1. Why did you pick this type of lighting for your shoot, and what inspired it?
The lighting needed to be a reflection of the concept but obvious enough to distract the viewer from the shoots combined elements. The styling called form lots of form and boldness so we decided to construct a lighting set up that would be high key to allow everything to stand up in contrast.
2. Lighting and Camera equipment used?
I used a Phase One iQ160 with a variety of lenses, mainly 80mm and we shot tethered into Capture One. Light used was all Profoto B1's for versatility with a range of modifiers. The profoto globe and deep umbrella were the main light modifiers used.
3. Do you believe in minimal lighting or use extensive lights? Why?
I simply believe that lighting is a means to an end. It's probably the single most important tool/process in communicating a visual language however, it must be crated with elegance. The concept/creative outline/vision will ultimately drive what's required from the lighting and then the lighting should know it's place. Some lighting set ups are aggressive and very 'visible' and some are simple and passive but the important thing to note is that they should just know their place. If it calls for the lighting to be very over 'processed' then that is what is needed. There is no right or wrong, just well communicated or not.
CREATIVE DIRECTOR: YOSSI FISHER
1. Where did the concept for this shoot come from?
I love the evolution of textiles and found my inspiration for this shoot in upholsteries used in the art deco period of the 50’s/60’s. Making our model the fashion centerpiece in the room, the inspiration was to create a feeling of static and motionless furniture that is porcelain and lifeless, while still reflecting the bold style and unique aesthetic of the era.
2. How did you find the proper model and why did you choose her?
I reached out to a few agencies in London with a general model type in mind. From there I reviewed all packages and like always, waited to be inspired. That’s when I found Emilie. Her look was Fashionably Eastern European mixed with American Retro flair. Her features were sharp, but her face still soft. She had full bodied mid-length blond hair which was perfect for our hair story. Her book had a great range for us to play with, and she brought a powerful presence that elevated our space.
3. When you spoke with your team, what exact instructions/direction did you give to your team?
a. Hairstylist - We wanted our hairstylist Azza to take an exaggerated approach to retro styling, without being theatrical. Focusing on a particular style, we essentially added more body with longer looser waves to allow for both a mature and playful look.
b. Make-up - For make-up I wanted a glossy dewy skin, and our make-up artist Michelle was really inspired by it. We looked at wardrobe concepts and our models features to pick a palette that worked well, and followed up our make-up concept by subtly accenting the nails.
c. Wardrobe Stylist - The concept for wardrobe was inspired by retro upholstery fabrics, and Oliver’s mood board was literally a collage of couches from the era. In the 50’s / 60’s there were so many great textures, patterns, colors, and being used in the home that the diversity lends itself well to our fashion story.
4. Overall, what was the message of this editorial?
To showcase the solitude of a retro house wife, while highlighting her importance in the home by creating her in to a powerful, fashionable centrepiece.
5. What was the biggest obstacle of this shoot?
There really weren't any substantial obstacles with this particular editorial. From concept to shoot, things do tend change on set from time to time - especially on location (i.e - styling, timing, shot list, etc.), but its important to look at change as evolution and not as an obstacle. For me it’s that spontaneous creativity and quick thinking flow that make editorial projects such exciting and unique collaboratives.
EDITORIAL – CABIN FEVER
Photographer: Adam Angelides
Creative / Art Direction: Yossi Fisher
Styling: Oliver Vaughn
Hair Stylist: Vicky Demetriou
Make-up Artist: Michelle Webb
Photography Assistant: Matt Kerr
Wardrobe Assistant: Courtney Elliott Harrison
Make-up Assistant: Jocelyn Thomas
Model: Emilie P.