Joe Eula, an illustrator who was a free spirit and who drew quickly. His illustrations accompanied Eugenia Sheppard’s fashion columns in The New York Herald Tribune. He was present for Yves Saint Laurent’s first collection for Dior, in 1958, and for his last, in 2002.
Joe contributed a great many illustrations for American Vogue, Italian and French Harper’s Bazaar. In the 1980’s, he handled the fashion illustration for such houses as Chanel, Givenchy, Versace.
Joe Eula also created eye-catching posters for Marlene Dietrich and Liza Minelli.
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space and textile.In her works Koster uses fabrics, colours and patterns that underline the codes and meanings our clothing conveys.
The identity of the models with covered faces encrypts their relation to the environment — their costumes have either matched or contrasted with the surrounding with the interior in a series of colorful works. Pictures of Guda Koster are full of irony and mild criticism of the mystery that makes the viewer want to know more.
“Lunatics” are the questions and answers that arise from time to time in ordinary Affairs, it is simultaneously a beautiful and terrible tale of reality, doubt and fear. The whole project is riddled with question: what makes a man to wander in a sleep?
The subconscious gives us clues in dreams: the sleepwalkers dream daily work, monotonous music on a continuous loop. All this is just metaphor, hidden behind a talented visualization of the photographer.
Project author and photographer – Jenia Malchik
Model – Julia Pogorelov
Make – Up Artist- Elena Karev
Clothes – Etnodim
Quinten Mestdagh is the graduate of the Antwerp Academy. For his 2017 Graduating collection designer was inspired by ripped up publicity panels in the Parisian subway and his “love and passion for fashion photography and imagery translated through a strong graphic identity.” The result was a playful and colourful collection.
In his interview Quinten Mestdagh says, that the starting point for the collection was the concept that showed the power and strength of fashion photography and fashion imagery. The designer have been attracted to highly stylized and iconic fashion images in magazines and advertisements and they were the main inspiration for starting the collection.
At the Paris metro stations the advertisement posters was ripped off and seeing these ripped advertisements, Quinten create the idea of an act of aggression on a beautiful picture, a kind of disruption of an image.
Quinten Mestdagh make collages and 3D paper compositions. Glossy pictures of women’s faces are disrupted by paper rips and shreds resembling the damaged advertisements, creating a tension and roughness in contrast to the beauty showcased in fashion photography.
The shapes of the Quinten Mestdagh clothing are clean and architectural. They had an elegance of mid-century couture gowns, but also a kind of static and strong feeling that worked really well with the impact of the prints.
The designer used trompe l’oeil effects by printing the paper collages on different fabrics. This way, it has the effect and lightness of paper but the fabrics have enough stiffness and structure to hold the shapes. He also worked with pleating in full skirts where the two pictures are fused together to recreate the feeling of rotating billboards.
Most of the women in the prints are fashion icons of the 50’s and 60’s like Penelope Tree. Quinten placed them next to contemporary models like Karen Elson to get the contrast between beauty ideals and tendencies from then and now.