Brilliant Campaign Spoofs | AnOther

Brilliant Campaign Spoofs via AnOther Magazine.

Nathalie Croquet,  former fashion editor of Biba and the photo director of Jean Paul Gaultier, has a new project – creating amazing spoofs of some of fashion’s biggest ad campaigns.

Croquet offers a selection of images via her Instagram from her series Spoof,  recreating the images to a tee: there’s the pout of Edie Campbell (in the Lanvin campaign), Maria-Carla Boscono‘s sultry stare (Givenchy) and Gisele Bunchen‘s casual posturing (Sonia Rykiel) before positioning her portraits next to the original campaign imagery. Fantastic!

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PHOTOGRAPHY: Tejal Patni

Tejal Patni is an Indian photographer and filmmaker who works out of Dubai.

As a master photographer, the artist creates drama, theater and beauty with every click.  He creates stunning, vibrant multi-hued explosions of imagery, particularly evident in his series of calendars for Dubai-based retail giant, Splash.

Having worked with the brand before, Patni was charged again with the role of bringing the Middle East’s largest fashion retailer to life in a stunning and visually compelling way for their 2014 calendar, called ‘In Love with Fashion’.

The beautiful and meticulously conceived pics take bold, bright colour and extravagant, excessive patterns to a whole new level – one that works extraordinarily well to convey a rich, multi-hued other world.

Tejal Patni

Tejal Patni

Tejal Patni

Tejal Patni

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woman with dog ceramic, splash calendar by Tejal Patni

All photos © Tejal Patni

PHOTOGRAPHY: Paco Peregrín’s ‘Alien Dolls’

Spanish photographer Paco Peregrín releases photos of his latest series ‘Alien Dolls’ for Avenue Illustrated Magazine, with amazing results! How utterly, insanely good is this hair and makeup?

Styling by Kattaca, Make up and Hair by Lewis Amarante.

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PHOTOGRAPHY: Marcel van der Vlugt

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The powerful work of photographer Marcel van der Vlugt is at first glance a wee bit……creepy.

A bold and sensitive photographer, Marcel van der Vlugt is widely acknowledged for his striking and sometimes controversial stills shot on gigantic Polaroids.

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Hailing from the Netherlands (where so much unique talent is nurtured) van der Vlugt graduated from the School for Photography in The Hague, after which he moved to Düsseldorf, Germany to assist an advertising photographer. Although his school was largely focused on the technical aspects of photography, Marcel managed to create bodies of work that, although technically perfectly executed, are multi-layered in context. His images are often sensual, poetic and carefully composed, completely blurring the line between fine art and commercial shots.

In the series ‘I like….’, Van der Vlugt gives a whole new meaning to the phrase ‘food facial’ and uses edible objects to give models a second skin. Instead of high-end cosmetics, he decorates his model with pastes, sludges and litter composed of materials from his own addiction and stimulant arsenal: coffee, chocolate, sugar, licorice, cola. He lays prosciutto across the face of a model, and stuffs a mass of squid ink pasta into the mouth of another like seething alien-like tentacles.  van der Vlugt examines another aspect of the term beauty in this series. To the beholder these look like a surreal extension of the human face; the model of perfectionism is destroyed.

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Various aspects of beauty, such as the transitory nature of beauty ideals, are recurring motifs in Van der Vlugt’s work. His book ‘A New Day’, released in 2008, simulates an imaginary cosmetic clinic where instead of liposuction and nosejobs, the patients get implants of flowers. The blossom is a metaphor for youth, new life and fertility. He channels BDSM by completely wrapping some of his models in mummy-like bandages.

Marcel is a highly accomplished photographer, having had his cutting-edge work appear in almost every top publication including Dutch, Vogue, IT, and Jalouse. He’s shot campaigns for brands from American Express to W Hotels and exhibited his work worldwide—from the Photo Museum at The Hague to the Louis Vuitton Gallery in Tokyo.

In 1991, van der Vlugt forayed into film where he successfully translated his eye-catching style to commercials. He continues to seamlessly move between the two disciplines enjoying a symbiotic relationship. He’s been awarded the ADCN Lamp for Best Photography and a Gold Lion for a PSA in Cannes.

Though unsettling, Marcel’s work is undeniably beautiful. He reveals a side rarely seen in glamour; the dark, slightly gross, creepy element that lurks beneath the gloss, veneer and photoshop of the beauty industry and its slick editorials.

This incredible photographic talent continues to deliver captivating work and I can’t wait to see what he does next.

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PHOTOGRAPHY: George Hurrell’s portraiture

I was recently honoured to be part of my lovely and talented friend Emma’s latest photography project; a 40s Hollywood glamour shoot which forms part of her final year of Photography study. Together with a friend, the gorgeous and elegant Deb Wilson, who modelled some of her very own homemade artisan jewels, we tried to evoke and capture the mood of the early Hollywood head shots by master of black and white glamour photography, George Hurrell.

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Hurrell (1904–1992) was one of the most important American photographers of the 1930s, but you won’t find his work in many history books.  He made commercial portraits of movie stars between 1930, when he became the primary portrait photographer at Metro-Goldwyn-Mayer, and 1942, when he was drafted to take photos for the Army. During this time he developed the lighting techniques and visual vocabulary that gave Hollywood stars their special aura of grace, mystery, and perfection. He is considered the master of Hollywood glamour, encouraging his stars to reveal their inner selves to his lens. Then he intensified their defining qualities, while creating mystery with light and shadow.

Such photos were a major element in the studio’s star-making process, establishing and updating actors’ public identities and promoting them between films. Even more than the movies themselves, the stills depicted a grace that could transcend age and time. The goal was not to humanise stars but to elevate them: These were not down-to-earth actors, but idealised screen gods and goddesses.

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The brief for me for Emma’s shoot was fairly straightforward; glamorous, elegant makeup, not too heavy, but with enough texture to the eyes and cheeks to ensure that they come alive out of all that shadow. Strong lips in a creme texture, smouldery eyes without being too heavy or dark on the lids. Nice.

We were all very pleased with the results and Emma did an absolutely tremendous job of capturing Deb’s beauty whilst staying true to the spirit and the mood of Hurrell’s work. She was adept at getting the lighting just perfect, which resulted in some truly phenomenal shots that really evoke that true Hollywood glamour vibe; the kind of shots that just take your breath away with their still, refined elegance and subdued mood.

I will post some of our handiwork in a separate post soon!  For now, enjoy some of the inspiration for this shoot by the fabulous George Hurrell:

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Carole Lombard

Hurrell considered glamour an illusion intrinsic to photography. “All of us glamorize everything, including the [documentary photographers] who glamorize filth and squalor,” he said. “Even [Hurrell’s friend, the noted photographer Edward] Weston does it, taking a picture of a gnarled tree trunk. It’s a question of emphasizing … the dirt or the beauty.”

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Veronica Lake – 1941

Hurrell’s work emphasized beauty and celebrated the human face.

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Joan Crawford 1934

Hurrell sculpted his subjects’ faces with light and shadow, using an easily movable boom light that he modeled on a boom microphone, to illuminate cheekbones and create shadows under the eyes and nose. “The most essential thing about my style was working with shadows to design the face instead of flooding it with light,” he has said.

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Carole Lombard 1934/36

Until recently, his subjects’ celebrity overshadowed his art; even collectors generally paid more attention to Hurrell’s subjects than to his techniques.  However, with memories of the era’s stars fading, however, museums and art collectors have begun to recognize the photographs’ aesthetic value. The focus is now less on the subject and now on the considered and beautiful lighting, the retouching, the extreme detail, the way the eyelashes are drawn in.

Joan Crawford - by George Hurrell 1935

Joan Crawford

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Joan Crawford

Hedy Lamar