Ford Models Blog


Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 by Damien Neva

With full-time having yet to be called on Spring / Summer 2011 biannual issues, I would like to take a look at one Condé Nast edition that has been patiently biding its time on Magazine Mountain. Yes, it’s that British volume, whose title is written all shouty-like so that it reads LOVE. Amongst several editorials contained in the fifth issue of LOVE is a story by photographer Alasdair McLellan featuring Ford’s Valerija Kelava. Titled “Nonstop Erotic Dancing,” the Olivier Rizzo-styled story situates the ck one Fragrance, Jil Sander Navy, Aquascutum, and Diesel Black Gold S/S 11 campaign model on a stage more commonly associated with districts red light than theatre. As ever with LOVE, there is a twist, which comes in the form of gender ambiguity that is championed throughout the self-described “Androgyny Issue.” “Glamour, flamboyance, decadence; hair, clothes, and make-up, all exaggerated and souffléd up to a rousing crescendo of excess,” writes LOVE editor in chief Katie Grand, “creating a glorious sense of artifice that entrances the beholder so much more profoundly than the mundane matter of the gender of the person beneath it all.” To that end, Valerija first appears in the story clasping her hands, Antony Turner-styled hair slicked back, and wearing a Prada suit. The styling relaxes considerably for the final three shots wherein Valerija wears little more than a silk skirt by Dolce & Gabbana. And with that, color me entranced, Miss Grand!

Credits include: Publication, LOVE Issue 5 Spring / Summer 2011; Title, “Nonstop Erotic Dancing”; Photography, Alasdair McLellan; Fashion editor, Olivier Rizzo; Hair, Antony Turner; Makeup, Lucia Pica; Manicure, Sophy Robson using Chanel S/S 11; Production, Chloe Charlesworth at Art Partner; Set design, Vincent Olivieri; Photography assistance, Simon Bremner, Hazel Gaskin, Gareth Powell; Fashion assistance, Donatella Musco, Mara Palena; Hair assistance, Luke Anthony, Marcia Lee; Makeup assistance, Sofia Bermudez, Jenny Coombs, Yuko Fredriksson; Set design assistance, Oman Stewart; Retouching, Picture House NYC; Processing and prints, Bayeux.

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)

Valerija Kelava | LOVE Issue 5 Spring / Summer 2011 (Photography: Alasdair McLellan)



Sigrid Agren | Self Service N°34 Spring / Summer 2011 by Damien Neva

Digital and film do not compare. An image made on a digital system is not a photograph and an image made on film is a photograph. There’s got to be a point where people stop talking in a photographic vernacular about digital photography but I don’t think that means I have to go around calling myself something different…The two do not compare. — David Sims

Photographer David Sims articulates the difference between digital and film in the above quotation, which was taken from Self Service N°34 Spring / Summer 2011 from a conversation he had with editor in chief and creative director Ezra Petronio. Although both produce images, the digital and film processes couldn’t be more disparate. The latter is a chemical process, the former is not. Light particles refracted from a subject onto a plastic strip coated with an emulsion containing silver halide salts create a uniquely analogous image. This process is accelerated with Polaroid instant film through in situ development, which heightens an intimacy shared between the subject and the resultant photograph. As an object, a Polaroid retains a little bit of the subject’s aura not least by having been present at the moment of creation in a way that a digital copy simply never will. The blurred lines, the soft focus, the chance and imprecision of Polaroids also make the images intangibly richer — more artistic than autopsied.

The sympathies of Self Service on this subject could not be more pronounced than they are in the fifty-page Polaroid-only editorial by Ezra Petronio featuring Ford’s Sigrid Agren. This Polaroid story is a regular fixture of Self Service, which last issue featured Hannelore Knuts. The latest installment, however, appropriately titled “Polaroids by Ezra Petronio,” opens with Sigrid sporting flared-out hair by Didier Malige and wearing an oversize blue and white striped dress by Jil Sander. Sigrid goes on to command the next dozen pages, which include the below look comprised of a beige stretch turtleneck and beige jogging pants, both by Chloé, and clutch by Louis Vuitton. The color’s a bit off, the framing’s a bit crooked, but there is certainly more Sigrid present in these Polaroids than could ever be measured in megapixels.

Credits include: Publication, Self Service Issue N°34 Spring / Summer 2011; Title, “Polaroids by Ezra Petronio”; Photography, Ezra Petronio; Styling, Sabrina Marshall; Hair, Didier Malige at Bryan Bantry for Frédéric Fekkai; Makeup, Lucia Pica at Art Partner; Manicure, Edwige Llorent; Photography assistance, Lydia Gorges, Olivia Alfonso; Styling assistance, Anaïs Bouazzouni, Ray Tetauira; Hair assistance, Richard Blandwell at B4 Agency, Helen Bidart; Makeup assistance, Mayu Yamaji; Image source, Self Service.

Sigrid Agren | Self Service N°34 Spring / Summer 2011 (Photography: Ezra Petronio)

Sigrid Agren | Self Service N°34 Spring / Summer 2011 (Photography: Ezra Petronio)

Sigrid Agren | Self Service N°34 Spring / Summer 2011 (Photography: Ezra Petronio)

Sigrid Agren | Self Service N°34 Spring / Summer 2011 (Photography: Ezra Petronio)




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