Photographer: Nick Knight. Model(s): Achenrin Madit, Chu Wong, Sara Grace Wallerstedt. Source: V Magazine. Stylist: Anna Trevelyan, Set Design; Andrew Tomlinson. Makeup: Laura Dominique. Hair: Sam McKnight.
Posted Mar 09, 2020
Nick Knight puts forth ‘Maximum Volume‘ in this exquisite editorial for V Magazine #124, Spring 2020. Let the visual drama unfold as fashion art takes hold. The voluminous nature of this season’s haute couture is captured, with a blend of renaissance imagery and historic reference. Collectively captured yet utterly unique. Nature plays an important role, as we see the thread through come into view. Like peaking through the looking glass, a bold backdrop enhances the abstract elements that allow simple changes to take shape. Each page projects a complementary color story, all staying within a similar pattern of play. This style synchronicity adds an element of design drama, giving each piece the power to project. Beauty builds with visuals bouncing off the backdrop. Dynamic shots are enhanced by abstract layers with no connection. Yet, as we step back and really peer into the looking-glass, we see the human connection. The most compelling of which is Abraham Lincoln sitting behind Chu Wong, as she wears a voluminous gown by Richard Malone. Changing the way we see. This editorial takes Conceptual Couture to another level.
Sara Grace comes into her own wearing a stunning blue, Balenciaga Ball Gown. She looks utterly divine as the bottom of her gown blossoms in a velvet affair. Sam McKnight creates coiffure du jour, with what I consider one of the most haute hair styles I’ve seen this season. Keeping with the theme, Wallerstedt melts into a Renaissance backdrop, wearing a distinctive Marc Jacobs gown. Appearing as if She Sprang into Spring. Her red gown falls to the ground as fresh flowers appear to cover her in surround. One of a kind pieces play more like art than fashion, as this is quintessential couture at it’s finest. Achenrin captures the imagination in a dangerously cool COMME des GARÇONS, while she stuns us senseless in a Andreas Kronthaler for Vivenne Westwood. Then she ends the story with a flowing Rick Owens yellow gown that burns like the sun. Anna Trevelyan builds up every gown so that each fashion moment is a true style statement.
Set Designer; Andrew Tomlinson built a beautiful backdrop that invites a kind of neo-reflective energy to take center stage. Unique in it’s portrayal of time/space, each image effectively gives off a distinct power. We are most moved by that which we can feel. What I mean to say is, that we often skip over the most mentally engaging portion of growth. We are a thinking people. That which engages the mind touches the world. Exploring avenues of inspiration is essential in maintaining a message of strength. Passion erupts as the patterned backdrop works to both stimulate and calm. This brings together time periods that act as a kind of mental landscape. The magnitude of drama comes to play in a variety of ways. Eras unite, with attributes that range from subtle and succinct to loud and proud (and everything in-between). One can project a sense of symbolism into the state of play, while another can bring forth historical reference into the current conversation. Applied Artistry is a Truly Moving Entity.
Laura Dominique and Sam McKnight comes together with stunning aplomb, as their combined talents make the close-up shot of Chu Wong almost too good to take. Her makeup is utterly exquisite. She literally glows. The shine of her eye shadow is captured in the dangling beads that adorn her head. Sam McKnight’s extraordinary hair style is draped with beaded couture that twinkles about her head. One of two shots done in black and white. This choice elevates the dramatic appeal of such luxurious couture, while hinting at a playful secret. This is a gift for the eyes. Here, we have a plethora of strong photographs, but, there is something different about this image. It’s the only one done from a close-up view. She appears to be in motion. Her energy is alive while her eyes are completely closed. This is phenomenal. Dominique works to evoke an exquisite anguish while still portraying a distinct calmness. Art is an ever moving construct. The most compelling among us understand that to truly capture the uncommon we have to seek veracity. Beauty lurks behind and ultimately beyond the blinds. But, that’s just the tip of the proverbial iceberg. Nick Knight’s powerful pictures prove what precedes and follows is far more interesting than the inevitable capture. To understand the Fury we look beyond the Flash.