
i’ll be back later. now i need to get over some seasonal virus… :s btw, it’s confirmed that the campaign is by inez & vinoodh.
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THE DAY AFTER
sorry many girls and few guys, yesterday i was resting in bed most of time to get over some flu. so today it’s finally time for some proper comment.
i can’t say this campaign is bad. it’s that you may easily understand that it’s not the kind of work i’d like to see. you know, it’s rather frustrating to recognise such a great expressive potential in daria and to compare it to actual works. most of 2008 works have been rather dull. unfortunately she’s mostly worked with mario testino, who exactly represents the opposit of darialogism, and with inez & vinoodh, who, in my opinion, have become a sort of vogue-photographic-machines with rather repetitive and routine-like shootings. if you compare last year to 2007, when daria also happened to work with paolo roversi, peter lindbergh and a proper terry richardson, you fully realise how inferior 2008 was. but that’s a preview of my post about 2008. let’s be back to cavalli and keep the previous lines as an introduction to the core of my review: my problem with this campaign is not roberto cavalli and his aesthetic, i actually like it when daria plays characters. my problem is the superficiality of realisation. and that’s my problem with inez & vinoodh at this moment, at least when they work with daria: it’s like they don’t go beyond the surface of the image, there’s no depth in their photography. their research of shapes and volumes and dynamics has become too repetitive, too obvious. they look like a sort of indie made respectable. how to say it? they kind of blink at alternative photography and they make it very mainstream. if i think of their first shootings with daria, i see an involution from those times. but i think it depends more on them than in daria as a model. actually sometimes it looks to me like it’s her to bring some life to pics, i think of in love or 2008 summer editorials… agh, i can’t help going back to 2008.
so, i don’t see a great difference between the 2009 january issue of vogue nippon and the first cavalli shot of daria as a glamazon. actually i can’t see a great difference with 2008 april vogue nippon cover too. and if this second shot is a quotation of ’50s pin-ups, why is she laughing? is that a parody? i can’t see a parody in the first glamazon pic. ok, there’s no need to have a strong consistence between all the pics, but i’d like to understand if the key of the campaign is parody or what… it seems to me that they had to save money, so no setting this time, just a studio shooting. and i have a sense of lack of creativity. like order was ‘play with characters’, then realisation was rather casual. let’s see if we’ll get more pics to make a more complete judgment. and let’s wait for forum: minor campaign, but major darialogism.
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