thrilled to have had the chance to work with Meredith Adelaide who has long been one of my favorite models out there.
leica m7 | zeiss 35mm biogon | acros | indie film lab
Iveta Vaivode - Opera: The Spectacle of Society
Opera was once seen as the exclusive reserve of aristocracy, a polite social occasion or an event to attend to affirm your cultural capital as a member of a social elite. Iveta Vaivode’s images tell a different story of intense participation by a more heterogeneous audience in a drama unfolding out of the frame. She watches the watchers, much as painters like Edgar Degas or Walter Sickert did at the music hall a hundred years ago. The long exposures she employs render the subject in a high contrast impressionistic way, like Édouard Manet, but instead of Baudelaire’s Flaneurs, Vaivode sees a more stratified contemporary audience. From box to balcony to stalls the make-up of the spectators clearly differs, but the difference from seat to seat is equally enthralling as many people sit virtually stock-still for the entire 45 minutes of the performance & exposure, whilst others move around to the point of visual extinction. Some sit forward in their seats wringing their hands as the narrative grips them, whilst others coolly recline, arms folded.
In one image Vaivode shoots looking down from the balcony on the red velvet curve that separates the orchestra pit from the stalls. The marked contrast either side of the line, one of light activity against dark observation, puts us in mind of Plato’s cave or Debord’s Society of the Spectacle, as those in the dark sit transfixed by the energy of others – passion by proxy. And yet the work is less social critique than affective visual feast as the audience is drawn into the play.
- Harper’s Bazaar UK
- June 2013
- ‘There’s Something About Carey’
- Model: Carey Mulligan
- Photographer: Tom Allen
- Stylist: Cathy Kasterine
For May new stands Carey covered American Vogue and now for June news stands here she is on the cover of Harper’s Bazaar UK looking as stunningly ethereal as ever. The faded out pastel colours, blonde wispy hair, delicate pink flowers and structured girlie as can be Prada number all contribute to what may be one of my favourite Harper’s Bazaar covers of the year.
In the the inside editorial Carey dons pieces from the likes of Fendi, Bottega Veneta and Erdem as well as her husbands Hunter wellies.
In the issue hitting news stands today, Carey discusses playing Daisy, why she chose Prada on her wedding day and her prized note from Daniel Day-Lewis.
On playing Daisy in Baz Luhrmann’s ‘The Great Gatsby’:
“Daisy was difficult to work out, but so fun to play… Baz also gave me about seven biographies of Zelda [Fitzgerald] and a stack of love letters from Ginevra [King]. You can so easily see where Fitzgerald has taken Daisy from. Just the way Zelda and Ginevra wrote – there were lines we stole for the script.”
On why she chose to marry in a Prada wedding dress:
“I have worn a lot of Prada and always loved their clothes. I always felt very comfortable. They were the first designer house that ever lent me anything; I wore Prada to the Oscars. The people who work there are so lovely and really just non-scary fashion people.”
On Daniel Day-Lewis:
“He wrote me this beautiful handwritten note a couple of weeks afterwards just saying how nice it was to meet me and that he’d like An Education. His penmanship was beautiful. The note was the most beautiful thing. If my house was burning down I would save that. It is so precious.”
For a little more Carey make sure to check out the latest trailer for ‘The Great Gatsby’ featuring Lana Del Rey’s “Young and Beautiful” for the motion picture soundtrack.