47104101932 by Oscar Lindqvist
“This specific title is actually the batch ID from the packs of polaroids that I shot the story on,” tells Oscar Lindqvist, who finds most of the editorial titles slightly “forced.” Nostalgia comes in various forms collected from memories from personal and societal realms. Technology, styling, scents lead back to an era long gone as imagined and compiled from pieces of old movies and books.
The perception of a nostalgic moment is deeply rooted in personal memories and experiences. Societal codes make it easier for us to perceive the references, enriching the visual presentation. Romanticizing the past evokes an outburst of emotions in an attempt to remember.
Oscar Lindqvist, Emika O Seger, Waka Adachi, Mee Kee, and Sonia are a team behind 47104101932. Oscar and Emika worked on fashion shoots together before; however, in this project, Emika takes the role of a stylist, creating a soft monochrome, black and white presentation of femininity. Oscar explains the main drive to create a nostalgic look, reviving some old feelings with polaroid texture, contrasting colors emphasized with symbolic elements. The flowers with the morning dew on soft petals encourage the simile of femininity, offering an additional layer of interpretation to the viewers.
‘I always struggle to come up with a title for my editorials, maybe because I find most fashion titles are a bit forced. This specific title, though, is actually the batch ID from the packs of polaroids that I shot the story on.’
Tell about the idea for this story?
Oscar: I think the idea grew out of mine and Emika's previous collaborations, where I have worked with Emika first and foremost as a model. I always loved her personal style and vibe and felt that working on a project together and having her styling made a lot of sense, as it would shift her focus fully to styling. It just felt like a great chance to begin a new collaboration and create something really strong together that I knew prior to shooting would turn out great.
Where did the title come from?
Oscar: I always struggle to come up with a title for my editorials, maybe because I find most fashion titles are a bit forced. This specific title, though, is actually the batch ID from the packs of polaroids that I shot the story on. A part of the ID also represents the date the film was manufactured on.
‘I had a rough idea and chose to shoot on polaroids for the fact that I wanted a more delicate and soft final image.’
The juxtaposition of a woman with a flower is symbolic in a variety of forms. The flowers in the editorial are different, all with their unique shape and characteristics. What was important for you beyond the decision to select the specific flowers for this story?
Oscar: I was particularly obsessed with using white flowers for this story, not just for the obvious fact that they create a nice contrast against the styled looks which are mostly in black, but also for their meaning and what they represent in terms of purity within the image and their use in weddings and funerals, which can be considered quite the opposites. This I find very fascinating how it resonates with the B&W image.
Let’s pause to speak about the technical aspects of the shoot and post-production. Did you know prior to shooting the finalized way the images should turn out?
Oscar: I had a rough idea and chose to shoot on polaroids for the fact that I wanted a more delicate and soft final image. For me, it feels more romantic and 'feminine,' which made sense for this project as it also ties in the use of flowers in the image.
‘The team is vital, it's literally everything in fashion photography as you share a vision that you all build together. It's so important that everyone has a say in the final image and in the process of getting there.’
Which feeling did you want to add to the atmosphere with the chosen post-production color?
Oscar: Beyond these things, I knew it would work well with Emika's styling, as I knew she would use several black looks that would lose fewer details as opposed to what a brighter look would, for example. The colour I feel has a nostalgic vibe that I love, and it also appears warmer than a solid B&W image (which can often appear cold). For me, it makes sense to have a warmer image to go with the story and subject in the images.
How does the team work together? Do you prefer to meet and discuss the moodboard, the ideas for the set?
Oscar: For me, the team is vital, it's literally everything in fashion photography as you share a vision that you all build together. It's so important that everyone has a say in the final image and in the process of getting there. For every shoot I have done since graduation, I feel that this has become more and more apparent. To create work that I am happy with, I need to keep an open mind and have a good team around me who are happy to discuss ideas and further develop the initial concept.
What is the most memorable moment or episode from the shooting day or the preparation for it?
Emika: I believe in communication and planning ahead, but I also like spontaneous creativity and chemistry on set. Working with people who "get" you, makes everything so much easier - like with Oscar, it feels very natural as I think we have similar aesthetics (every single reference he brought up was on point) and he has knowledge in garment structures / knows how clothes would look in pictures. Even though this was the first shoot, in which I collaborated with this team as a stylist, things went quite smoothly as it felt like we were on the same page and speaking the same language.
What is the most memorable moment or episode from the shooting day or the preparation for it?"
Oscar: Probably stressing out at the last second, trying to find the perfect model to fit the story. So pleased, Emika found Sonia in the end, as she was a great fit and truly understood and connected with the vibe of what we wanted to try to achieve.
