Chrysalis
Chrysalis deals with the concept of perception and the possibility of leaving a different impression. How do we choose which image to send out to the world through social media channels? How do we see ourselves in the mirror? How does our appearance influence the social circles and the relationships we build? Those are questions raised in an attempt to deal with confrontation with an image, which might be, to an extent, a distorted portion of reality. As Charlotte explains, “Subconsciously, we make a sort of a selection of the way to show ourselves as if we choose the parts that we want to show to others to keep control of the image we want to send.”
We speak with Charlotte Haulot, a Paris-based fashion photographer and a part of the creative team for Chrysalis, to reveal additional insights about the story. Charlotte touches on the central concept for the editorial, which connects the real persona with the image that is received on the other’s mobile screen.
We discuss the need to control this image and an extent to which society has an understanding about a variety of perceptions. With Chrysalis, the strive was to explore and reveal the tension between a hidden part of the self and the one that is under control.
Photographer Charlotte Haulot Art Director Charlotte et Thomas Stylist Thomas Lebon MUAH Artist Tori Lineker Nails Artist Adrienne Model Anna Studio SSM STUDIO Clothing by FSTD Vêtement Fragile Hommena mpolitesse Caelon Mara Paris Saqua Studio
‘This series is about our confrontation with our own image, especially through screens and social networks.’
— Charlotte Haulot
What is the theme behind Chrysalis, and what is the question you decided to explore?
Charlotte: This series is about our confrontation with our own image, especially through screens and social networks. Chrysalis, with that mirror font, symbolizes the fact that the image of us we send to the world is not perceived the same way by everyone, like the screen we all look at, which distorts reality.
‘It also allows us to have a form of expression, to be able to more easily show the 'hidden' part of ourselves, which also leads us to be always more imaginative.’
— Charlotte Haulot
There is a feeling of the other's constant gaze at the character, following her decisions about how she presents herself to the world. How do you think the concept of self-presentation online is shifting and transforming today?
Charlotte: I think that being able to show everything, anytime, and to everyone makes us control our image a lot more today than back in the day. Subconsciously, we make a sort of a selection of the way to show ourselves as if we choose the parts that we want to show to others to keep control of the image we want to send. It also allows us to have a form of expression, to be able to more easily show the 'hidden' part of ourselves, which also leads us to be always more imaginative in the way we present ourselves to others and develop our creativity. But there can also be more pressure on how we want people to see us and in what way we perceive others.
Styling, hair, nails are an enormous drive behind the perception of the person by herself and her surroundings. Which characteristics were critical to preserve or change during the work on the project in connection with the model, Anna, you chose to work with?
Charlotte: Anna already had a hairstyle, a face, an expression that we liked and that matched the project. We simply amplified this ‘creature from an outer world' appearance with styling, nails, and makeup. Nails were an important part to emphasize this strange side.
‘We simply amplified this ‘creature from an outer world' appearance with styling, nails, and makeup.’
— Charlotte Haulot
Which moment from this project is most precious to you?
Charlotte: There is always that special moment when you feel the magic is working, or suddenly everything is in its right place. You know that the result will inevitably be beautiful because you feel this positive energy. It's more than a photoshoot at this moment. It's a unique human and artistic experience.
