Solo Dancer
Photography and Styling by Rowena Guy de Quin
Modelled by Gian Singh Sanghera-Warren
Assisted by Joe Gollifer
Backwards Blazer Toile and Sailor Hat by Ross Dawson
Solo Dancer reflects on the historic and enduring relationship between the worlds of fashion and dance.
This photo project documents a contemporary dancer’s performance to no visible audience in landscape. Movement provides still image with a certian dynamism, indicates pace and sound, orchestrates an energetic atmosphere - and equally, the ephemeral act of dance benefits from being captured.
This photo project documents a contemporary dancer’s performance to no visible audience in landscape. Movement provides still image with a certian dynamism, indicates pace and sound, orchestrates an energetic atmosphere - and equally, the ephemeral act of dance benefits from being captured.
Ma, Space Gap Void
Photography and Styling by Rowena Guy de Quin
Modelled by Joe Gollifer
Overcoat by Susan Clandillon
Photo series Ma, Space, Gap, Void is inspired by the work of pioneering Japanese conceptual fashion designers who have prioritised ‘Ma’ - the space between body and clothing, in their garment designs.
Images propose clothing as a diving line between body and environment, use shadow to highlight spatial relationships, employ negative space, and invite a viewer to be cucooned in airspace amongst garment forms with the pictured model.
Images propose clothing as a diving line between body and environment, use shadow to highlight spatial relationships, employ negative space, and invite a viewer to be cucooned in airspace amongst garment forms with the pictured model.
Clothing as a Choreographic Object
Photography and Styling by Rowena Guy de QuinModelled by Katerine Aucamp and Zia Dallas
Silk Dress Toile by Kate Webb Red and Blue Twisted Seam Tops by Ross Dawson
Clothing as a Choreographic Object is inspired by the 2010 exhibition ‘Choreographing You’, which considers sculpture a ‘choreographic object’ - with the ability to elicit interactive human movement.
In response, images look to consider the ‘choreographic influence’ of garments upon the body. Reflection on the concept of ‘plastic’ vs ‘sculptural’ garment construction has provided a framework for the styling and pose of two dancers.
In response, images look to consider the ‘choreographic influence’ of garments upon the body. Reflection on the concept of ‘plastic’ vs ‘sculptural’ garment construction has provided a framework for the styling and pose of two dancers.
Outer Shell, Second Skin
Photography and Styling by Rowena Guy de Quin
Modelled by Mylinh Nguyen
Puffed Fur Coat by Yasmin Scott
Dust Sheet Dress by Mia Green
Outer Shell, Second Skin, references Ingrid Loschek’s theories on clothing as a ‘layered interface’ or ‘skin’ - comparable to architecture for the way that air is encased.
Image outcomes look to entirely transform the human silhouette, through use of garments that engulf the body as a protective casing, abstracting its scale and form.
Image outcomes look to entirely transform the human silhouette, through use of garments that engulf the body as a protective casing, abstracting its scale and form.
The Body as Moveable Architecture
Photography and Styling by Rowena Guy de Quin
Modelled by Steph Jones
The Body as Moveable Architecture, originates from an interest in Hussein Chalayan’s wearable ‘furnitecture’ objects, from the 2000 Afterwords showcase.
Image responses seek to convey the body as a dynamic structural form up against built environment, in order to draw similarities between the two.
Image responses seek to convey the body as a dynamic structural form up against built environment, in order to draw similarities between the two.
