U ovom editorijalu moda prevazilazi materijalno i pretvara se u vizuelnu skulpturu. Namerno naglašena upotreba 3D grafike postaje više od alata – ona je umetnički gest, akcenat na veštačkom, na zamagljenim granicama između stvarnosti, mašine i simulacije. Projekat se pretvara u vizuelnu studiju forme, volumena i fikcije, dok se slika otkriva kao poseban lik u filmu. Telo je obavijeno arhitektonskim strukturama – slika prenosi napetost unutar nepokretne forme vezane digitalnim korsetima.
Kostimi deluju kao da su kovani od metala obojenog automobilskim lakom: istovremeno monumentalni i podatni, spajaju estetiku retrofuturizma sa senzualnošću ljudskog oblika. Inspiracija potiče od skulptura Allena Jonesa, u čijim delima ljudsko telo postaje arhitektonski objekat. Njegov pristup postavlja osnovni pravac – istraživanje forme podređene dizajnu i provokativni spoj erotike i otuđenja.
Pierre Cardin je takođe važna referenca. Njegov kosmički retrofuturizam sedamdesetih godina i arhitektonski pristup krojenju postali su polazna tačka u stvaranju osećaja „svemirskog odela“ za digitalno doba.
Neizostavna je i „Barbarella“ i nezaboravna interpretacija Jane Fonde. Kultna estetika filma unosi dozu ironične, razigrane senzualnosti unutar futurističkog univerzuma. Fondini kostimi postižu savršenu ravnotežu između kibernetičkog glamura i žive, gotovo opipljive emotivnosti.
English here:
In this shoot, fashion transcends the material, transforming into visual sculpture. The deliberately overt use of 3D graphics becomes not merely a tool, but an artistic gesture—an accent on artifice, on the blurred boundaries between reality, machinery and simulation.
The project becomes a visual study of form, volume and fiction as the image is revealed as a separate movie character. The body is encased within architectural structures — the image conveys the overall tension of an immobilized form bound in a digital corsets.
The costumes appear forged from textured with car painted metal: at once monumental and supple, they merge the aesthetics of retro-futurism with the sensuality of the human form. The inspiration draws from the sculptures of Allen Jones. His sculptures, in which the human body becomes an architectural object, set the main direction—an exploration of form subordinated to design and a provocative fusion of eroticism and alienation. Pierre Cardin. His cosmic retrofuturism of the 1970s and architectural approach to tailoring became our starting point in creating a sense of a “spacesuit” for the digital age.
The iconic “Barbarella” and Jane Fonda’s unforgettable portrayal. The film’s cult aesthetic provided that essential dose of ironic, playful sensuality within a futuristic universe. Fonda’s looks achieve the perfect equilibrium between cybernetic glamour and a living, almost tactile emotionality.
Team:
Model: Yana Petrova yanushkapetrova
Hair at collective hair care: collective.haircare
Makeup: Jean Kairouz le.kairouz
Photographer: Amer Mohamad shootmeamer
Multidisciplinary CG Artist / Designer: Daria Kochneva tashismind
