z y, ran a r o u n d 31
BuzzyW u z z y, found a pound!
B u z z y - W u z z y, Ye l l o w b e l l y, B u s y F l y beady eye! 32
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Off she went to the Bazaar And she bought a samovar:
ÂŤCome and meet me, Bugs and Roaches! I invite you all to tea!Âť
Roaches gathered w i t h o u t n u m b e r, Emptied tumbler a f t e r t u m b l e r. models: O l g a S o f r o n o v a ( @ o l g a s o f r i k ) Julia Mikhailova (@yulia__mi__) Ekaterina Bycharina (@katya__by_) set-designer: A n n a S e n t s o v a ( @ s e n z o v a d e c o r ) samovar: R a s k i n A l e k s a n d r ( @ r a s k i n _ a a ) assistants: V a c l a v I s t o m i n ( @ b a n a n a o p p o s s u m ) Vadim Nikolaev (@wady_yeti)
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Then a jolly flock of Fleas Brought her boots: «Do wear them, please!»
And no common boots were they: With gold buckles, b r i g h t a n d g a y. 35
designer costumes: T a t y a n a F i l a t o v a ( @ f i l a t o v a 5 8 9 7 )
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Suddenly! A sly o l d s p i d e r
sidled up a n d s a t b e s i d e h e r, B u z z y - W u z z y s e t t o kill Buzzy-Wuzzy’s blood to spill... ...But the Beetles and the Bugs, Under saucers, cups and mugs Huddled, out of breath.
No one at the party Budges from the spot,
Perishes or not! 37
Getting scared to death,
No one cares if Buzzy locations: R o y a
l Studio
(@royal_studio_photo)
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Buzzy screams, Buzzy cries At the top of her voice, While the villain goes on To s u c k blood and rejoice.
I n a j i f f y, u p h e f l i e s , Pulls his sabre out and cries: ÂŤ N o w, y o u b r u t e ! Âť a n d a t f u l l g a l l o p Deals the pest a deadly wallop!
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Suddenly with twists and turns, A Mosquito comes; In his hand a lantern burns;
model: D e n i s B y k o v ( @ d e n i s b y k o v _ 1 0 ) designer c ostumes: A n n a A n t u a n e t t a ( @ _ a z u z z a _ ) sword: R o m a n S a y f e e v ( @ r o m a n s a y f e e v )
Threatening, he hums: Where’s the coward? Bring him here! His sharp talons
I don’t fear!
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By the hand he takes t h e f l y, To t h e w i n d o w l e a d s h e r, s p r y z Now the villain’s dead and perished.
N o w I ’ v e f r e e d t h e o n e I c h e r i s h e d ? I’ll be happy as can be Here the Beetles and the Roaches Crawled from under couches: « G l o r y , g l o r y t o M o s q u i t o T h e V i c t o r i o u s ! » ...Buzzy-Wuzzy’s Wedding Party! She’ll be married to Mosquito Ugly Spider’s bold defeater!
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GHOSTS photographer: A
nna Priakhina
@annapriakhina
/photostory/
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model: A
l i n a M a i t o v a ,@alina_maitova makeup and hair: E k a t e r i n a D e e v a , @ e v a m a k e u p 8 1 closes and accessories: S a s h a G a p a n o v i c h ,
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@sasha_gapanovich light assistant: @ a n d r e w s e d i n , @ p h o t o f s t
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Ta t y a n a I l i n a
Photographer:
ConeyIsland
I traveled with several Russian circuses since 2012 and a few months ago I had the opportunity to meet exceptional people from the American circus world and to follow «The Coney Island Freak Shows».
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Eric Broomfield Jelly Boy The Clown guided me to this special world of the American circus where we learn the stories of incredible people who were able to turn their difficulties into a gift and show that their art is stronger than any life circumstances.
Fat Mandee is the singing fat lady from Pittsburgh, Pennsylvania. She traveled with circus ridiculous in the 1990s. Insectavora is the current fire-eater and former bug eater at Coney Island.
Wendy blades is a sword swallower. Australian performer Sarah Houbolt (Kookoo The Bird Girl) is a sideshow and theater performer from Australia who based her stage persona on an older Minnie Woolsley who shares her condition in the film “Freaks”(1932).
Documentary photographer, Journalist, Artdirector based in New York City. After receiving the Master in Journalism, graduated from Rodchenko Moscow School of Photography and Media Arts. Subsequently graduated at ESEC Professional School in the field of film and audiovisual techniques. Recently completed degrees with the courses of Advertising and Art-direction in the School of Visual Arts New York City. We at PURPLEHAZE MAG are totally amazed by Tatiana’s talent so we wanted to get closer to the person behind the camera!
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Q&A
How would you define beauty in Đ° paragraph or less? Sometimes art can change how people see the world, but I want to change how the world sees people. I love to find beauty where others do not see it so that they can understand and realize how special this beauty is..
How would you describe the color palette of your photographs? In most cases, I prefer to work with the film because it gives special colors that do not even need to be processing and a mysterious atmosphere that is felt in many photos taken on film.
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What visual references do you draw upon in your work? Some moviemakers from the old classic cinema have inspired me and maybe their influence is noticeable on some of my works.
Can you tell us about the process of making your work? Through my imagery, I am passionate about giving a voice to the voiceless – shining a light on those whom society has often placed in darkness. I am interested in social activities, which enable me to explore extraordinary life stories of exceptional people. Working with them, I attach great importance to the aspect of feelings and emotions that can often lead to a much better results. An interesting thing about almost all my projects, which makes it special for me: They always come to me themselves, even before I start looking for it; something happens that seems to make me start working and soon after I feel like I am a part of this process which stays with me for months, sometimes even years.
SUNFLOWER Ami Colberg model T o m y @ a p m n e w y o r k makeup M i a V a r r o n e style Y i a n L e e photo
/photostory/
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EXHIBITIONS TO SEE IN
2020
Editor’s Choice
2020 is in full spring, since we have much time ahead to enjoy special treats carefully prepared by the Year of Metal Rat. Surely, art is on the agenda. Find 7 most promising exhibitions in different parts of the world below to see this year. Selected by Purplehaze :)
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Andy Warhol’s retrospective where T a t e M o d e r n ( L o n d o n , U K ) when M a r c h , 1 2 — S e p t e m b e r , 1 6 what
If you deem to know enough about Andy Warhol, Tate Modern is going to reassure you by offering a major retrospective (first for the last 20 years) on various works by the King of Pop Art. Remarkably, the new side of Warhol’s art is in focus — some images (for example, from Ladies and Gentlemen series) haven’t been seen before. Seeing portraits of drag queens and trans women from the series might be a new chapter in your story of acquaintance with Andy Warhol as well as experiencing his floating Silver Clouds installation and The Exploding Plastic multimedia environment. Taste the diverse nature of pop art and shed some light on the secretive personality of Warhol at Tate either this spring or summer.
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what
Marina Abramovic: A ft e r L i f e
where when
The Royal Academy of Arts (London, UK)
S e p t e m b e r, 2 6 — D e c e m b e r, 8
It’s time you brushed up your knowledge of Marina Abramovic’ activity. What actually made Abramovic “the grandmother of performance art” to a wide audience? First, her unprecedented “Rhythm 0” work (1974) when she placed her body at the disposal of visitors (who could choose from 72 objects to interact with Marina) for 6 hours. Second, imbued with eroticism, yet absurd “Imponderabilia” (first performed in Bologna, 1977) with Abramovic and her former romantic partner Ulay standing naked at the walls of the narrow gallery entrance thus forcing visitors to squeeze through and face one of them. And of course, “The Artist Is Present” which Marina first performed in 2010, sitting motionless and locking eyes with a stranger opposite within 8 hours 3 months in a row. Well, we can’t be sure of what The Royal Academy of Arts is going to present us at “Marina Abramovic: After Life” but one thing is clear: a 50-year survey of Abramovic’ art just can’t be disappointing.
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what:
T h e M a g r i tt e M a c h i n e
Like a true surrealist, Rene Magritte wasn’t a stranger to the concept of automating creative activity. The painter coined the expression of “a universal machine for making paintings” while working on the famous “La Manufacture de poésie” in 1950. Magritte had a clear understanding of how processes of thought and creating could be automatised, so does the curator of the Magritte Machine exhibition at the ThyssenBornemisza National Museum. Guillermo Solana (in combination, the museum’s artistic director) decided to split the exhibition space into six sections, each representing one of the devices that constitute the “Machine”: the silhouette, the window, the museum, the mechanism that alters size and weight, the mask and mimicry. Altogether 65 canvases (apart from the selection of photographs and films) exhibited appropriately are likely to convey Magritte’s ideas in precision and show how the “Machine” might work!
where: T h e
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Thyssen-Bornemisza National Museum (Madrid, Spain) when: O c t o b e r , 2 7 — F e b r u a r y , 2 8 , 2 0 2 1
what:
Ya y o i K u s a m a ’s retrospective
where: T h e
Gropius Bau (Berlin, Germany) when: S e p t e m b e r , 4 — J a n u a r y , 1 7, 2 0 2 1 The inimitable Queen of dots and polka Yayoi Kusama is traveling to Europe! The Berlin Gropius Bau will be hosting her retrospective in autumn, showing the works created by the Japanese artist in the past 70 years. Said to be suffering from OCD, Kusama managed to turn the affliction into a distinctive feature of her creativity. Surprisingly, repetitive patterns and overwhelming installations by Kusama became famous in the United States prior to her homeland Japan, however, after being invited to the Venice Biennale in 1993, the artist gained general recognition. Yayoi Kusama’s retrospective in the Gropius Bau will cover about 3,000 sq.meters, representing the artist’s immortal Infinity Mirrored Room along with some of her relevant works. The exhibition aims at highlighting Kusama’s integration into the European and, in particular, German art environment in the 1960s.
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Fantastic Women – Surreal Worlds From Meret Oppenheim to Frida Kahlo what
Plans for summer: why not to pay tribute to women artists who contributed greatly to surrealism? If you are into this, welcome to the exhibition at the Louisiana Museum of Modern Art in Copenhagen devoted to such famous feminine surrealists as Louise Bourgeois, Frida Kahlo, Leonora Carrington and Meret Oppenheim. Around 250 works of painting, sculpture, drawing, photography and film are going to be on display with 30 women artists from the United States, Mexico and European countries being represented. You’re even likely to extend your knowledge by learning a few new names like Kay Sage, Leonor Fini and Toyen, however, the whole point is to show how inventive and skillful women were (and still are) in different fields of creation touched upon by a human hand.
where: T h e
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Louisiana Museum of Modern Art (Copenhagen, Denmark) when: J u n e , 1 8 — S e p t e m b e r , 2 7
what
About Time: Fashion and Duration
where: T h e
Metropolitan Museum of Art ( N e w Yo r k , U S A ) when: M a y , 7 — S e p t e m b e r , 7
Met is celebrating 150 this year! On that occasion a major exhibition devoted to the history of the Costume Institute, an inherent part of the Museum, will open at the end of spring. Remarkably, the exhibition will be held alongside Met Gala 2020 so that viewers could enjoy both the possibility to see the show and learn more about its origins. How clothes reflect the Zeitgeist and anticipate the upcoming changes? What happens when Black meets White, Shape fuses with Motif and Material? Curatorial juxtaposition of the most fashionable items of the decades (e.g. Alexander McQueen «Bumster» skirt from 1995 and a princess-line dress from the 1870s) might reveal the secret rhythm of haute couture and narrate the story of the Festival and the Institute. As a bonus, you will find a short story written specially for the exhibition catalogue by Michael Cunningham, the winner of Pulitzer Prize for Fiction, who, in his turn, was inspired by the writings of Virginia Woolf.
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A retrospective (1 975 - 2020 ) ” and“Crossing Views” by Cindy Sherman what
where: T h e
Foundation Louis Vuitton (Paris, France) when: A p r i l , 1 — A u g u s t , 3 1
There is something special about Cindy Sherman. Though being a living artist, she may well have (and she does!) her own retrospective, having accumulated quite a massive artistic heritage. LVMH‘s art museum and cultural center the Fondation Louis Vuitton will make it happen in spring-summer 2020. The upcoming retrospective of Cindy Sherman’s work and life will be divided into 2 parts: the first representing pieces created by the artist in the span of the last 45 years (including some brand new ones that haven’t been seen before) and the second exhibiting Sherman’s portraits in the dialogue with the likes by some other artists, among which are Damien Hirst, Clément Cogitore, Wolfgang Tillmans, Andy Warhol, Gilbert & George, Louise Bourgeois. The large-scale and diverse showcase by the inimitable in her artistry Cindy Sherman is worth booking tickets to Paris, since you’re not there yet.
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PLAYER
Dress
Bespaliuc Cat
looking for the family
D i a n a L a n g e @thedianalange stylist R o m i B e s p a l i u k @ b e s p a l i u c model S e r g i i @ s e r g i y k a k u l a from B o y s B o y s M o d e l M a n a g e m e n t photographer
@boysboys_mgmt
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Bag
Bespaliuc Shoes
Bally
Jacket
Bespaliuc Hat
North Face vintage
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Top
Bespaliuc
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Vintage Gucci Trousers
Bespaliuc Blouse/Top
Bespaliuc Shoes
Bespaliuc & Bally
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Jacket
Bespaliuc Glasses
Vintage Jacket
Bespaliuc Scarf
Ve rs a c e
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Blouse
Bespaliuc Trousers
Bespaliuc Shoes
Bespaliuc Glasses
Vintage Gucci
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Blouse
Vintage Scarf
Fendi Glasses
Vintage ะกhanel Shoes
Bally
Blouse
Vintage Shorts
Bespaliuc Scarf
Fendi Glasses
Vintage ะกanel
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Blouse/Top
Bespaliuc Shorts
Bespaliuc Hat
North Face vintage
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«I MADE CAREER O COLOUR» Interview with
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Crazy Rich Asian’s #1 2013 © Miles Aldridge / Courtesy of Christophe Guye Galerie
MY ON »
Miles Aldridge
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2011 I Only Want You To Love Me #4 Miles Aldridge
© Miles Aldridge / Courtesy of Christophe Guye Galerie
«you are free to work the way you want insofar as you understand the framework of the edition»
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J u l i a K r y s h e v i c h : Miles, you come from quite a creative background. You were born in the family of a prominent illustrator and received a proper education from St. Martins. However, you took up fashion photography quite spontaneously when British Vogue offered to collaborate with you… M i l e s A l d r i d g e : Well, I spent a couple of years directing pop videos — back then I had pretensions to become a film director. Meanwhile I understood where to put the lights, what props suit the scene best, whether a character needs some flowers, and so on. So when I was given a chance to become a photographer, I used all those tricks that I had learnt before. You know, each photograph is an illustration in a way because primarily it’s about composition — all those things are overlapped. Unlike pop videos with so many people on the set, photography is just an object, a machine — I have a small camera in my hand and I feel liberated to be more guerrilla, to follow my own approach, so I went further and further. Also, there was a period of a big explosion of creativity in magazines. It was rewarding to get on the pages of the glossies, and to receive admiring feedback from audiences. From a very small beginning, it was a quick response.
British fashion photographer Miles Aldridge took the industry by storm in the 90s — his saturated, polished images were to be found in Harper’s Bazaar, Vogue, Numéro, as well as in the advertising campaigns of Carolina Herrera and Longchamp. Neither he had to wait long to enter the art world with numerous invitations coming both from private galleries and museums. Today Miles Aldridge (a.k.a. ‘King of Colour’) isn’t thinking of decreasing his activity — get to know more about his views on photography, artistic collaborations, and women as protagonists from the interview with PH below.
Miles Aldridge
Short Breaths #5
2012
© Miles Aldridge / Courtesy of Christophe Guye Galerie
J.K.: You have shot for both advertising agencies and fashion magazines. Do you classify your work? M.A. No, I don’t. I think it’s the case for many photographers when they do an editorial because it is impersonal. I always thought that I wanted my editorial work to be personal and it’s possible — doing a really great work for magazines which you consider to be your own creativity— I mean, you can bear your signature over the picture. Nobody ever told me what to do while shooting for a magazine. You are free to work the way you want insofar as you understand the framework of the edition. Actually, I was happy with the restrictions. The ones I have hardly compare with the restrictions that used to be in the Hollywood cinematography of the 1950s, for example. Back then you weren’t allowed to show violence or sexuality, but still the effect was fantastic as everything worked within the mechanism of Hollywood — and I’m working within the mechanism of Vogue. If I was given complete freedom, I’m not sure my pictures would be better — this might be some kind of a unspoken law in photography as well. When I look at Helmut Newton’s works that he did for Paris Vogue and German Vogue, I find them fantastic. However, when he was given free rein, he drifted too far away and that’s made me lose my interest in his art. While working for Vogue, Newton also touched upon the things like death, violence, and sexuality, but had to do it in a very subtle way.
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photographs as artworks? M.A. I don’t have any hesitation about that. Photography can seem strange in a way because it’s a medium of moments. For me, it’s all about the idea and its source. Now that the concept has been worked in my head, I have a new challenge — a model sitting in front of me, acting in my scene. Maybe it doesn’t go well, and then suddenly a stranger enters the picture and it becomes interesting! I didn’t plan that exact picture: it came to me during the process. Going back to my earlier statement about the camera as a machine, photography is all about looking around in contrast to painting, for instance. I really enjoy the way that I can employ my imagination quickly and move fast — even if my pictures take a long time, I still work with the machine that makes snapshots. There are many things in the process like lighting, clothes, props, makeup, music in the background, and when you go through all of them, thinking, reacting, creating, and all at a quick pace, you can say that you are an artist and that you have made a work of art. If you pick up your iPhone and take a picture with it, well, you can say that you are more of an iPhone owner [laughing].
J.K. In 2016, you created a series of photos in
collaboration with famous artists like Harland Miller, Maurizio Cattelan, and Gilbert & George. Can you tell me more about that? M.A. Well, there was an absolutely wonderful situation with Maurizio Cattelan. He had a magazine called Toiletpaper. A friend of mine, who was a stylist, was working with Cattelan on it. Since I knew that I had asked my friend to tell Cattelan that I loved his magazine. Later I received an email from the artist saying he loved my works too! I thought that it was such a nice compliment and suggested to Cattelan that we do something together. Six months later he wrote me to tell me that he was going to have an exhibition in Paris, which would be a fantastic backdrop for photos. I loved the idea and agreed immediately. As the project was approved by the museum director, I met with Maurizio at 7 in the evening (the museum was closed, of course) and spent 12 hours together planning the exhibition with me shooting. Working till 7 in the morning was quite tough, but in the end, I had 6 incredible pictures. Maurizio Cattelan said to me: ‘Listen, If you can use my name to make any money, please do’. To be honest, initially I wasn’t even sure Maurizio Cattelan was going to meet me — you know his reputation, it could have been a sort of giant joke. But he came and he acted normally, that’s the thing. Speaking about Gilbert & George, I knew them anyway, I did their portrait once. They are quite eccentric and a big part of the London art scene, always perceived as a family. I proposed an idea to them. That a beautiful stranger arrives to their house. It was a very Edwardian idea of a charming life: drinking tea, taking baths, walking together. So we did it and the result didn’t disappoint us. What I might say about all three collaborations is that in each case the artist didn’t feel in any way challenged by my work. They were completely giving themselves and trusted me; each time I was given incredible liberty. If they had been slightly suspicious or concerned, I wouldn’t have made such wonderful pictures.
Miles Aldridge Cat Story #3 2008 © Miles Aldridge / Courtesy of Christophe Guye Galerie
J.K. Do you consider all of your
Miles Aldridge Actress #6 2012
Miles Aldridge The Pure Wonder #1 2005 Š Miles Aldridge / Courtesy of Christophe Guye Galerie
J.K. Your art is inevitably
about colour — the more, the better. Can you imagine (or have you ever thought of) creating monochrome images? M.A. Interesting, maybe. The Gilbert & George ones were printed in black and white with blocks of colours, so that could be a good example. I think there is some place for black and white in my work, yet I haven’t found exactly the way. You know, when you look at monochrome works by such Pop-artists as Andy Warhol or Roy Lichtenstein, you see that they’re still Pop! For me it’s a clue. Though it might sound like a cliché, one should use black and white as colours so they play with each other. Monochrome pictures look like a perfect abstraction, but still we see the world in colours. By the way, I have quite a few black and white things in my house because they are so calm, beautiful and timeless: e.g. Richard Avedon and David Hockney prints. However, I have to be sensible as I made my career on colour; I can’t disappoint my fans by changing my manner of working suddenly.
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Miles Aldridge Home works #7
2008 © Miles Aldridge / Courtesy of Christophe Guye Galerie
«when you look at monochrome works by such Pop-artists as Andy Warhol or Roy Lichtenstein, you see that they’re still Pop! »
Miles Aldridge I only want to love me #1
2011 © Miles Aldridge / Courtesy of Christophe Guye Galerie
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2006 Cabaret #1 Miles Aldridge
© Miles Aldridge / Courtesy of Christophe Guye Galerie
Purplehaze thanks the Lumiere Brothers Center For Photography for assisting in organizing the interview.
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J.K. Which art movement or artist influenced
your photographs the most? If I would guess, I would say it has something to do with Pop Art... M.A. Yes, it does. Robert Rauschenberg, Andy Warhol, Tom Wesselmann, James Rosenquist, Klaas Oldenburg inspire me a lot. In England, I admire David Hockney. Among East-German pop-artists I really Iike Sigmar Polke and Gerhard Richter back in the 60s. I borrow the subject and the stylistic approach from pop-art, like making things big and bold. For example, I sense the fascination Liechtenstein had with women, so I’m trying to continue this story… J.K. Your work often focuses on a woman. How would you describe your ideal character? M.A. I see a woman as a central protagonist of the scene — whatever happens on the set, she is always in focus. The choice between photographing men and women was really made by me because I took up fashion photography. When I started, female clothes were at the centre of the fashion world — fashion magazines were edited by women and for women. However, photographers shooting for glossies were, most of the time, men (I am no exception to this). Being a fashion photographer, I feel like a film director working with an actress, reinventing her and her story each time. Scenarios can be different but it always feels like one story. Just like [Alfred] Hitchcock, who made 15 films within 15 years, I make my photographs in this kind of framework. Casting different women, I create units of a single entity. I would say, to survive in these photos she has to be fascinating, intriguing, and mysterious. An interesting thing: most of my collectors are women, and when they look at my work, they say the same thing: ‘It reminds me of me.’. The reason for this is that the personality of the main character presented on the photograph has space for the viewer’s interpretation. It’s just like the paintings of Piero della Francesca, which are full of blank spaces, are very calm and do not express any emotions physically – even if somebody is being strangled there. When you think about ‘calm’, it’s a sense of time stretching. Photography is the medium of a moment, as Cartier-Bresson had said. But I don’t believe in that. When it was invented 180 years ago, it was a very slow process, so photography captured something longer than just a moment.
Miles Aldridge
The Rooms #2 2011
J.K. Please share your source of inspiration with
our readers. M.A. You know, today I spent the afternoon in the Pushkin Museum. I went to the modern section to see Matisse, Degas and Munk. Contemplating the art by the past masters is the thing that gets me going. I am here for two days. I have nothing besides interviews, so when I have an hour of free time, I go to a museum. That’s my church. It’s where I can take solace. I look at the paintings of women by Renoir and imagine them posing for the artist, sleeping with him. When things don’t go very well, I also enjoy thinking that they certainly have gone better for me than they went for Van Gogh, for example. I mean his struggle to get his message respected and listened to. Here I am, having an exhibition, and it’s extraordinary that I have it in my lifetime, when Van Gogh had nothing. My story isn’t over yet, but the story of many artists in society is filled with despair, frustration, regrets, and disillusion. But when we die, we leave all this critical thinking behind. Purplehaze thanks the Lumiere Brothers Center For Photography for assisting in organizing the interview.
© Miles Aldridge / Courtesy of Christophe Guye Galerie
Text by Julia Kryshevich
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Material Girl photographer
M a rc o s Ro d r Ă g u ez Ve l o @marcos_rodriguezvelo marcosrodriguezvelo.com creative director
Kristina Okan @visual.essays stylist
Silvie Sousa @silviesousa makeup and hair
Sophie Peters
@isabelsophiemakeup model
Almeira
@ Beauty Model Management @ a l m e i r a _ s o p h i e w w w. beautymodelmanagement.com
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Look 1
Top — Hieronymus Pants — Alice McCall Shoes — Stylist’s own
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Blazer — Danny Reinke Dress — Maje Shoes — Vintage
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Dress — Florentina Leitner Sunglasses — Stylist’s own
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Top and pants — Clara Sander Dress — Danny Reinke Sunglasses — & Other Stories Earrings — Vintage Earrings — Stylist’s own Socks — & Other Stories Shoes — Stylist’s own
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Dress — Sinuous Sisters Corsage — Cindy Lin
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Suit — Aéryne
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Poncho — Maqu Body and belt — Danny Reinke Pants — Allen Schwartz
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Coat — Danny Reinke Shoes — Stylist’s own
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NOMADS
S PARTY
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TEA
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PHOTO, PRODUCTION, SET-DESIGHN LILYA @bussardel ART-DIRECTION, STYLE, PRODUCTION, SET-DESIGHN ULYA @ylittka HEAD MAKE-UP/HAIR ARTIST NASTYA @tenderova
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MAKE-UP/HAIR ARTIST MARYA @mlshvms MAKE-UP/HAIR ARTIST MARYA @gorelkina_mua MAKE-UP/HAIR ARTIST ALICE @alisa_abakumova STYLE ASSISTANT SONYA @sonyaguseva
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MO D JULY @julia_and_co MARTA @ _marta_maa
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D E LS HANNA @hanna_smetana MASHA @mashasuperdetka
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ROMA UVAROV DESIGN @ romauvarovdesign by @ romauvarov NOBAGENCY @nobagency RINGS @in2into
LU SEREZHA @etoflexx STELLA @stella_veo DANIIL @danjulechka
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MARLENE IN ME photographer
muah
style
Marat Mukhonkin
Sophie Peters
Nadejda Weiland
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production
Isabelle & Irina FA Z E Rusinovich MODELS
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EMILY
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Emily
@emilydrinkschocolate
Nicholas
@fishmonkeycow model
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E l i z a b e t h P e n t s a r s k a @zoriudoloni @synergy_
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M e i Y i u @yiumeiki @modelonehk stylist
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A n d y C h i u @andaerial N i c @heiyino_o
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CATS photographer
Vo ny Wo ng @vony wong WB: vony wong wardrobe stylist
Ye m i m a C a h y a n i Pujile WB: yemima_ nail artist/hair stylist
Aileen WB: cosmelynn model
Sabrina @Amor Model WB: omariasse makeup artist
Indah Shafyra WB: shafyramakeup
PEACH SLANTED CORSET by @hausofhans x @biancsbybianca x @asuta_official
BLACK SHIMMERY PANTS\ by @gyd_agiedderta
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PURPLE OVERSIZE SHIRT by @hausofhans x @biancsbybianca x @asuta_official DRESS, ACCESORIES STYLIST OWN SEAMLESS TRIANGLE PATTERN BLOUSE AND OVERALL SKIRT by @gyd_agiedderta 164
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@DUSIASOBOL
DUSIASOBOL.COM
INTERVIEW
WITH DUSYA SOBOL
HOW DID YOU GET INTO PHOTOGRAPHY? I came to photography after I’ve been trained as an artist in Saint Petersburg Art School Nicholas Roerich and Saint Petersburg Art and Industry Academy. I drew a lot, was engaged in painting and design, but after a while I found a new language for my ideas expression in photography. For over 17 years I’ve been in love with this profession.
HOW WOULD YOU DEFINE BEAUTY IN А PA R AG R A P H OR LESS? One of the most important words for me is “beauty”. I can find it anywhere, whether it’s a graphic monochrome of ancient building facades or freckles gradient on the face of my model. Due to this ability, I easily find an inspiration for the new projects and try to implement them as soon as possible.
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WAS THERE A PIVOTAL MOMENT WHEN YOU DECIDED TO FOLLOW YOUR PASSION?
TELL US ABOUT THE SPACES WITHIN WHICH YOU LIVE AND WORK.
DO YOU HAVE A ROUTINE OR RITUALS AS YOU WORK?
My profession helps to combine art and travel, various shooting techniques and the craziest ideas, colour and graphics. Since I discovered a black and white photo and manually printed my first photo, I realized that this is a long term relationship.
I am fed by two cities — St. Petersburg and Berlin. First one is my hometown and second is a city of my dreams, where I’m lucky to live now. I also travel to Reykjavik, New York and Paris quite often. These cities give me strength and energy to create.
Preparation for the shooting is very important for me: reference, location, light, colour, style, detail and mood — i pay a lot of attention to all aspects. During the working process I am very focused and I try to control everything. But only till the middle of the shoot. Because after the main tasks are solved and everyone exhaled I can shoot more freely and relaxed. Usually the truth is somewhere in between.
HOW WOULD YOU DEFINE YOUR PERSONAL AESTHETIC? My aesthetics is subject to periods: now it is the purity of lines, idealism, harmony, softness, a search for the decisive moment in combination with skill and professionalism.
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HOW IMPORTANT IS THE WHICH ARTIST OF THE PAST WOULD PRESENTATION OF YOUR WORK? YOU MOST LIKE TO MEET? Presentation is also very important. During my work, I’ve built a strong brand that clearly works in Russia. If this is a commercial project, the output is high-quality printing, branding and a beautiful package. If this is an exhibition, I will arrange it personally, because usually I know for sure what result i want to get.
My pipe dream is to get acquainted with Irving Penn, to assist him on the set to understand his thinking process when he creates a picture. The versatility of his work and periods — creative, commercial and magazine, his life and career path are ideal for me at the moment. I am also inspired by artistic works of Auguste Rodin, Pablo Picasso, Piet Mondrian.
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CAN YOU TELL US ABOUT THE PROCESS OF MAKING YOUR WORK?
WHAT ADVICE WOULD YOU GIVE TO A YOUNG ARTIST FOLLOWING IN YOUR STEPS?
Before starting the work, I always collect a reference, seek the the colour I paintings, I look over contemporary art works. I form a team of like-minded people for each shooting separately. I try to do my best.
The main advice for a junior photographer is the same as for a junior artist. Shoot, watch, burn and shoot again. Search for your own style, handwriting, language of embodiment. When you have something to say in art, the rest is just a matter of time.
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Text Editor in Chief Irina Rusinovich
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I’LL BE YOUR MIRROR
Oliver Haenisch & Nadja Haider models S o p h i e K รถ h r m a n n hair & make up
Sabine Grodd styling O l i v i a R u t s c h a photography
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Outfit Green Dress: Stine Goya Hairpiece: Spatz Hutdesign Passau Jewellery on Plate: Sif Jakobs & Sabrine Dehoff Earings: Sabrina Dehoff Rings: Sabrina Dehoff
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Ye l l o w J a c k e t Harris Wharf London
Headpice
Spatz Hutdesign Passau
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black suit
Filippa K Federboa: Bohème Sauvage shoes
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Tilda Knopf headpiece
Spatz Hut Design earings
Sif Jakobs ring right
Sif Jakobs Ring left
Sabrina Dehoff shoes
Lolly fox
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earings
Sif Jakobs headpiece
Spatz Hutdesign Passau
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red dress
Viola Ballin earings
Sabrina Dehoff purse
Tilda Knopf headpiece
Spatz Hutdesign Passau
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Tilda Knopf
red dress
Viola Ballin
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Spatz Hutdesign Passau
earings
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INDUSTRIAL MUSEUM
photographer
@slovak_photo model
@polikravchuk mua
@emmashrayber hair
@irk_inn producer
@natalya_saraeva stylist
@mdanilova videographer
@nikk y vi dit
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white shirt all socks
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W e e k e n d Uniqlo
RUSSIA
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photographer model and stylist
Laura Martinova Misha Ka
@lauramar tinova @fluf f y.helmet
white jeans yellow sweatshirt snea kers
Levi’s Uniqlo Both
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white leggins purple sweatshirt nude turtleneck sneakers scarf
Urban outfitters Uniqlo COS Both H&M
light blue jeans multi colored shirt red boots
C l o s e d Zara S i n t e z i aÂ
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dark blues jeans green shirt
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Victoria Beckman Gosha Rubchinskiy
The Reenactors photographer Tatyana Illina
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The Reenactors are people who live in another world and dream of being transported far away into the past. Every day they wait for the moment to appear in their own reality, created and organized with historically accurate details. They work at every item of their image with extraordinary love – they make their clothes themselves according to the fashions of the time, they make household items – dishes, furniture, home decorations and different accessories. They make these all with their own hands, and when everything is finished, then comes the long awaited moment of transfiguration – it’s a really happy moment of a new reality.
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The meeting place is chosen beforehand. This space is carefully prepared and filled with historically accurate relics that transport the event participants to another world. Sheep skins, haystacks, wooden carts, and canvasses where they spend cool nights and hot days. This time the meeting took place near Pskov, in summer. There were people from different parts of Russia, many of whom had hired a touring bus from SaintPetersburg, loaded with ancient things. One of the participants, a middle-aged man told me: “It is a kind of escape from reality, and you don’t always want to think of this. We seem to live another life, escaping from the real one”.
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CREATIVE DIRECTION, PHOTOGRAPHY & STYLING Olesya Parfenyuk
HMUA Sarah Bzoch @stellatalents MODELS Lisa Marie @stellamodels Luise Bühler @stellamodels
white corset, black leather pants, transparent pants and shirt by Jennifer Milleder @jennifermilleder ruffle-sleeved jacquard bomber jacket, ÂŤMaidÂť top and petrol blue tulle dress by Patricia Narbon @narbonpatricia
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vintage burgundy dress and vintage ivory pumps provided by Fräulein Kleidsam @fraeulein_kleidsam Giant Pompon hat and Partyhat by Sassa Ann Van Wyk @sassaannvanwyk „Lilith“ earrings, „Lilith‘s Eyes“ earrings (plexiglas eyes earrings), „Gift“ earrings by Isabelle Mayer @ isabelle__mayer
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hair clips by & Other Stories @andotherstories red blouse by Reserved @reserved tights by Calzedonia @calzedonia
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red pumps by Peter Kaiser @peterkaiser_official black vinyl mules by Zara @zara blue vinyl mules by Asos @asos
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pink dress, blue dress, white blouse, black jacket, pearl necklace, pearl earrings, belts, gloves: vintage pieces - stylist’s own
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DECADES OF CHANGES
ART HIS AT A GL
STORY LANCE
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‘MAY YOU LIVE IN INTERESTING TIMES’ THE CHINESE SAYING GOES.THE PROVERB WAS CHOSEN AS A TITLE TO THE 58TH VENICE BIENNALE CURATED BY RALPH RUGOFF AND MOST LIKELY NOT BY CHANCE. THE HISTORY OF ART HAS ALWAYS BEEN A BATTLEFIELD FOR THOSE WHO SHARED TRADITIONAL VIEWS ON PAINTING (WHATEVER THEY WERE AT THAT PERIOD) AND CRAVED INNOVATION. THE BATTLE WENT ON WITH VARYING SUCCESS, HOWEVER, REVOLUTIONISTS WERE A BIT AHEAD ALL THE TIME, EVEN WITHOUT HAVING REALIZED IT. THANKS TO THEIR TIRELESS ATTEMPTS, ART DEVELOPS AND WE KEEP DISCOVERING NEW TALENTS AND ADMIRING THEIR CREATIVITY.
IT’S UNLIKELY TO DISCUSS ALL THE EXAMPLES IN AN ARTICLE WHICH IS COUPLE-PAGE-LONG, STILL, IT’S NOT AN EXCUSE FOR ME NOT TO GIVE IT A TRY. FIRST, HOW IT TURNED OUT THAT REALISTIC PAINTING STOPPED RULING THE ART WORLD? (TO BE MORE PRECISE, WHY IT SUDDENLY BECAME NO LONGER THE ONLY POSSIBLE WAY TO REPRESENT THINGS ON CANVAS). REMEMBER PLATO SAID: ‘THERE ARE THREE ARTS WHICH ARE CONCERNED WITH ALL THINGS: ONE WHICH USES, ANOTHER WHICH MAKES, AND A THIRD WHICH IMITATES THEM.’ IT MIGHT BE NICE TO THINK THAT THE PHILOSOPHER MEANT TO SHOW THE MULTIPLICITY OF ART IS A PHENOMENON, BUT NO — THE FIRST TWO CRITERIA REFERRED TO OTHER THINGS, SUCH AS REIGN AND CRAFTS. ACCORDING TO PLATO, ART HAS INITIALLY IMITATING FUNCTION (LET ALONE IT BEING PUT IN LAST PLACE). THUS, ART IS IMPLIED TO REPRESENT OBJECTIVE REALITY: THE MORE PLAUSIBLE IT DOES, THE HIGHER THAT PARTICULAR WORK OF ART IS RANKED.
THE HISTORY OF ART HAS ITS OWN RULES, SINCE WE WOULDN’T CALL IT ‘HISTORY’, IF MAJOR EVENTS OF THE FIELD HAD NOT BEEN CLOSELY INTERLINKED. AT FIRST GLANCE, SOME ART MOVEMENTS SEEM TO BE AS LITTLE MATCHING AS A GOOD CAPPUCCINO AND EXPIRED CREAMS, HOWEVER, THIS IS NOT TO SAY THAT BRIDGES CAN’T BE BUILT BETWEEN THEM. JUST FIND A POINT OF CONTACT AND YOU WILL SEE THE WHOLE CHAIN OF ART HISTORY SHINING LIKE CHRISTMAS LIGHTS.
THIS FORMULA MAY BE DEEMED FOR THE UPCOMING DOZENS OF CENTURIES. IT WAS COUNTED AS A TARGET, THOUGH ITS’ INTERPRETATION WAS SLOWLY CHANGING. FOR INSTANCE, ROMANESQUE PAINTING (XI - XIII CENTURY AD) WAS STRICT AND CONCISE AND MAINLY FOCUSED ON THE GENERAL RATIO OF THE SUBJECT, NOT ON HUMANS (STILL, THERE WERE A LOT OF THEM REPRESENTED IN A CROWD OR AS A PART OF THE COMMUNITY). THE REALITY OF ART OF THAT PERIOD WAS COHERENCE OF THE SOCIAL FABRIC, CHURCH’S COMMITMENT AND INSIGNIFICANCE OF HUMAN NATURE IN FRONT OF THE CREATOR, WHICH WAS A TYPICAL VISION FOR EUROPE IN THE HIGH MIDDLE AGES.
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ONE CAN’T SAY THE SAME ABOUT THE VALUES OF THE RENAISSANCE PERIOD (CIRCA ХIV - XVI CENTURY AD). POLITICAL AND ECONOMICAL CHANGES IN THE SOCIETY, DEVELOPMENT OF THE HUMANIST THOUGHT AFFECTED THE WAY PEOPLE EXPECTED AND DESIRED TO SEE REALITY DEPICTED BY PAINTERS. IMPROVEMENT OF THE ARTISTIC TECHNIQUES — ELABORATION OF CHIAROSCURO, VOLUME AND PERSPECTIVE OF THE DRAWING — COMBINED WITH AN INCREASED INTEREST IN HUMAN BEING AND ITS BODY STRUCTURE MADE A PAINTING LOOK EVEN MORE REALISTIC! NOT WITHOUT A REASON, ITALIAN REPRESENTATIVES OF THE RENAISSANCE AND THE SUCCESSIVE FLEMISH BAROQUE PAINTERS ARE WIDELY ACCEPTED AS THE MOST ACCOMPLISHED ARTISTS EVER. JUST TAKE A LOOK AT THE MASTERPIECES BY PIETER PAUL RUBENS, ANTOON VAN DYCK, JACOB JORDANS — THEY ARE GORGEOUS, SUBLIME AND REALLY LIFELIKE. WE MIGHT SAY, A BIT TOO DEVOTED TO DIVINE MATTERS, BUT WHY NOT TO CHANGE THE TOPIC FOR WHAT’S RELEVANT TODAY, PRESERVING THE TECHNIQUE? LITERALLY, IT WOULD BE PERFECT ART. NO SUCH LUCK: HERE COME THE IMPRESSIONISTS. IF YOU ASK SOMEONE (LET IT BE YOURSELF), WHERE CONTEMPORARY ART STARTED, THE ANSWER WOULD BE PROBABLY: I AM NOT SURE. HOWEVER, THERE ARE JUST A FEW RESPONSE OPTIONS AND ‘IMPRESSIONISTS GAVE IT A PUSH’ IS ONE OF THEM. WORKS THAT LOOK PICTURESQUE AND CHARMING AND PRETTY ‘NORMAL’ FOR TODAY’S VIEWERS, USED TO CAUSE OUTRAGE AMONG NOBLE FRENCH AUDIENCE 150 YEARS AGO.
THE PAINTERS WE CALL ‘THE IMPRESSIONISTS’ WITHOUT THINKING, GAINED THIS NAME THROUGH THE REVIEW BY THEIR CONTEMPORARY, FAMOUS CRITIC LOUIS LEROY. LEROY VISITED THE
FIRST EXHIBITION BY THE SO-CALLED ANONYMOUS SOCIETY OF PAINTERS, SCULPTORS, PRINTMAKERS (1874), WHO, IN FACT, CARRIED ON THE SALON DES REFUSÉS MISSION — EXHIBITED PAINTINGS REJECTED BY THE PARIS SALON. IN HIS REVIEW ON THE SHOW LEROY CALLED IT L’EXPOSITION DES IMPRESSIONNISTES, WHICH WAS MEANT TO SOUND SHARPLY AND SATIRICALLY — THE OBSERVER CRITICIZED THE ARTISTS’ MANNER WHICH WAS CARELESS AND, PER SE, NOT REALISTIC: ‘A PRELIMINARY DRAWING FOR A WALLPAPER PATTERN IS MORE FINISHED THAN THIS SEASCAPE’ — WROTE THE CRITIC ABOUT MONET’S PAINTING ‘IMPRESSION: SOLEIL LEVANT’. THE THING IS THE IMPRESSIONISTS DIDN’T REALLY CARE EITHER ABOUT THE PLAUSIBILITY OF THE IMAGE OR THE CONFORMITY WITH THE SALON EXPECTATIONS. INSTEAD, THEY WANTED TO ASSERT THEMSELVES AS ARTISTS WHO ARE CAPABLE OF DECIDING UPON THE ARTISTIC MANNER AND THE SUBJECT OF THE WORKS. AS WE CAN SEE, THE CATEGORY OF THE IMPRESSIONISTS HAS ACCIDENTAL NATURE, SO ARE THE ‘MEMBERS’ OF THE MOVEMENT. PAINTERS WHO TOOK PART IN THE ABOVEMENTIONED EXHIBITION AT THE 35 BOULEVARD DES CAPUCINES ARE USUALLY REFERRED TO AS THE IMPRESSIONISTS. AMONG THEM ARE CLAUDE MONET, ALFRED SISLEY, PIERREAUGUSTE RENOIR, CAMILLE PISSARRO, BERTHE MORISOT, EDGAR DEGAS AND SOME OTHERS. STILL, WHAT ABOUT THE ARTISTS WHO INSPIRED THE SUBSEQUENT GROUP ACTIVITIES BUT DIDN’T JOIN THEM FURTHER?
ÉDOUARD MANET UND JAMES ABBOTT MCNEILL WHISTLER ARE GREAT EXAMPLE OF THAT. THE SCANDALOUS ‘LUNCHEON ON THE GRASS’ BY MANET AND DECENT ‘SYMPHONY IN WHITE’ BY WHISTLER ATTRACTED VARIED REACTIONS AT THE SALON DE REFUSÉS (1863), AND YET BOTH OF THEM CONTRIBUTED GREATLY TO THE ESTABLISHMENT OF NEW MOVEMENT, THOUGH THEY NEVER CONSIDERED THEMSELVES AS THE IMPRESSIONISTS.
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BUT THE PREDECESSORS OF IMPRESSIONISM COULDN’T SINK IN THE DUSTBIN OF HISTORY WITHOUT TAKING ROOTS — THERE MIGHT HAVE BEEN SOMETHING BEFORE THEM. AND WAIT, WE WERE TALKING ABOUT THE WONDERFUL RENAISSANCE PERIOD A FEW PARAGRAPHS ABOVE, WHEN THOSE COCKY IMPRESSIONISTS AROSE. WHAT IS THE LINK? AS WONDERFUL AS THE RENAISSANCE WAS, IT COULDN’T HAVE LASTED FOREVER, BECAUSE THE TIME CHANGED. IT WAS REPLACED BY BAROQUE IN THE XVII CENTURY WHICH WAS MARKED BY THE DRAMATIC, RELATIVE DYNAMISM OF THE PLOT AND COLOUR SATURATION (CHECK THE PAINTINGS BY REMBRANDT, RUBENS, POUSSIN, VERMEER AND VELÁZQUEZ TO MAKE SURE OF THAT). FURTHER CAME CLASSICISM (XVII XIX) THAT DECISIVELY PUT WATER IN BAROQUE’S WINE, EMBODYING THE IDEAS OF THE AGE OF ENLIGHTENMENT. CLASSIСISM PAINTINGS TEND TO HAVE A BETTER-BALANCED COMPOSITION, PAY MORE ATTENTION TO CORPOREAL PROPORTIONS AND KEEP THE ESSENTIAL FRAMEWORK. DESPITE THE RESPECT FOR THE HUMANIST IDEALS, CLASSICISM DOESN’T SING THE BEAUTY OF MAN’S NATURE AND THE BODY, SINCE THE REALITY HAD SHIFTED AGAIN — SOCIAL AND PUBLIC VALUES WERE DEEMED TO BE MORE IMPORTANT THAN PERSONAL INTERESTS. IN A WAY, CLASSIC ART RECLAIMED THE ANTIQUE IDEALS, ASSERTING THE CONCISENESS OF ROMANESQUE PAINTINGS. MODESTY, POISE AND RATIONALITY BECAME ALL THE RAGE FOR A COUPLE OF CENTURIES AND, YES, THERE WERE THOSE WHO WANTED TO OPPOSE IT.
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THE PRE-RAPHAELITES (THE PRERAPHAELITE BROTHERHOOD) INITIATED THEIR CREATIVE ENDEAVORS IN THE MIDDLE OF THE XIX CENTURY, A FEW DECADES BEFORE THE IMPRESSIONISTS SHOWED UP. SO, NO WONDER THAT REPRESENTATIVES OF BOTH GROUPS KNEW EACH OTHER AND SOME INFLUENCE OF THE FORMER CERTAINLY TOOK PLACE. THE PRE-RAPHAELITES NAMED THEMSELVES AFTER RAFFAELLO SANTI, THE MOST ACADEMIC RENAISSANCE PAINTER, IN THEIR VIEW. AT A TIME YOUNG, EDUCATED AND AMATEUR ARTISTS LED BY WILLIAM HOLMAN HUNT, JOHN EVERETT MILLAIS AND THEIR FRIEND DANTE GABRIEL ROSSETTI REBELLED AGAINST THE TEACHINGS OF ROYAL ACADEMY, PROCLAIMING THE PURITY, SINCERITY AND BEAUTY OF THE RENAISSANCE IDEALS. YES, THE PRE-RAPHAELITES CAME BACK TO ART OF THE LATE MIDDLE AGES (ANOTHER LINK HERE), HOWEVER, THE DISTINCTION BETWEEN PREDECESSORS’ AND ADHERENTS’ MANNER IS EVIDENT. THE XIX-CENTURY ARTISTS WEREN’T ASHAMED OF UNLEASHING COLOUR, PLACING EVEN MORE EMPHASIS ON THE CLOSE LINK BETWEEN HUMANS AND NATURE. THE PRE-RAPHAELITES MAINTAINED FOCUS ON DETAILS AND SYMBOLOGY, PAINTING FROM LIFE TO ENHANCE THE PLAUSIBILITY OF THE IMAGE. THE NICE THING IS, THE PRERAPHAELITES FAILED TO REVOLUTIONIZE ART, THOUGH THEIR BRUSHSTROKE PUZZLED THE CONTEMPORARIES, WHEREAS THE IMPRESSIONISTS STOPPED THE ART HISTORY TO START IT AGAIN (AND IT’S NOT TOO MUCH TO SAY SO). INDEED, THE THE PRE-RAPHAELITES ADDED EXPRESSION AND THEIR OWN ARTISTIC VISION INTO PAINTING, ABIDING BY THE RULES OF COMPOSITION AND ACCEPTED PAINTING TECHNIQUE, WHILE THE IMPRESSIONISTS STEPPED FURTHER.
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UNCOMPROMISINGLY, THEY LOST ALL THEIR SENSES AND STEPPED BACK FROM THE VERY FOUNDATION, THUS MAKING REVOLUTION IDENTIFIED BY THE PREDECESSORS. ALTHOUGH MOST IMPRESSIONISTS’ PAINTINGS MAINLY FOCUS ON THE BEAUTY OF NATURE, MERELY SUPPLEMENTED BY HUMAN PRESENCE, THE INFLUENCE OF THE PRE-RAPHAELITES HERE IS EASY TO GUESS. FOR INSTANCE, THE MENTIONED ABOVE ‘SYMPHONY IN WHITE’ BY JAMES ABBOTT MCNEILL WHISTLER WAS SEEN BY THE AUDIENCE AS A SHEER EXTENSION OF THE PRE-RAPHAELITES ART WHILE BEING EXHIBITED AT THE SALON DES REFUSÉS IN 1863. HOWEVER, THE ARTISTIC IMPACT OF THE PRE-RAPHAELITES DIDN’T END THERE, BUT THREW ITS BEAMS ALL THE WAY TO THE 20TH CENTURY. THE DECORATIVE FUNCTION OF ART WAS IMPLIED BY THE ADHERENTS OF THE RENAISSANCE, JUST THINK OF THE ORNAMENTS AT CHARACTERS’ GOWNS AND LUSH INTERIORS IN THE BACKGROUND OF PAINTINGS. THE UPCOMING ART DECO AND ART NOUVEAU STYLES AT FIN DE SIÈCLE WERE DEFINITELY INSPIRED BY THIS MOTIF, SO WERE KITSCH AND EVEN POP ART IN THE 1960S... WELL, THAT’S ANOTHER STORY ALTOGETHER WHICH MIGHT BE REVEALED IN A SEPARATE ARTICLE.
PHOTO CREDIT: GOOGLE ARTS & CULTURE
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DIRTY RENAISSANCE photographer
Sasha Grig style
Anton Gulevsky MUA
Anastasia Govorova models
Sonya Boyko Tina Forduy Anna Gnezdilova
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EVERY ERA GIVES BIRTH TO IT’S OWN MUSES. SERENITY OF RENAISSANCE GIVES WAY TO THE CRAZY RHYTHM OF TODAY, BUT THOSE WHO CATCH OUR ATTENTION ARE NEVER ATTACHED TO A CERTAIN TIME AND PLACE. MODERN PARTY GIRLS CAN RESEMBLE RENAISSANCE HEROINES IF YOU HAVE ENOUGH IMAGINATION. USE IT!
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Dress: Marni, clip-on earrings: Svetlana Dorfman Left to right: blouse, top and clip-on earring: Svetlana Dorfman; jacket: P.A.R.O.S.H., top and clip-on earring: Svetlana Dorfman Jacket: P.A.R.O.S.H., top: Svetlana Dorfman, leather shorts: Alexander Wang, boots: stylist’s own, clipon earring: Svetlana Dorfman Left to right: Jacket: P.A.R.O.S.H., top: Svetlana Dorfman, leather shorts: Alexander Wang, boots: stylist’s own, clip-on earring: Svetlana Dorfman; coat: stylist’s own, skirt: Svetlana Dorfman, sneakers: Ash; clip-on earrings: Svetlana Dorfman; blouse and top: Svetlana Dorfman, leather skirt: P.A.R.O.S.H., boots: stylist’s own.
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Left to right: Jacket: P.A.R.O.S.H., top: Svetlana Dorfman, leather shorts: Alexander Wang, boots: stylist’s own, clip-on earring: Svetlana Dorfman; coat: stylist’s own, skirt: Svetlana Dorfman, sneakers: Ash; clip-on earrings: Svetlana Dorfman; blouse and top: Svetlana Dorfman, leather skirt: P.A.R.O.S.H., clip-on earring: Svetlana Dorfman, boots: stylist’s own. Coat: stylist’s own, clip-on earrings, bodysuit and skirt: Svetlana Dorfman Coat: stylist’s own, clip-on earrings: Svetlana Dorfman
Jacket: P.A.R.O.S.H., top: Svetlana Dorfman, leather shorts: Alexander Wang, boots: stylist’s own, clip-on earring: Svetlana Dorfman Jacket: P.A.R.O.S.H., top: Svetlana Dorfman, leather shorts: Alexander Wang, boots: stylist’s own, clip-on earring: Svetlana Dorfman Jacket and clip-on earring: Svetlana Dorfman Dress and clip-on earring: Svetlana Dorfman
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Dress, leather corset and clip-on earring: Svetlana Dorfman Dress, leather corset and clip-on earring: Svetlana Dorfman Left to right: Dress, leather corset and clip-on earring: Svetlana Dorfman; dress and clip-on earring: Svetlana Dorfman, shirt: stylist’s own
Shirt: stylist’s own, clip-on earrings: Svetlana Dorfman Dress, leather corset and clip-on earring: Svetlana Dorfman Left to right: dress and clip-on earring: Svetlana Dorfman, shirt: stylist’s own, sneakers: Ash; dress, leather corset and clip-on earring: Svetlana Dorfman
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Left to right: dress and clip-on earring: Svetlana Dorfman, shirt: stylist’s own, sneakers: Ash; dress, leather corset and clip-on earring: Svetlana Dorfman Left to right: dress and clip-on earring: Svetlana Dorfman, shirt: stylist’s own, sneakers: Ash; dress, leather corset and clip-on earring: Svetlana Dorfman Dress and clip-on earrings: Svetlana Dorfman, shirt: stylist’s own Dress and clip-on earrings: Svetlana Dorfman, shirt: stylist’s own Dress and clip-on earrings: Svetlana Dorfman, shirt: stylist’s own Left to right: dress and clip-on earring: Svetlana Dorfman, shirt: stylist’s own, sneakers: Ash; dress, leather corset and clip-on earring: Svetlana Dorfman Shoes: Marni, bag: Benedetta Bruzziches, glasses: Linda Farrow
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contacts MaterialGirl PHOTOGRAPHER //MARCOS RODRÍGUEZ VELO @marcos_rodriguezvelo marcosrodriguezvelo.com CREATIVE DIRECTOR // KRISTINA OKAN @visual.essays STYLIST // Silvie Sousa @silviesousa MAKEUP AND HAIR // Sophie Peters @isabelsophiemakeup MODEL // ALMEIRA @ Beauty Model Management @almeira_sophie /www.beautymodelmanagement.com
Nomads Party PHOTO, PRODUCTION, SET-DESIGHN – LILYA @busardel ART-DIRECTION, STYLE, PRODUCTION, SETDESIGHN - ULYA@ylittka HEAD MAKE-UP/HAIR ARTIST – NASTYA @tenderova MAKE-UP/HAIR ARTIST – MARYA @ mlshvms MAKE-UP/HAIR ARTIST – MARYA@ gorelkina_ mua MAKE-UP/HAIR ARTIST – ALICE@ alisa_ abakumova STYLE ASSISTANT – SONYA@ sonyaguseva
Sunflower Photography Ami Colberg @amicbg MODEL TOMY represented by APM NEW YORK @apmmodels @t.ttomy MAKEUP Mia Varrone @miavarrone STYLE YIAN LEE @iam1anli I DANCE FOR YOU PRODUCTION @idanceforyou
Buzzy-Wuzzy Busy Fly PHOTOGRAPHER: Katya Warped @katya_ warped MODEL: Ksenia Platonova @im_platonova STYLIST/MAKEUP ARTIST: Anna Istomina @anna_istomina_maniac DESIGNER COSTUMES: Tatyana Kostrova @tatyana_kostrova COIN: Roman Sayfeev @romansayfeev ACCESSORIES: Katya Volkova @volkova_ culture VIDEO: Ksenia Cinema @ksenia_cinema
Cats SUBMITTER: Vony Wong EMAIL: vonywongvon@gmail.com WARDROBE STYLIST: Yemima Cahyani Pujile WB: yemima_ NAIL ARTIST/HAIR STYLIST: Aileen WB: cosmelynn PHOTOGRAPHER: Vony Wong @vonywong WB: vonywong MODEL: Sabrina @Amor Model WB: omariasse MAKEUP ARTIST: Indah Shafyra WB: shafyramakeup
Marlene in Me PHOTOGRAPHER / Marat Mukhonkin @maratmukhonkin STYLE / Nadejda Weiland @nadezhda_ weiland MUAH / Sophie Peters @isabelsophiemakeup MODELS / Isabelle FAZE MODELS PRODUCTION / Irina Rusinovich @irinarusinovich
Decades CREATIVE DIRECTION, PHOTOGRAPHY & STYLING: Olesya Parfenyuk HMUA: Sarah Bzoch @stellatalents MODELS: Lisa Marie @stellamodels Luise Bühler @stellamodels
„ll be your mirror“ PHOTOGRAPHY :Sabine Grodd STYLING: Olivia Rutscha HAIR & MAKE UP: Oliver Haenisch & Nadja Haider MODELS: Sophie Köhrmann
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Ghosts PHOTOGRAPHER: Anna Priakhina @annapriakhina MD: Alina Maitova @alina_maitova MAKEUP AND HAIR: Ekaterina Deeva @evamakeup81 CLOSES AND ACCESSORIES: Sasha Gapanovich, @sasha_gapanovich LIGHT ASSISTANT: @andrewsedin, @photofst
My Magritte PHOTOGPHER Jessica & Pepe Molina STYLIST Midory Aquileta HAIR & MAKE UP Isra Quiroz MODEL Liva von Salina
Industrial museum PHOTOGRAPHER: @SLOVAK_PHOTO MODEL: @polikravchuk MUA: @EMMASHRAYBER HAIR: @irk_inn PRODUCER: @natalya_saraeva STYLIST: @mdanilova VIDEOGRAPHER: @nikkyvidit PHOTOGRAPHER: @slovak_photo MODEL: @polikravchuk
Emily PHOTOGRAPHER : Emily @emilydrinkschocolate Nicholas @fishmonkeycow MAKEUP ARTIST : Cathy @zhanglooo MODEL : Elizabeth Pentsarska @zoriudoloni @synergy_models Mei Yiu @yiumeiki @modelonehk STYLIST : Nic @heiyino_o DESIGNERS : Andy Chiu @andaerial Nic @heiyino_o TITLE: Cats SUBMITTER: Vony Wong EMAIL: vonywongvon@gmail.com WARDROBE STYLIST: Yemima Cahyani Pujile
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