Over this past summer I started pitching editorial ideas based on the trends shown at the fall shows (being relevant makes editors love you more), and one movement that caught my eye was the fashion world’s rediscovered love of all things 70’s from boho femininity to all the glamour of classic Halston (and it doesn’t show any signs of stopping anytime soon). As I was reviewing the collections, the imagery that was running through my mind wasn’t the gloss of modern editorials (not that I don't love it), but classic movie scenes and Diana Vreeland Vogue spreads, with all the glorious color and depth of classic films. So from the very beginning I started pitching the story of a girl exploring the West Village (which ended up being the meatpacking district) with the plan of trying to mimic the effects of those iconic films.
The first publication to get back to me was Hope Street. I initially discovered them via their instagram and the more research I did the more impressed I was with their print and digital platforms, the more motivated I was to work with them. So needless to say, receiving the email from their digital editor about their interest in the story absolutely made my day.
Acceptance letter in hand I went looking for a crew that would work for the story as well as push me as I photographer to deliver something a bit outside my comfort zone. The first call was for a wardrobe stylist, and after yet some more research, I reached out to Jenny Haapala. Jenny's work is strong, direct, and unapologetic, she creates bold memorable looks which made perfect sense once I met her in real life. The next challenge was finding the right model for the shoot, I reached out to agencies across the city and couldn't quite fine the right fit. So I called Marilyn for the first time and after a few lovely emails with different members of the New York team, I found Maud LeFort. Nikki Fontaine rounded out the team as our stellar hair and makeup artist. We worked together on a shoot for Dapifer Magazine earlier in the summer and I was thrilled to be able to add her to the team for this project.
The afternoon before the shoot Jenny invited me over to the studio to look though the wardrobe. She was concerned that the clothes that she was able to pull didn't exactly match the story that I had in my head. The clothes weren't quite as soft and classically romantic as we had originally planned. Instead she had pulled an incredible collection of styles that were stronger, more structured, almost like the cooler older sister of the character that I had initially imagined in my mind. So I left her studio and went for one last location scouting mission of the West Village and Meat Packing to plan out shots with the clothes fresh in my mind. This was the first time I've ever had this opportunity and it might be my new favorite way to work. It allowed me to work through my anxiety and story development in the comfort of my own head without detracting from the shoot day itself.
Early the next morning walking to set (and after grabbing a couple cases of water) my biggest worry was that the team might melt. We were shooting wool in 95 degree summer New York City humidity. Maud, if you're reading this, I'm still really sorry. Thank you for hanging in there. Continue to scroll through for a peek behind the scenes at this project.