Kaonashi No Face
Dress Michiel van Maaren Balloons Balloon shop
Kaonashi No Face is an editorial shot by Woody Bos and styled by Anna Claassen and Michiel van Maanen. The story is based on the character from Spirited Away, a Japanese anime created by Hayao Miyazaki. The team draws a line to compare the character No-Face with today’s fast fashion industry. The main idea is to propose a subtle critique on the issue of over consumerism. In a way that No-Face cannot stop devouring all in his way, the industry continues to produce numerous items that should be forgotten with the end of the current trend.
We speak with Woody Boss about No-Face and how the character affected the approach to creating the editorial. Woody suggests the reasoning behind the decision to work with a mannequin rather than casting a model. “We wanted to create an eerie anonymous atmosphere that served as a stage for the pieces we shot.” Woody explains. We discuss how the choices of garments created by the team, styling, and exaggerated bloated shape of the mannequin allow building the needed atmosphere emphasized by the work with light in the studio.
Photography Woody Bos Stylist Anna Claassen represented by House Of Orange Agency and Michiel van Maaren
Dress Michiel van Maaren Balloons Balloon shop
‘There’s this scene in the movie where No-Face is a guest in a bathhouse. No-Face grows larger and larger as he continues to eat everything in his near vicinity.’
The main inspiration, as the title suggests, is the Japanese animated film, Spirited Away, directed by Hayao Miyazaki and the antagonistic character of Kaonashi or No-Face. What has caught your attention with this character?
No-Face / Kaonashi is a not-so-subtle reference to the Spirited Away anime movie character. It consumes and consumes quite like the fast fashion industry. In this series, we dove into the past using vintage design pieces mixed with a collection by Michiel van Maaren.
There’s this scene in the movie where No-Face is a guest in a bathhouse. No-Face grows larger and larger as he continues to eat everything in his near vicinity. In exchange, he provides people with gold. It’s this circle of greed that reminded us a bit of the fashion industry.
Dress Maison Margiela via 20age archive
‘No-Face consumes and consumes to the point his silhouette becomes bloated. The exaggerated shapes of our mannequins are a reference to this overconsumption.’
Dress Michiel van Maaren Balloons Balloon shop
The decision to work with a doll/a mannequin is unexpected and adds to the presentation of the character and a build-up of the atmosphere. What was the decision process that led to this aesthetics?
For this production, we didn’t want to work with models. The image is subjected to the beauty of the model. We wanted to create an eerie anonymous atmosphere that served as a stage for the pieces we shot.
In terms of styling, what was the main guiding point in choosing puffy and exaggerated shapes in contrast with smooth or tight fitted patterns of fabric and net coming together with hair covering the face?
No-Face consumes and consumes to the point his silhouette becomes bloated. The exaggerated shapes of our mannequins are a reference to this overconsumption. By leaving out a model, the urge to create a silhouette emerged, and from there, we explored and made different characters.
Dress Michiel van Maaren Armor Commes des Garçons via 20age archive Shoe Stylist own
‘It’s all about controlling a balance between these given ingredients: models, styling, hair, makeup, set elements, and lighting. If you take out one of these ingredients, you have to exaggerate some others.’
In what way does working in a studio and arranging the specific light add to the narrative and the fashion story that was created?
I love working in the studio from the get-go there are no given factors. For me, it’s all about controlling a balance between these given ingredients: models, styling, hair, makeup, set elements, and lighting. If you take out one of these ingredients, you have to exaggerate some others. So in this particular instance, by removing the model, hair, and makeup, you better exaggerate the lights.
Which moment from this project is most precious to you?
For this project, I worked together with Anna Claassen and Michiel van Maaren. Anna (who wasn’t my lover at the time but is now, so you can imagine the tension on set) is great at creating shapes on the spot. She’s also heavily involved in the art direction behind our productions. Michiel is not only a great casting director but also designs clothing. Normally, you would see the faces that he scouts, this time, we bring forward the garments he makes. We then mixed this with some designs we thought worked well. Seeing everything come together, in the end, is the reason why we do what we do.
