(01) by María Viñas and Lucía Lomas
(01) - is an experimental project, in which María Viñas, a Madrid-based photographer, decided to work in a new setting, planning the photoshoot to be held in the studio. The mix of digital and analog media is an additional element new to María’s work. Together with Lucía Lomas, a stylist, the concept of methodically preparing the visual factor of the scenes, as based on color blocks, was developed.
The physical body becomes the focus that holds every part of the story. Aesthetically pleasing high-presence colors: black, red, yellow, orange, along with the contrasts of movement and stillness, invite to the micro world carefully thought of and built for a short time to realize the story.
María and Lucía speak about the creation process, the color blocks used in styling, makeup, and the set up in the studio, and the idea behind working with juxtaposing elements while creating balance. Alberto Villagrasa emphasized this idea working with robust colors and nudes for the makeup, while Clara Pérez's interpretation of the main theme - the character's presence contrasted with the lack of it being balanced with the language of the body. As María puts it, “Makeup and styling reinforce Clara, but in some way, they also steal her protagonism.”
Creative Direction and Photography María Viñas Style Lucía Lomas Photo Assistant Alejando Madrid MUA Alberto Villagrasa Model Clara Pérez
‘When you take spontaneous photos, you capture part of reality and the moment that you like, and you make it your own.’
— Maria Viñas
(01) - a first studio project, Maria decided to shoot and change the regular outdoor locations to a different approach. What was the main reason that drove you towards this change? What did you find out for yourself or about yourself after completing the project?
María: I wanted to shoot in the studio for a long time. I always took photos outdoors, unprepared, capturing the moment - which I love, and because of that, I wanted to try the opposite. When you take spontaneous photos, you capture part of reality and the moment that you like, and you make it your own.
However, I consider that in shooting in a studio, it's the other way around: first, you look for what you want, trying to find the tools, and then creating it. I have realized that there is a world of possibilities, which I haven't even entered yet, and I really want to get in. And about myself, I have discovered that I am never satisfied with my work and that, although I have just finished shooting, I already want to start the next one – although I think this happens to most of the creative people.
‘The story is configured with visual elements, such as the colors chosen and the model's performance, which are connected to each other to create a feeling of strength and solidity.’
— Lucía Lomas
The story is a visual, carefully crafted, editorial based on a strong character creation through the work with colors and styling. What is the story about? Who is this character you present?
María: I wanted to bring a little bit of the idea of what is my photography (or what I want it to be): a feeling of neatness and proportion despite the fact that many things happen in the picture. All this, together with the strength of Clara's presence.
It's based on the idea of creating a visual story rather than a narrative. An image is closely linked to a sense of firmness, in which the personality and strength of the model are reaffirmed, based on blocks of color, of movement, and the strength of its presence. More than creating the character, we established an environment for this composition.
Lucía: The story is configured with visual elements, such as the colors chosen and the model's performance, which are connected to each other to create a feeling of strength and solidity. There is no creation of a character as such; it is about a biased part, a small fragment of it, which is in full transition and finally manages to reaffirm itself.
‘We wanted the color blocks to be differentiated, but at the same time, to have a connection and a visual movement that crosses the image and stabilizes it.’
Styling and makeup come in a beautiful juxtaposition, working with contrasts and art direction to allow for a classic yet edgy aesthetics to emerge. Could you walk us through some of the ideas you discussed before the actual shooting took place?
María: We were very clear that we wanted a balance between these contrasts and that the clothes and makeup should be consistent with each other. We wanted the color blocks to be differentiated, but at the same time, to have a connection and a visual movement that crosses the image and stabilizes it. We tried to make sure that, although in a subtle way, they would have the same weight and would nourish, at the same time it will be balanced with the presence of the model: makeup and styling reinforce Clara, but in some way, they also steal her protagonism.
Lucía: When María told me the idea we were going to work on, I had a pretty clear starting point, and that was the color blocks. To get the necessary strength and balance that would contrast properly with the color(s), it was very important to find the clothes that would fit perfectly with the set and with Clara's energy. The connecting thread between all these elements was the colors that appear in the wardrobe and in the makeup itself. The whole team was quite clear about the way in which the contrasts had to appear to be balanced. Alberto (the make-up artist) did a great job with it.
‘The movement, I believe, manages to generate a changing and powerful atmosphere, but on the contrary, it leads to a feeling of lightness and tranquility.’
— Lucía Lomas
If a viewer is left with one strong feeling seeing the fashion story, what do you think it might be?
María: It is possible that it was a strong sensation, but at the same time quiet and calm as if it was this subtle instability and movement that created this visual balance. But, regardless of what I think, the best way to know is for viewers to tell us what feeling they got from seeing this work. I would love to know.
Lucía: The movement, I believe, manages to generate a changing and powerful atmosphere, but on the contrary, it leads to a feeling of lightness and tranquility. Once again, the balance between contrasts is present.
What is the most memorable moment or episode from the shooting day or the preparation for it?
María: When my camera didn't work, and I had to do all the digital shooting with the camera of the guy who took attendance at the studio (very kind of him, and I definitely need a new camera).
Lucía: Definitely, when we ate raspberries, chips, and pineapple during the shooting.
