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Ophelia Flora

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The Seven Exhibition

The Seven Exhibition presents a photographic interpretation of the haunting visions and religious ecstasy found within The Book of Revelation. The collection aims to redefine the apocalyptic narrative through the medium of abstract imagery and symbolism. VII embodies an artistic manifestation of the details and iconography found within the Bible’s most revered works. The exhibition is inspired by a union of the atmospheric scenes of Baroque portraiture and challenging power of Catholic eschatology. Each body of images takes influence from the extravagant scripture of the apocalyptic text; presenting lurid depictions of morality, faith and damnation through the medium of atmospheric photography. The artwork itself represents a merger between a past of spiritual obedience and the modern age of technological dependency. Digital imagery and the encompassment of contemporary materials recreates the symbolic language of the book in a form unfamiliar to the classical depictions of the text. Incorporating present day techniques to envisage the complex spiritual verses of Revelation for a modern audience. The initial conceptualisation for The Seven Exhibition began back in September 2016, following a period of study which repetitively drew upon spiritual influence and the role of faith across cultures. A current resurgence of Catholic iconography and its relation to the lesser position of devout faith posed the question; as to what extent do the defining biblical texts of the past remain influential within the 21st century. The Seven Exhibition investigates whether within this modern age of science, humanity would acknowledge its own morality in the presence of Holy intervention. In turn would we recognise the rapture if faced with it. VII challenges a cliched ideology of religion by presenting mankind’s final days in a manner contradictory to the classical images of The Four Horsemen depicted within previous adaptations of the Apocalypse. Walking through the exhibition, it is clear to see the connections to the work of Caravaggio, an Italian Renaissance painter, working from 1592. The Chiaroscuro lighting is clear to see and it has been executed softly and succinctly. In fact it is the sheer simplicity of these images that make then so effective.

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Musings of Design

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Quoting in Pinks

Before it was thought to be feminine and girlish, pink used to be considered masculine, and baby boys were dressed in pink – the colour was thought to be a diminutive of red.  It was a s late as the 19th century when pink became associated with femininity, and blue masculinity.  Nowadays, pink is almost as popular with men as it is with women, and many men own a pink shirt.

Following the Designer fashion shows of 2016, 2017 fashion indicates that the predilection for pink is stronger than ever. Dries van Noten mixed shocking pink bras with fully flared skirts and turtlenecks, and there were flashes of  pink in sweeping coats, satin platforms and embroidery. Chanel, too had favoured a rose palette, rendering her classic tweed suits in blush and yellow plaid, alongside technicolor prints which popped in neon fuschia. Louis Vuitton applied the colour to leather bikers; Saint Laurent to sparkling minidresses; Marques’Almeida to frothing ruffles. Here, in honour of its chic resurgence, we explore some of our favourite quotes on the colour, from Lagerfeld to Hepburn...

1. “Pink is the navy blue of India.” – Diana Vreeland

2. “I love a nice hot pink. I like thick lipstick, otherwise it doesn’t look like you’re wearing any.” – Iris Apfel

3. “I gave to pink, the nerve of the red, a neon pink, an unreal pink.” – Elsa Schiaparelli

4. “Why would anyone pick blue over pink? Pink is obviously a better colour.” – Kanye West

5. “Anything is possible with sunshine and a little pink.” – Lilly Pulitzer

6. “On Wednesdays we wear pink.” – Regina George

Taking a cue from fashion week counterparts, UBM Fashion’s MAGIC trade show sizzled with apparel, accessories and footwear washed in multiple variations of pink. Of the various shades, two divergent approaches surfaced: ballet slipper blushes and in-your-face electric.

The best versions were when the shades were applied to materials like leather — especially successful in a bomber silhouette at June – and in updated classics like oversize cocooning duster coats and vibrating, slouchy sweatshirts.

The key here is that pink is not to be interpreted as girly or overtly feminine — just the opposite. The hue might dominate; however this is not to be confused for a resurgence of gushy moments. Instead, the looks in the color are turned on their heads for gender-blurring moments that question the purpose of the line between men’s wear and women’s wear. Ath-leisure variations in the tones suggest the borrowed-from-the-boys sentiment despite the commanding color.

7. “Always have a pink Oxford shirt ready for days when you’re feeling run down.” – Michael Bastian

8. “Whoever said orange was the new pink was seriously disturbed.” – Elle Woods [Reese Witherspoon, Legally Blonde, 2001]

9. “I remember being mad about having pink and red shoes. I gew up envying other girls’ pink and red shoes.” – Miuccia Prada

10. “Think pink. But don’t wear it.” – Karl Lagerfeld

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Think Pink

Let’s think about ‘pink’ – first used as a colour name in the late 17th century – surveys carried out in Europe and the United States would suggest pink is the colour most associated with charm, politeness, sensitivity, tenderness, sweetness, childhood, femininity and romance.  Combined with white it takes on an innocence, but when associated with violet or black, it moves into the realms of eroticism and seduction.

We think of baby girls swathed in gorgeous pink knitted items, lovingly clicked and woven into shape by doting Grannies, and eager little girls in layers of frothy pink tulle.  Is it a coincidence that the frothy wisps of candy floss are sickly sweet pink, and strawberry ice cream and swirls of cupcake buttercream too?

Ballet shoes the colour of the delicate smoothness of the inside of a shell (oyster pink) roses, marshmallows, blossom and bubblegum – all perfumed, sweet – warm, comforting and indulgent.

What of neon pinks, fuchsias – the magentas of this world?  ‘Hot’ pinks – more sensual, steamy –  a statement.  Pink stilettoes, Cadillacs, lips, nails, underwear – sassy, cheeky – a little bit naughty, but tinged with innocence, a softening?

Flamingoes – that crustacea pink – a product of evolution and careful dining.  A rarity in nature – animals tend to blend with their surroundings, practical, defensive – would pink evoke a certain vulnerability, an innocence?

The Nazis sewed pink triangles on the prison uniforms of homosexual inmates in the concentration camps – a vulnerability?

Pink in all its guises – a colour, a hue, an emotion – what does pink mean to you?

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Klimt’s Clutter

But there is already so much in this flat. It’s all very well saying “it was reduced by so much, it was difficult to say ‘no’.”   It’s all so cluttered and colourful – it’s beginning to look like Gustav Klimt’s studio – all the colours and patterns are driving me crazy. Why live in black and white, grey, neutral surroundings?  How draining, how dull – you need colour and lots of it – just think how it lifts your spirits.  It’s inspirational, opulent – fills up your senses.  Doesn’t it make you feel creative – alive? The fabrics we wear are also so colourful and ‘busy’ - I just wonder whether living in a room filled with the same bold colours and designs isn’t going a floral throw too far? Maybe we cut down on the flowers but keep the fabrics flowery and colourful.  They do please me, and I want to be happy. Don’t we all?

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A Little History

The origin of red hair in Italy is disputed. Brought north from Sicily after it was conquered by the Normans and previously Norse -Men, south from the Austrian invaders with their teutonic and gallic genes to across the sea from the slavs and into Venice where trade between the two coasts made the city rich and powerful. Regardless of their origin, the Italians have maintained a love - hate relationship with red heads. To this day, some avoid touching them on crowded trains for fear of bad luck. Others though have venerated them. Particularly red headed women unsurprisingly inspired some of the great Italian artists. Botticelli for example in Primavera, or Nascita di Venere (The Birth of Venus) where the red headed fecund roundness is a celebration of something unearthly but necessary. Coupled with red hair in art as in life is pale skin, again, a trait admired by people from warmer climes as a symbol of not having to work outdoors and therefore possessing a certain social stature.

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Sylvia’s Thoughts

“Venus birth is one of my favourite pieces of art. When I did my a-levels in arts I spent hours pencil drawing this. So when Josie contacted me with this reference I couldn’t say anything but yes.

We had a really fun day, where the whole team came together and made it all seem like fun and not work at all.” 

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The Birth Of Venus Designs

The Birth of Venus by Botticelli captures the fragility of the female body and the innocent we were all born with. The depiction of the red-haired woman standing shyly, naked, covering her body with her hands emphasises the daintiness of a newborn. As a means to create the essence of this unadulterated image, I used the finest merino wool to knit the jumper. In contradiction to the painting, however, the pour wool served as a shield, sort of engulfing the models with its voluminous size. Yet, the redheaded models still managed to wear it with effortless joy and nonchalance. It was rather comic seeing the bulky yarn in contrast to the models’ slim figure. It gave the shoot a sense of playfulness and rejoice which the Birth of Venus essentially portrays (Anna Tamas-Katzer - Designer of Lamb jumpers used in the Venus editorial) 

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Today’s Vermeer Girl

The images of Vermeer are mysterious but at the same time beautiful and capturing. The models’ faces and expressions capture the attention of the viewer, resembling the same feeling you get from the painting “the girl with the pearl earring”. Fashion imagery resembles well known paintings, but with a modern and creative twist. These images beautifully portray ‘tender’, ‘gentle’, ‘sentimental’ and ‘sad emotions.

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Understanding Art

When viewing a piece of work, each person will gain a different understanding from it than others, and learn different things from it. This is all a part of the experience that comes with photography. The value that people find in a certain piece will also be unique. When walking around an art gallery people will be drawn to different areas that either interest them or in some way relate to their personality or interests. The intention of the photographer may also be different to the audience member viewing it.

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Nouveau Nuances

Art nouveau could be said to be the first 20th century modern style. It was the first style to stop looking backwards in history for ideas, taking inspiration instead from what it saw around it, in particular the natural world.  Within the style itself there are two distinct looks: curvy lines, and more of an austere, linear look. Some aspects of art nouveau were revived again in the 1960s.

The style of Art Nouveau is generally characterised by sinuous, elongated, curvy lines. “The whiplash line” is a phrase that describes sudden violent curves generated by the crack of a whip. By contrast, the imagery in this style can also include vertical lines and height, creating grand, tall images of expense and luxury.

Nature, however, is a key point in defining the style of Art Nouveau. Stylised flowers, leaves, roots, buds and seedpods all feature heavily within the imagery, often interlinking with the female form - in some way with long, flowing hair. Femininity twinned with nature often evokes the feeling of fecundity and fertility.  Other expensive substances are also referenced frequently; exotic woods, marquetry, iridescent glass, silver and semi-precious stones to name but a few.

Art nouveau shared the same belief in quality goods and fine craftsmanship but was also happy with mass production, creating prints and posters on a large scale. There are direct influences from rococo styling and fashions, as well as botanical research. Charles Darwin released his book The Origin of Species around the same time that Art Nouveau was popular, which could have heavily influenced the natural aspect within the artworks.

Gustav Klimt is one of the most well known Art Nouveau artists. Although his art is now widely popular, it was neglected for much of the 20th century, and provoked opposition in his own day, facing charges of obscenity and objections to his lightly allusive approach to symbolism. His treatment of erotic themes was generally delicate and veiled in his paintings, but his drawings gave full expression to his considerable sexual appetite. His approach was inspired by the ethereal atmosphere of work by artists such as Aubrey Beardsley, and by some aspects of Impressionist technique; it was also determinedly eclectic, borrowing motifs from Byzantine, Greek and Egyptian art.

The Kiss is considered the most famous of Klimt’s “Golden Period,” and although the decoration is particularly elaborate, Klimt used it for symbolic purposes, with rectangular forms evoking masculinity, while circular forms evoke the feminine.

Sweeping lines, rich golds, and filigree botanical inspirations all come together to create this very distinctive style. These are the main elements that shall be drawn from these works for the sake of this project. Gustav Klimt especially, has a style that can be interestingly translated into photography. The luxurious rich colours of gold, silver, and bronze would compliment red hair completely, even if he hadn’t already painted his muses as such. Fabric will be of great importance in the planning of the Art Nouveau shoots because similarly to the Renaissance style, texture is key. There is also a lot going on within these images, and a lot of the works are incredibly busy. This should also be reflected in the photography.  In fact, because the textures are so dense, Klimt’s work could be a huge inspiration when it comes to dressing for a Nouveau-inspired outfit. 

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Pre-Raphaelite Persuasion

The “Pre-Raphaelite brotherhood” refers to a group of painters who joined forces in order to revolt against the Royal Academy’s promotion of the Renaissance master Raphael. It is interesting then, that both Renaissance and Pre-Raphaelite styles are heavily influenced by redheaded women. Both are relevant to this project for this reason, despite being very different genres.

Inspired by the theories of John Ruskin, who urged artists to ‘go to nature’ (much like the Art Nouveau artists did after), they believed in an art of serious subjects treated with maximum realism. Their principal themes were initially religious, depicting angels and the like, but they also used subjects from literature and poetry, particularly those dealing with love and death. Ophelia, Eve, Joan of Arc, and Guinevere, wife of legendary King Arthur, are all frequently painted within the Pre-Raphaelite movement. Incidentally, more often than not, they are all depicted with red hair.

The principal members of the brotherhood were William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti. After initial heavy opposition the Pre-Raphaelites became highly influential, with a second phase of the movement from about 1860, inspired particularly by the work of Rossetti, making major contribution to symbolism. Rossetti exclusively painted his wife, Elizabeth Eleanor Siddal, who had fiery red hair, and interesting hailed from Welsh heritage. Her brother described her as “a most beautiful creature with an air between dignity and sweetness with something that exceeded modest self-respect and partook of disdainful reserve; tall, finely-formed with a lofty neck and regular yet somewhat uncommon features, greenish-blue unsparkling eyes, large perfect eyelids, brilliant complexion and a lavish heavy wealth of coppery golden hair”.

There are direct links to the other art movements through late Medieval and early Renaissance works. The Pre-Raphaelites created vivid paintings that were vibrantly different than the other material of the time. Their efforts to stay true to nature resulted in botanical details that were incredibly detailed. The rules and patterns they followed resulted in paintings with an almost photographic realism, not dissimilar to the Renaissance artists. They had their critics, however, and their work was not easily accepted, for example Charles Dickens did not approve of the work at all.

John William Waterhouse is one of the founding fathers of the brotherhood. He was very much dedicated to painting beautiful women, fond of the femme fatale, and realism. His most popular Pre-Raphaelite painting is The Lady of Shalott which he finished in 1888. He often painted well-known stories or myths, choosing tragic or brutal stories and yet still finding the beauty or calm in them. The style of clothing which Waterhouse places his women in is ultimately romantic. A cross between medieval and Greco-Roman, the artist uses drapery to create movement. It is interesting then, that despite the rebellion against the Renaissance artists, the Pre-Raphaelite brotherhood drew from many of the same inspirations.

Pastel colours, draping, sheer fabrics, beautiful women, flowers, botanics, flowing locks, water. All of these elements combine to create an unmistakable Pre-Raphaelite style. It is highly romantic and depicts a lot of well-known stories in soft, melancholic styles. The feel of these images is that of fantasy and dreams. There is a soft focus and a whimsy that is contributed to by the loose, sheer fabrics and transparent screens such as water. The pale women depicted are also waifish and ghostly in appearance, appearing almost as apparitions.

Renaissance works are very dense and dark, and these Pre-Raphaelite images are the polar opposite by design, despite a lot the same stories being depicted in both movements. Pre-Raphaelite work is very feminine and this ought to be reflected in the fashions inspired by the paintings. The connection should be in the opulent styling - the sheer fabrics and silks, as well as the obvious red hair, creates a direct link between Pre-Raphaelite art. 

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Renaissance Resuscitation

The most distinctive part of this era is the lighting. The single light source is very evocative of the era, and it is instantly recognisable in the works of Caravaggio and Rembrandt particularly. The colours used within the paintings is also key, because where the light in the paintings would have been candle-light, the colours are very warm. This element can also be taken into consideration during the filming. Gels are not really suitable because the colour would be too harsh and it could seem like there is a mistake in the white balance settings.Renaissance Art has a very distinctive visual aesthetic. The Renaissance was a period when scholars and artists began to investigate what they believed to be a revival of classical learning, literature and art. This is relevant to the entire concept of this project ; too often are fashion magazines based on superficial beauty without explaining the link to the influences.

In Northern Europe, the Renaissance was characterized by advances in the representation of light, its reflection from different surfaces, and the achievement of realism in portraiture and still life. This was because a lot of artists began using oil paint, in preference to tempera or fresco which were the primary painting methods in Italy. Oil painting allowed richer colour and, due to its longer drying time, could be reworked for many weeks, achieving finer details and greater realism ( Visual-arts-cork, nd).  Gesture and expression are also crucial in recognising a Renaissance painting, as it varies from other movements in a way that establishes not only the different characters of the people depicted, but also their relationships and communication. These poses are directly inspired by Ancient Greek statues and influences.

Chiaroscuro is the heavy contrast between light and dark in an image, usually bold contrasts that affects a whole composition. It is also a technical term for the use of contrast to achieve a sense of volume in modeling three-dimensional objects and figures. Similar effects in cinema and photography also are called chiaroscuro. Chiaroscuro is a key element in renaissance art and is primarily characterised by a singular light source, usually low-key with a soft, warm light such as a singular candle or similar. The technique was initiated on coloured paper, using gouache for the whites and dark ink for the rich blacks. Low key light accentuates the contours of an object by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control contrast.

At the end of the Renaissance period, artists such as Fuseli used a heavier chiaroscuro for a particularly romantic effect, as did Delacroix and several others in the nineteenth century. Rembrandt Lighting is another example of classic Chiaroscuro. It is popular because it is capable of producing images which appear both natural and compelling with a rather small amount of equipment. Also called dramatic illumination, Tenebrism is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and was popular during the Baroque period of painting.

This is important to capture the essence of these paintings. This lighting is instantly recognisable:

The most distinctive part of this era is the lighting. The single light source is very evocative of the era, and it is instantly recognisable in the works of Caravaggio and Rembrandt particularly. The colours used within the paintings is also key, because where the light in the paintings would have been candle-light, the colours are very warm. This element can also be taken into consideration during the filming. Gels are not really suitable because the colour would be too harsh. 

Because red hair is already a warm tone, this makes it easier to combine rich colours to create a renaissance glow of warmth. Texture is also key. Renaissance paintings are usually done in oil paints or frescoes. This means there is heavy texture involved in the artworks. This can also be translated into fashion and styling. Reflective surfaces such as metallics are very fashionable at the moment and can also reflect the light, creating more of an emphasis. Satin is very opulent and can add to this. Velvets are rich and heavily textured. They can absorb light and be quite dark. To channel a classic Renaissance feel, think opulent and dark. 

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Shoot plan for the rest of this project - VERY full-on and super exciting. There are so many amazing editorials featuring wonderful models. Can’t wait

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Forget The Flowers

Yesterday’s Pre-Raphaelite shoot was much simpler than the previous Klimt shoot, despite there being two models instead of one, and more team members. Studio work always sets my butterflies going, as it’s not something I ever really practiced until recently. I learnt photography by shooting in natural light and only ever shot with ambient or available light sources. This is my usual style with soft natural tones and colour, and it’s only been recently that I’ve insisted on using controlled flash heads or continuous light. Continuous lighting is preferable to me, as it shares the most similarities with natural sunlight. There are obviously drawback to this, be it colour temperature or more limited controls (less options to turn the kit up or down etc).  However. Shooting in an infinity cove is one of the best things because there’s so much space to experiment with! Even when not shooting full length, the cove is also excellent for beauty imagery, as there is a huge amount of light, and ceiling mounts which makes lighting beauty with dishes from above incredibly easy. This gives a really soft, flattering light to the models’ skin, and especially twinned (pun intended) with the girls’ freckles, it creates a beautifully virginal glow.

Because of the popularity of the stories depicted within Pre-Raphaelite artworks, it makes reproductions prolific. A quick Google search brings up thousands and thousands of fashion photographs or fine-art photography work that are all inspired by the same thing. Whilst obviously it’s difficult nowadays to create anything entirely new, there is a tendency to create the exact same thing when doing a Pre-Raphaelite inspired piece (I’m looking at you, Ophelia).

It was always a risky option to choose a topic, and therefore shoot imagery that was heavily influenced by art-history. There is a fine line between successfully beautiful and horribly Cliché. Considering red hair is such a prevalent feature in the brotherhood’s movement, any images shot for this part of the project are automatically going to have an air of Pre-Raphaelite paintings about them. However we are not lazy, and so a plan is formed. 

Considering the (over)use of drowning women in Pre-Raphaelite art, water is a fantastic option to use as inspiration. This whole shoot is intended as an allusion to the artworks, and not a direct translation, as perhaps the previous two shoots have been.  I did however, in true scatty style, forget the flowers. Not that it matters at all. The styling (By the fabulous Naomi Madigan) hinted at florals anyway, and it would have been too busy to have extra. These are beauty shots and overcrowding is not wise. The girls’ gorgeous hair and skin should be more than enough. Pre-Raphaelite art uses a lot of sheer fabrics. We attempted these on set, but they pulled focus. After deliberation, we agreed that implied nudity would be better. Not at all in a sexualised way, but in more of a pure, angelic form.

Julia and Catherine Archer portray this beautifully. They have the perfect look for this shoot, as if they walked straight out of a Millais painting. They are total dreams to work with, too. Very open and friendly, and take direction well, as well as contributing their own ideas.  Instead of sheer through styling, the sheer fabrics and pastels were channeled through soft makeup by Erin Stacey. Olive and sage greens were swept across the lids, and the base was kept very sheer in order to keep the girls’ lovely freckles. A number of different looks were tried. Greens, golds, neutrals, and feral brows. Hair was loose, plaited, and finally twisted in an up-do with the baby hairs gelled down as a nod to the watery demise of Ophelia.  The shots are gorgeous. I’m utterly thrilled. I can’t wait to pair them with the handmade paper that’s been created for this project - it will look so organic. 

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Behind the Scenes with the frankly adorable Julia and Catherine Archer. What beauties

Hair and Makeup: Erin Stacey

Styling: Naomi Madigan

Photography: Josie Phillips