Qui l’a Fait Rire
Qui l’a Fait Rire is a fashion editorial by a creative duo Dos Personas, which consists of Zoe Lena Rebecchi and Catalina Gastal. The editorial is a merge of two aesthetic worlds of the creative team and the model, Lena Bruschtein, with a goal to create an imagined small world around Lena’s character.
The approach is of minimalism, which encompasses all the elements of the story: the monochromatic colors, and the work with the location, adding industrial elements. Alberto Rebecchi’s painting becomes an additional focal point and the only component, which brings forward powerful colors of red and yellow. An additional surprise detail is cable ties used as a fashion piece, an accessory on Lena’s body. We speak with the duo about the elements, the creative direction, and the painting.
Project Submission by Dos Personas Creative Directors Dos Personas Photographer Zoe Lena Rebecchi Stylist Catalina Gastal Make Up Artist Catalina Sartor Model Lena Bruschtein
‘We met for the first time working on a fashion film. The truth is that we felt a connection from the beginning. From that moment, we started working together on many editorials until we finally decided to shape and professionalize the duo: Dos Personas.’
Hi Zoe and Catalina, tell us about the duo Dos Personas and how did it come about?
Dos Personas started at that moment when we saw everything ready: the model with the make-up and the stylist walking the set. Everything was flowing.
Let’s speak about Qui l’a Fait Rire and the act of laughing, or more precisely, the character who causes it as a theme for the editorial. What was your main drive to create a project based on this character left behind the camera lens influencing the main persona of the shoot?
We met for the first time working on a fashion film. The truth is that we felt a connection from the beginning. From that moment, we started working together on many editorials until we finally decided to shape and professionalize the duo: Dos Personas.
‘This painting, Alemania Cruza el Vesubio, was part of an exhibition at the Museo Nacional de Bellas Artes in Buenos Aires. Our aesthetic is very minimalistic, and we tend to work with nonconventional objects (many times with the things that we find at that very moment) in an industrial way.’
Cable ties come as a repetitive element used on the hands and legs of the model in a fashionable manner. Let’s discuss styling and makeup decisions made on set or in the preparation stages.
We already knew Lena from other editorials. She has a very special personality and presence. We worked around her essence. She inspired us to create this fantasy universe. The final result was a balance between our aesthetic and hers.
Where did the shoot take place? How did you work with the location in terms of creative direction?
The photoshoot took place in our studio, which is also an art studio. The painting, a part of one of the sets, was made by Alberto Rebecchi (an architect from Buenos Aires who's also Zoe's dad). This painting, Alemania Cruza el Vesubio, was part of an exhibition at the Museo Nacional de Bellas Artes in Buenos Aires. Our aesthetic is very minimalistic, and we tend to work with nonconventional objects (many times with the things that we find at that very moment) in an industrial way.
‘This painting, Alemania Cruza el Vesubio, was part of an exhibition at the Museo Nacional de Bellas Artes in Buenos Aires. Our aesthetic is very minimalistic, and we tend to work with nonconventional objects (many times with the things that we find at that very moment) in an industrial way.’
Where did the shoot take place? How did you work with the location in terms of creative direction?
The photoshoot took place in our studio, which is also an art studio. The painting, a part of one of the sets, was made by Alberto Rebecchi (an architect from Buenos Aires who's also Zoe's dad). This painting, Alemania Cruza el Vesubio, was part of an exhibition at the Museo Nacional de Bellas Artes in Buenos Aires. Our aesthetic is very minimalistic, and we tend to work with nonconventional objects (many times with the things that we find at that very moment) in an industrial way.
‘The resource arose from the lack of such. Hours before the shoot, the shoe brand (a fundamental part of styling) canceled. So I started looking through my things and found the seals.’
Which moment from this project is most precious to you?
The resource arose from the lack of such. Hours before the shoot, the shoe brand (a fundamental part of styling) canceled. So I started looking through my things and found the seals. I feel that this resource was ideal because it provided the conceptual sense to the editorial.
