Consider this project an eclectic mixtape, but rather than music, it’s focused around imagery. What started off as drawing commonalities between photos that have always inspired me began my project to juxtapose images that are not always necessarily similar in subjects, but have links in their coloring, shapes, and moods evoked. For me, a bulk of my inspirations and visions trace back to fashion; be it a SoundCloud discovery as a potential Balenciaga soundtrack, or a DMV line-up as an imagined setting for a shot by Mario Sorrenti for a Vogue Nippon editorial. I wanted the worlds of my inspirations, be it art, fashion or music to become more interconnected than ever and to create possible mood-boards that my treasured visionaries may have used when creating the very works that are now an integral core of my aesthetic vision.
The editorials that have highly resonated with me from the Japanese edition of Vogue are on-location shoots set in Japan, the home country of “Vogue Nippon”. In the September 2007 issue, Iselin Steiro roams the streets of Kyoto at night and creates dramatic stagnancy in the backdrop that is the hustling-bustling, brightly lit city. In one photo (left), Iselin finds shelter in an information booth from the rain, recalling the atmosphere from a photograph, “Tokyo Nostalgia”, taken by Nobuyoshi Araki in 1998.
2) “Party Line” by Milton Avery (1958) x I.S. Sunao Kuwahara (1999)
Unlike many Western painters at the time, Milton Avery’s work focused on color relations to create a distinct identity. “Party Line” (left) is a fine example of his poetic use of drawing and coloring, as he painted a woman with a slight hunch talking on the telephone next to an areca palm plant all whilst wearing a full mango orange skirt and half sleeve shirt, comparable to the hue of a pseudo-bondage dress by Sunao Kuwahara.
Looking at this photo of students in Vietnam on a field-trip, it is hard to discount the fact that there is not much diversity in clothing. Each one of the students is wearing a high-necked sky blue sheath dress with a slit on each side, over top loose pajama style pants. The sheath dresses are clean and tailored and encompass minimalism, almost as if they were designed by Martin Margiela himself, as the look could pass as a design that resembles his flat-board denim dress. (right)
For Chloé’s spring/summer 2001 campaign, Jessica White poses on a balmy beach alongside a group of horses to model Stella McCartney’s collection of plunging bathing suits that incorporated pineapple motifs and repeated prints of horses. At a beach bank far away and two years prior, Gisele Bündchen was photographed by Sean Ellis for an editorial by the name of “Lick the Battery”, in which Bündchen sported exaggerated bathing suits and glimmering skin, creating a mood analogous to the Chloé campaign.
Continuing with Björk imagery as seen in series 1 (expect to see much more in future series), Björk joins Tionne “T-Boz” Watkins of TLC. The promotional black and white portraits were taken in 1998 and now come together to adjoin the worlds of Björk’s eclecticism and TLC’s wide spanned repertoire.