Archive for ‘Hugh Lippe’

February 11, 2012

Small Flowers Crack Concrete

Credit: Fashion Gone Rogue

 Mirte Maas by Hugh Lippe for Russh #44

Mirte looks so very pretty in the February issue of Russh.  There is a dreamy romanticism to her editorial that feels utterly befitting of a February issue.  And Mirte looks exceptionally pretty with natural makeup and softly mussed hair.  I love the charmingly rumpled air about her; nothing about this feels too carefully done.  There is something sweetly innocent about the ethereal white lace and light knit styling in spite of the fair amount of skin it exposes.  Mirte comes across more adorable than seductive.  And I love the setting of the dilapidated house as the peeling cracked paint and worn down wooden floorboards provide great contrast to the pristine white pieces.  The air of abandonment to the scenery just adds a sort of romantic frailty to the tone.   Moreover, I like how the varied texture in this editorial create an overall softness rather than adding edge.  I am most certainly picking up this issue when it releases in the US.

This slideshow requires JavaScript.

Advertisements
July 25, 2011

A Narcissistic Ballad

Credit: Fashion Gone Rogue

Britt Maren by Hugh Lippe for Exit S/S 2011

I absolutely adore Britt Maren.  She was totally my favorite newcomer, especially after Nicolas Ghesquière decided to give her a fierce makeover for Balenciaga Spring 2011.  And she certainly turns it on in this.  Hugh Lippe tells a sexy and slightly haunting tale with this editorial.  I love the femininity and toughness on display.   The feminine punk style is rather awesome.  And while I am normally a great fan of sharply lined collarbones, this sort of freaked me out.  Perhaps I am supposed to feel that way about this.  The glossy deep lids and protruding collarbone makes her look slightly unwell.  Yet, I feel that there is a deliberate consciousness about it. There is vulnerability without helplessness here.  Lippe captures both edge and fragility in this.  In the end, there are beautiful moments with classical eeriness.  And there are startling disturbing points.  Brilliant job by Britt and Hugh both.

This slideshow requires JavaScript.

June 5, 2011

Aymeline Valade by Hugh Lippe

Credit: Fashion Gone Rogue

Aymeline Valade by Hugh Lippe for The Journal S/S 2011

*Warning: Some nudity*

There is something Aymeline that I really really like.  She has this intensity about her that comes across so well in her work (whether in print work or on the runway).   Not to mention, I love the effortless cool that I feel from her.  She has great presence.  My eye is certainly drawn to her every time.   There is also this great sense of strength from her which occasionally makes you feel like she could totally kick your ass at any moment.  I like that too.  I am always a major sucker for a strong woman.  All and all, she is very striking.   And she brings all of that to this shoot, making for one very sexy result.

Normally, I hate blatantly “sexy” shoots where everything feels contrived.  But because I thought Aymeline was so excellent in this, I just couldn’t resist posting it.  For one, her gaze is super intense in this; she really pulls the viewer in, forcing you to take notice.  Moreover, she is full control in this.  She may have some bondage gear on, but it certainly doesn’t bind her in any way.  In fact, it almost feels like armor on her.  I love that her strength is immediately apparent.   There are also some pensive moments when she’s looking away.  I like how those shots can give me an entirely different mood without breaking the continuity of the editorial.  Fantastic as always Huge Lippe.

Striking features and a strong personality will hopefully allow her to go far.

This slideshow requires JavaScript.

December 4, 2010

Inside Out

Credit: Smile

Iris Egbers, Melodie Monrose, Basia Szkaluba, Hailey Clauson, Kat Hessen, Simone Carvalho, Laura Liriano & Hanne Bruning by Hugh Lippe for Dazed & Confused December 2010

Oh look, it’s the return of the side boob.  I’ve missed it lately.   And Huge Lippe decides to address that in this series of stunning black and white shots.  I’m certainly liking the minimalist style and tone.  It’s a big theme for fall 2010.  Dazed & Confused offers up this lovely softened grey-tone that isn’t overly contrasted.  Sometimes, simplicity really is best.  This could have easily been ruined by being overly ambitious.  I do like that there are a couple raw edges to the clean lines as well.  It stops this from being too clean and thus appearing plain. [A design concept that Alber executes like none other].  Moreover, I like the youthful feel to this despite its sophisticated edge.  It’s a nice way to showcase relatively unknown young models.

This slideshow requires JavaScript.

November 17, 2010

Prelude to Winter

Credit: Fashion Gone Rogue

Kasia Struss by Hugh Lippe for Naag November 2010

While this doesn’t appear much like a prelude to winter to me, I greatly enjoy the dreaminess of this shoot.  There is a quality about Hugh Lippe’s photography that I like.  He manages to create a version of escapism which does not require avant garde props to prompt the viewer.  The camel filter–not quite sepia–to some of the shots is also a great touch.  It feeds in perfectly to the dreamy mood and suits the beach setting.  And I love the unfocused silhouette of Kasia as it plays with your eye a bit.  Makes you wonder a little if her character in this is supposed to be like a figment of your imagination in the distant horizon.  Kasia also displays a hint of sensuality that complements the soft romanticism of this shoot.  Everything just comes together nicely to create a pleasant shoot.

This slideshow requires JavaScript.

November 7, 2010

Cushnie et Ochs Spring 2011 Ad Campaign

 

Credit: Fashion Gone Rogue

 

Naty Chabanenko by Hugh Lippe for Cushnie et Ochs Spring 2011 Campaign

I love the fantastical feel that I get this lookbook.  It’s very mysterious.  Hugh Lippe creates this world of possibilities where anything can happen.  And while the clothes are modern, the setting and tone conveys an era long before today.  The grittiness of the buildings present an excellent contrast against the clean lines and leather pieces of Cushnie et Ochs which prevents this from becoming a typical night out on the town.  The mask reminds me of Carnivale at Venice which adds to the fantastical mood.  However, the truly brilliant thing about this ad campaign is the execution.  It manages to display the full range of Cushnie et Ochs from stark and edgy androgyny to romantic draping with softened leather pieces in between.  And it displays all this without reminding me of its true purpose: advertising and commercialism.

This slideshow requires JavaScript.