Fashion: Margarita Kareva -
Why Chosen:
I chose the photographer Margarita Kareva due to her style of combining fashion and surreal locations. The colourisation and detail in the images are a strong inspiration and this is due to shooting in raw format. Kareva also adjusts her image with editing software post-production to achieve the final outcome and I would like to experiment more so with colour and filters on my own images.
Examples of Work:
Denotation: The compositional framing is within a square as is a genre convention used by Kareva. The layout still, however, conforms to the rule of three grid with the female subject at the intersection of the first vertical line. The colourisation of the image is lowly saturated and appears to have a filter which makes the image more fairytale-like. Additionally, the use of the blur in the foreground directs the viewers attention directly to the subject as opposed to the scene as a whole.
Connotation: The connotations of this image could be linked to the colours used. For instance, the white dress worn by the subject could imply a sense of purity and innocence as is used as the wedding colour in some cultures and, more aptly for this instance, is the wedding colour in Russia. Furthermore, the woodland setting with the butterflies could infer that the female within the image is actually a princess or fairy as is the story told by many of Kareva's pieces due to her inspiration from fairytales. White butterflies in some cultures are used to symbolise the souls of the passed and convey that angels are watching over someone. Although, the white butterflies, and butterflies as a whole, have been used as a technique of creating a surreal fairytale, ethereal or heavenly, environment for many years. For example, Winslow Homer, a painter, often placed butterflies in his work in illustration such as "The Butterfly Girl". His work could be seen to have had an inspiration on Kareva in the use of muted colours, costume and the setting of woodland. Moreover, the image could imply that the female herself is a woodland fairy as they are often depicted with butterfly wings.
Context: Kareva only started photography a few years ago and thus her portfolio is developing and evolving at a vast rate. Her work combines fashion lighting and locations with elements of surreal fantasy through editing, props and costumes. The models are transformed into fantasy creatures such as witches, royalty, fairies etc.
Denotation: The denotation of this image is again that the framing is within a square ratio with the use of colour being emphasised by editing software. The lowly saturated backdrop juxtaposed to the highly saturated colours in the foreground add depth to the image. The technique of blurring is employed once more, an almost bokeh style, in the top right third of the compositional grid. The subject is making direct eye co tact with the audience which adds to the atmosphere and make the viewer feel as though they are also in the scene. Additionally, the snow marks are added post-production and add another element to the fairytale style.
Connotation: The image could depict a woman who is a free spirit and travels the landscape gathering goods although the clothing and goods she carries imply a sense of wealth. The image could also draw on the idea of the story of "Anastasia" in which the royal Romanov heir is hexed and goes missing in the woods after escaping the palace.
Context: Kareva is a Russian based artist but often travels the world and photographs various cultural forms of dress to create surreal fashion images. The above image includes traditional cultural dress.
Denotation: The denotation of this image is within a square ratio much like the others mentioned above. Also, the compositional rule of three grid is again adhered to in that the two foreground wolves are on two vertical cross-sections whilst the subject is framed in the central column. Also, the muted colours again make an appearance alongside the added emphasised snow made in post-production editing.
Connotation: The implied character of this image is like a bride who has experienced sorrow in some manner such as being left at the alter like Miss Havisham from "Great Expectations" or one who was betrayed like Tim Burton's "The Corpse Bride"; this is conveyed through the veil worn over the face with the garland of flowers on the head of the subject. However, the subject could also represent a character such as a woodland witch living with her companions of wolves. The colour white in fairytales is often used to symbolise who the good characters are and thus it could be inferred that the above character is a good witch. Furthermore, the symbolism of wolves in Russian culture links to that of the Chechen nation. The symbol of the wolf in this nation, known as the Chechen grey wolf, is that in a poetic sense it links to being as "free and equal like wolves" but also as a sign of "courage and tenacity". There is myth that the founder of the Chechen nation was raised by a female wolf hence the modern understanding of the phrase "raised by the she-wolf" as a compliment of someones admirable traits. The position of the wolf in illustration relating to this symbolism have variant meanings: the howling wolf symbolises patriotism, the resting wolf is a reference to the wolf mother whilst a direct address of the viewer is intended to evoke a string sense of emotion. As a result, the female in the image could be a reference to the Russian hero who was said to have been raised by wolves which is reinforced by the one wolf laying down in the bottom left third of the grid.
Context: Kareva herself has said that her work stems from fairytales and that some characters in her pieces are based off of established characters although some are pure imagination and as is voiced above this character could be inspired by the idea of "The Corpse Bride" as a character or concept and that of Miss Havisham from "Great Expectations" although the character could be a fictional witch or fairy-like character. They are, however, all inspired by fantasy novels. Kareva often uses varied props and costumes and is known for using trained real animals in her photoshoots to create surreal images.
Denotation: This image, unlike the above others, is more highly saturated. The composition is however alike the others in the square ratio framing. Depth of field is employed to make the model in the foreground the central focus of the image. There is no blur used in this instance and instead the detail on the image is exaggerated by the increased colourisation.
Connotation: The colours used in the image are highly vibrant and the colour blue appears highly significant. In western culture the colour blue is associated with sorrow and sadness which could link to the composition of the model and the eyeline path. Furthermore, the colour blue is continued in the animals featured in the image. The blue morpho butterfly is often interpreted in different ways internationally. In many cultures the butterfly, regardless of colour, is associated with the souls and spirits of the deceased. Although, other interpretations of butterflies include ideas of rebirth due to their life cycle, calming due to the colour but also as that of a wish granter. Furthermore, the butterfly is often associated with females due to their delicate feminine nature. The contrast between the vibrant blue of the butterflies as opposed to the red of the hair could simply be for aesthetic appeal but also to create oppositions in the piece. The position of the model is very protective in that the hands are covering the area of the body in which the most vital organs are kept and thus it is considered a defensive position. This image again implies ideas of a constructed fairytale like character but also seems to have dark undertones.
Context: The models are transformed into fantasy creatures such as witches, royalty, fairies etc.
