Walden by Jessica Klingelfuss

Walden is a unique tribal themed shoot, where London based photographer Jessica Klingelfuss and her team get lost in the Epping Forest, “I’ve always been drawn to forests in particular; they are the most magical place to be in”.

Jessica says she is inspired by nature itself. Being outdoors and shooting on location is an apparent trend in her work, providing rich saturated colors and contrasting backgrounds as well as an outlet for natural light. For Walden, she was especially intrigued by the forest they shot in, “Everything is always so still, so quiet, but so full of life. The light is always changing and perfect”. She spent an entire day on foot prior to the shoot to scout the landscape. From the vast trees and teepee made of sticks to the lush green, the location chosen looked like a fun and interesting place to explore.

An equally important necessity to making a tribal themed shoot innovative and eye-catching is a talented team of artists to create a persona. Wardrobe stylist Polly Hayward did this by long drapey capes and shawls creating a powerful silhouette. The funky prints, creepy mask, and beaded statement jewelry added to the theme. Heléne Eriksson did a great job with the hair by teasing it and twisting it into different braids. What is distinctly different about this shoot is that while most tribal stories stick to bareness and earth tones, Walden features bright pops of color and what seems to be a more modern twist on the common tale. The makeup, done by Linda Wallsten, features vivid war paint, a bold lip, and neon colored nails.

Taii Gordon at Premier was the model. “From the moment I saw Taii’s card in the package I knew I wanted her for the shoot. She had such a unique face unlike anything I had ever seen before”, says Klingelfuss, “incredible blue-grey eyes, sharp cheekbones, and gorgeous freckles. She was really lovely”. Taii has a strong ethnic and eccentric look, with a personality to impress “…being quite sporty she was quite happy to trek for hours through the forest with us”, explains Jessica. She says her main focus is for her whole team to feel the mood and feed off of each others energy, “My main objective is to harmonise several different visions into one fluid story”.

Photography by Jessica Klingelfuss
Modelling by Taii Gordon @ Premier
Styling by Polly Hayward
Makeup by Linda Wallsten @ Era Management  using MAC Cosmetics
Hair by Heléne Eriksson using Bumble and Bumble

London Trash by Joël Cartier

He started shooting fashion about a year ago, after having picked up his first camera three years prior to that. Now Joël Cartier is shooting and producing for the best of them through his film and photography company Eclumes Studios, that he formed with Damien Krisl three years ago.

Today he’s finally making his debut on Ben Trovato. London Trash features fashion model Remy Green represented by Select Models, styled by Sara Darling, and with hair and makeup by Kathrin Tollas.

I have never worked with anyone from the team before, but we worked very well together and the shoot was quick and painless! Remy was amazing and it was very easy to work with her, and the whole thing was shot in four and a half hours,” Joël tells us, and adds “It is a story about a “trashy” girl who gets lost in the streets of London. But she makes the city beautiful.

Photography by Joël Cartier
Modelling by Remy Green @ Select Model Management
Styling by Sara Darling
Hair & Makeup by Kathrin Tollas
Fashion Assistant Alfonso Bessy
Photography Assistant Richard Keech

Fashion film by Ehsan Bhatti

River Island teamed up with the British Fashion Council to launch FASH/ON FILM festival during London Fashion Week Spring 2012. A great initiative, and right up Ben Trovato’s alley as we headlined Fash!on/off - the Belgian Fashion Film Festival - in December 2011, and we are one of the headliners of La Jolla Fashion Film Festival this summer.

The festival was fantastic but one of the things that really caught our eye was River Island’s film for the event by JN Motion, directed by Ehsan Bhatti that showcased the retail chain’s collection by Julian J Smith.

There’s a lot in the film - Renaissance vs Modern, Old vs New, two worlds, one real, one through the looking glass, mystery, a power struggle (anger, frustration), surprise, circularity (the film has two parts but no end).

This is also a film that has no name. Or, rather, as Ehsan Bhatti, the director says “At one point there was talk of calling it Stranger in the Mirror, but we figured that may be too obvious, and there was also too many introductory titles to squeeze into a film name.”

So, what is this unnamed headliner film all about? Bhatti says his visual ideas were inspired by the Julian J Smith’s collection… “The geometric print led us straight on to researching optical illusions etc… I love River Island’s quirky personality and so I wanted to make sure the film also felt upbeat and didn’t take itself too seriously, keeping that sense of humour that’s so integral to the brand.

Bhatti agrees that they were definitely going for an element of the unreal versus the real in the film. “This is about a girl who is led into a surreal world by her own reflection. The viewer is left wondering who is real. The film juxtaposes the mundane world and the surreal world of Julian J Smith’s designs. To create the idea of an infinite loop – which also ties in with the patterns of the clothes - we were inspired by Escher and Georges Rousse’s optical art. We wanted to create a piece that was artistic yet accessible, upbeat yet intriguing. The film ends on a loop with intended ambiguity, but the ending also resolves the issues raised at the introduction. It was really important to inject a sense of narrative into the film; and not simply go down the route of posing a pretty girl in pretty location.”

The film does indeed have a great deal of movement in it (which always generates narrative). We track the walking girls. Bhatti says that this was deliberate. “I think fashion films can feel too static at times, and as I wanted to create the illusion of a journey; it was key to move with the girl through the different spaces. The movement is there as a storytelling device more than for visual purposes.”

The key cues in this film are visual. It’s not a talkie, although there is some mime. Again Bhatti’s says that this was very deliberate, “The film is full of humorous references to reject any of the pretentiousness and conformism usually found in high fashion. The River Island / Julian J Smith girl is here to disturb the peace and have a little fun (hence the old man sequence, which we did feel bad about, but which was hilarious on set!). There aren’t many point of view shots as we wanted to place the clothing within various visual backdrops; some clashing, with the intention of letting the clothes stand out.”

The location at St Pancras’ Renaissance Hotel at King’s Cross in central London is, of course, stunning. The film is pervaded by its texture - brocade, panelled doors, silks etc.. Bhatti admits they had the hotel in mind as a location from the outset, and were completely mesmerized by the palette and the textures [if you’re in London, in the vicinity, book yourself in for a tour of the hotel, you’ll see what he means!] on their reconnaissance tour. Bhatti explains, “Because the environments and set design play such a key role in communicating the film’s metaphors, it was important that the real spaces oozed regal and ‘restricted’ in contrast with the surreal spaces, which were intended to inspire and intrigue. We were aiming for high production value on limited resources, so to get the hotel was fantastic news for us.

Other limited resources were time and logistics. Bhatti explains they “Wanted to experiment with the patterns of Julian J Smith’s work and raise the production value of the (green screen) shots.” However within the timeframe and logistical restraints, this had to be kept quite simple, so they “chose to go for punchy.”

Initially, Bhatti explains, the idea was to use Maria Palm as both characters, but idea that morphed when they went into production as they knew this wouldn’t be feasible from time perspective.

Time also affected the editing process. The initial story-board had a fair few more scenes in it, including several more where both girls were supposed to be in the frame together, but the team had to cut a few making the narrative slightly more difficult to follow, but as Bhatti points out… “the fundamental illusion of one girl ‘escaping’ and the other girl being in a loop is still apparent.”

Bhatti says “It took two days to shoot the film, one day in a green screen studio/set and one day on location and that the edit too was more complicated than usual…we had to look beyond the storyboards. We had to implement work-around solutions on set to get it all in the can, and compositing needed to take place while we were cutting the offline edit. The whole thing really came together only just before we went to grade, which was slightly daunting to say the least.

He adds, “We knew the shoot was ambitious and Ross [producer] worked some miracles to get it all off the ground. But it was first and foremost about the scale of what we were trying to achieve in the time-frame: Film-making is of course about coming up with creative solutions, but we had to implement more work-arounds on set as we went along, and as there is a plot, we couldn’t do big cuts without leaving gaps. Then there was the acting, which is of course new territory for a lot of models – so directing on set meant constantly implementing alternative character motivational methods and getting alternative or unplanned coverage.” In other words, everything was very tight.

The musical score in the film is very important - it reinforces and sets the tone for the themes. Bhatti could only agres… “Josh Lipworth (JN Motions in-house composer) nailed it and it’s one element from the film I think is completely spot on.” He went on to add “We were striving for cinematic production value and I convinced Josh that we’d need to pull in a lot of favours to record live instruments. As you say, there is no dialogue, so the music dictates the narrative and mood for the each of the scenes. It’s amazing how easy it is to go too poppy, too 80′s, too soppy etc. . Once the edit bpm was set, we went crate-digging; referencing everything from Depeche Mode to Egyptian Lover to Ludovico Eunadi.”

About the only simple things in the film are hair and make-up. For, as Bhatti says “There was a lot going on with the environments and patterns, so we didn’t want hair and make-up to be overkill. The clothes are given the opportunity to clash in boldly patterned settings, and breathe in some of the simpler spaces - and we didn’t want hair and make–up to compete with this effect.”

Director - Ehsan Bhatti for J N M O T I O N
Designer for River Island - Julian J Smith
Stylist - Phoebe Arnold
Composer - Joshua Lipworth
Makeup - Arabella Preston at D+V Management
Hair - Yumi Nakada Dingle at D+V Management
Girl 1 - Maria Palm at Models 1
Girl 2 - Tijana Tamburic at Select Models

You Never Know It’s a Nightmare by Laura Cammarata

Inspired by the pre-Raphaelites and the works of Paolo Roversi, Laura Cammarata shot “You Never Know It’s A Nightmare,” a sinister story of a pre-Raphaelites-looking girl trapped in a nightmare. “With an inch of surrealism, I wanted to create a mix of aestethic beauty and quirkiness, a sinister mood,” she explains.

Roversi has always been a great inspiration to me but this is not quite evident in my other stories, so I decided to push this admiration a little bit further in this,” she continues.

Morwenna Lytton Cobbold at Premier Model Management stars as the protagonist, and has shot with pioneers such as Steven Meisel, Tim Walker, Ellen Von Unwerth and Rankin in that past. “You can imagine how I felt working with her! Oh, Morwenna was amazing. She’s a real beauty and she knows exactly what she’s doing. A real pro!

Laura’s team on the occasion consisted of makeup artist Michelle Dacillo, who also worked on Laura’s previous story for Ben Trovato, hair-stylist Adlena Dignam, stylist Juuhau Zane, and assistant Michela De Rossi. “Michelle and Adlena have been part a of my team since I arrived in London 5 months ago and I really love them, I could not think of better creative and talented people to work with! It was the first time Zane and I worked together but we immediately understood what we were looking for and collaborated absolutely well.

Stylist Juuhau Zane says her “[..] styling idea of the shoot was basically trying to work with the theme, so colors are all natural base, white, grey, beige etc.. silhouette is minimalistic and clean, but in order to make the look interesting, I chose to focus on the texture of the clothes, there are fur with embellishments, latex, and faded prints. Head pieces are major in this shoot, so I don’t want to let the clothes over shine the detail on the head, however the texture of the clothes gives a bit of a twist to each look, and people will have more to look at.

Photography by Laura Cammarata
Modelling by Morwenna Lytton Cobbold @ Premier Model Management
Styling by Juuhau Zane
Hair by Adlena Dignam
Makeup by Michelle Dacillo
Photographer Assistant Michela De Rossi

Backstage video by Michela De Rossi

A Ben Trovato Update: Internships, WeTransfer, and more

Just about a month after we announced our partnership with WeTransfer, we’ve taken our collaboration to another level. WeTransfer will run this photo from Nicole Hill’s Ben Trovato story The Colors of Love in front their worldwide audience this summer! We’d like to thank WeTransfer for their passion and love for our publication and art. And friends, keep the submissions coming in!

Now, on to other things. As we are growing fast, and reaching more readers and followers than ever before, we are more and more dependent on our amazing team. Our main base is in Los Angeles, but we have team members in New York, Oslo, London, and Brussels. We are now looking for a new intern / assistant in Los Angeles, and a few interns for our New York Fashion Week campaign. If you’d like to be a part of our amazing adventure, please read on.

We are looking for one (possibly two) intern / assistant in Los Angeles that will join our forever growing publication and submerge themselves deeply in our world of fashion photography and film.

Your tasks will include:

Managing ongoing projects and deadlines
Schedule and communicate with creatives
Overseeing workflow and resources
Oversee and contribute to our social media channels

If you -

Are a reader of BT
Are a cool, fun, and outgoing individual
Extremely organized and punctual
Possess flawless communication skills
Have an eye for great art
Have deep knowledge of fashion and fashion photography terminology and the fashion business
Are familiar with WordPress
Based out of Los Angeles

- You are the perfect candidate.

The internship is unpaid, but the experience and connections you’ll make in the fashion business are priceless.

Please email a copy of your resume and a time you would be available for an interview to [email protected].

Ben Trovato will be back at NYFW this season. We are relaunching the innovative curated platform FONYFW V2 in September and are looking for social media interns to assist during both 1. planning phase and 2. during fashion week and the wind down.

1. Planning July 1 - August 31

Your tasks will include:
- Building buzz and awareness around the brand/product - locate and converse with industry influencers as well as the public via FONYFW social media accounts: Pinterest, Twitter and Facebook.
- Building and manage our Twitter NYFW VIP list
- Manage press - scheduled mail outs and enquiries

Your skills:
Thorough knowledge of the fashion industry and popular culture
Eye for art
Knowledge of NYC is a plus
Must be thorough, attention to detail and can multi-task.

2. Fashion Week

1st Sep - (event 6-13) - 30 Sep

Your tasks will include:
- Assisting with content curation
- Overseeing and managing social media accounts, and be our voice during the event: inform the world what’s going down live
- Converse with industry influencers, the public and authors of select curated posts
- Manage our Twitter NYFW VIPs list
- Locate and document press: both offline and online.

Your skills:
- Thorough knowledge of the fashion industry and popular culture
- Eye for art
- Knowledge of NYC is a plus
- Thorough, attention to detail and can multi-task.

Please email a copy of your resume and a time you would be available for an interview to [email protected].

2 Sisters 7 Sins by Antonina Dolani

That appearances can be deceiving is a well known fact, but how similar can two people be on the inside when they so obviously don’t match up on the outside? And how does this apply to twins that often share a unique connect throughout their life? These questions inspired Warsaw and London based fashion photographer Antonina Dolani when setting out to shoot her first Ben Trovato editorial.

It is a story about two twin sisters. The first one is a typical rock star, she’s strong and she’s party animal. Her sister is a good girl, quite the romantic,” Anonina explains, adding: “At the first sight they are totally different but on the inside they are similar. I wanted to show how different they could look, while knowing how similar they are.

Playing the part of the twins is fresh face Malwina at Submarine, who’s on her way to NYC after having signed with IMG recently. “She was amazing!” Antonina says. “We were working for 10 hours to produce this editorial, she was really professional which is quite unusual for a new face. I was waiting to shot this girl for couple of weeks and I am so so glad I could work with her just before she went to NYC.

The rest of the team consisted of familiar faces for Antonina, who’s worked with the whole team prior to her Ben Trovato shoot: “- Makeup and hair was made by Rafal Zurek, really talented man. I love working with him, he is really creative and professional. Styling was done by Kasia Szymanowicz who is a really sweet person and I feel like she is reading my mind at times. And of course my right hand Damian Tomaszowski who was helping me a lot during that hard day, lovely guy. I couldn’t have had better company during the shoot.

Photography by Antonina Dolani
Modelling by Malwina @ Submarine
Styling by Kasia Szymanowicz
Makeup & Hair by Rafal Zurek
Photo assistant Damian Tomaszowski
Stylist assistant Joanna Olkowska

Uptown Girl by Laura Cammarata

A lot has changed in the year that has passed since Laura Cammarata made her grand debut on Ben Trovato with The Black Bride, shot on the beautiful west coast of Italy. For starters her scenery has changed dramatically, she’s now shooting in what is (arguably) the European capital of creativity and inspiration, London, a move that has meant the world to her own development as an artist and professional.

Feeding off of her new impulses and immediate surroundings, her latest story for Ben Trovato is set to the streets, featuring Billie with Premier Models.

“The story is basically about a ‘posh’ elegant girl walking around London city, showing off her beauty and wellness,” Laura tells us. “Apart from the rather simple concept, this shooting has quite an aesthetically focus: lighting and general harmony were very important to me this time. I’ve mainly used spots where the light was quite diffused to get a nice matte and pale skin tone. I’m getting more and more aware of how much I adore faces. I literally chase the perfect conjunction of elements when shooting a portrait or a close-up and it gets more interesting and challenging when I shoot outside.”

Perhaps just as important as good lighting and a pretty face was her connection with the model, and Laura can’t stop praising Billie: “- Billie doesn’t just look amazing, she really is. Extremely beautiful, talented and funny too. I really find it more interesting when I can work with people I also like to have a good conversation with and she’s one of them. She immediately got what I wanted and played that role for me. What a blast!”

In addition Laura mentions her team members to be her most important asset while shooting. “Yes, my team is really the most important part of every single shoot I do,” she says, adding: “I’ve been working with these amazing people since I moved to London three months ago and I really feel blessed for finding such amazing people.”

“People often think that just the photographer has merit for the beauty or success of a shot, but really my ideas could not become true without their help and creative minds!”

One of those being stylist Elina Galuga, who says her focus when pulling clothes was to play on the dream of being rare, rich and beautiful forever: “- That’s almost every woman’s dream. By using rich colors, unique textures, diverse shapes and chunky jewelry my desire was to bring out the beauty of a woman, her boldness and grace. Choosing Aqua as a main brand for this story was the perfect solution as this season’s collection expresses my vision of the bold and the beautiful.”

Photography by Laura Cammarata
Modelling by Billie @ Premier Models
Styling by Elina Galuga
Makeup & Hair by Michelle Dacillo
Photographer Assistant and Video Editor Stefano Aliffi
Stylist Assistant Aleksandra Rochowczyk

Nightflash by Fiona Garden

It’s about capturing movement and light - dark layers of sheer, whipping in city wind,” were the words Fiona Garden used when asked to describe her latest story for Ben Trovato, Nightflash. Esther with Select blends in with the inspirational textures of London, highlighted by strong flash and contrast in almost like a what almost seems like semi gothic version of Roxanne Lowit‘s wonderful black and white photography.

Ah Esther,” Fiona says, before adding “She has a brilliant mind and is a really versatile model.

As Fiona has worked with the whole team in the past, she already knew what to expect from her team members, and says “[..] the feeling on this shoot was really relaxed and personal, just how we like it.

Stylist Victoria Sekrier, who also styled Fiona’s previous story for Ben Trovato, explains her was to play with different textures and long beautiful silhouettes.

“The S/S 12 collections were saturated with candy colors and bright patterns. For this story we wanted to go against it and portray an image of an ethereal creature, kind of a dark angel.”

Photography by Fiona Garden
Modelling by Esther @ Select
Styling by Victoria Sekrier
Makeup by Natalie Piacun
Hair by Oscar Alexander
Stylist’s Assistant Sabah Noor

The Opium Den by Alice Luker

Beauty is a form of Genius—is higher, indeed, than Genius, as it needs no explanation.” The quote is cut from Oscar Wilde’s novel, A Picture Of Dorian Grey, which inspired London based fashion photographer Alice Luker‘s first story for Ben Trovato, The Opium Den. “In the novel, Dorian (represented by Rory from Elite) sells his soul to the devil to remain eternally youthful and beautiful. Alexis and Alexandria (Both Models 1) represent the temptation which Dorian faces as the story simultaneously unveils Dorian’s self obsession and uncontrollable vanity. ‘The Opium Den’ is a story of overt decadence, temptation and lust; all elements relevant to the fashion industry in it’s entirety,” Alice explains.

Research and inspiration play a vital role in any of Alice Luker’s shoots, but with The Opium Den the process was longer than usual due to her affection for the concept and urge to create a story that would live up to her ambitions and inspirations. “The aesthetic of painting also played an important role in the way that I visualized and directed light; most specifically influenced by the work of Caravaggio and his use of ‘Chiaroscuro’- the relationship between light and shadow to evoke an atmosphere,” Alice tells us.

At fashionable Blakes Hotel in London Alice gathered a team she felt could bring something new and exciting to the concept and help lift it to another level. “It was the first time I had worked with the majority of the team on this occasion. I would work with the whole team again in a flash and am currently in the early stages of planning my next editorial shoot in between shooting lookbook and advertorial commissions.

Stylist Lauren Miller says her styling was heavily inspired by the darkness in the story of Dorian Grey. “I wanted to highlight the male character to be very dapper and beautiful as described in the story whilst keeping the girls seductive yet not overtly sexual. I used rich colors such as reds, black, navy, silver and gold with a combination of textures for a luxurious, decadent feel.

Take a minute to check out The Notebook Magazine‘s behind the scenes film from the shoot, which includes a short introduction by Alice herself.

Photography & Art Direction by Alice Luker
Styling by Lauren Miller
Hair by Jay Zhang using Bumble & Bumble
Hair Assistant - Mary-Ann Buck
Makeup by Anna Priadka using Ellis Faas
Nail Technician - Jeanette Vuong

Rory Torrens @ Elite
Alexia Palmer @ Models 1
Anastasia Portna @ Models 1

Retoucher - Mdf Retouching
Special Thanks:
Blakes Hotel in London
The Notebook Magazine

Room 1723a by Natalie J Watts

Early this spring fashion photographer Natalie J Watts made her way over the pond from London to NYC in hopes of getting inspired and doing a few amazing projects. One of them was a story for Ben Trovato.

Initially, the shoot concept came from a discussion between Michelle (makeup artist) and myself before we both jetted off individually from London to NYC. We knew that we wanted to capture the energy and mystery of the big city in a nighttime shoot,” Natalie tells us.

They discussed the story in detail and decided that the dominant figure should be a female model in a 30s/40s-style tale of secret clubs and gritty hotels.

The colors and lights of a city at night were strong reference points and I wanted this to be juxtaposed with black and dark garments. Movement and energy were to surround the models; posed very still and serene-like, almost like shadows blending into the night,” she continues.

Playing the dominant female in Room 1723a is Russian former ballerina Dinara Chetyrova at Muse, joined by male model Bradley Souileau at Red NYC.

Although having only been signed to his agency a couple of months previous, Bradley took direction really well and there was a great sense of intimacy between the models throughout the shoot. Both were extremely easy-going and thankfully didn’t mind the frequent walks back to the hotel for costume changes. Dinara - formerly a Russian ballet dancer – being the more experienced of the two took the stronger posing in the ‘together’ shots, which fitted the shoot concept perfectly.”

Natalie and makeup artist Michelle Webb knew each other well from before and have done numerous shoots together in the past. The rest of the team included stylist Ise White, hair stylist Kyra Dorman, and assistants Jermaine Clarke (photo) and Jill Freeman (makeup).

Despite being very different to (and not as easy as!) organizing a shoot in London, the team pulled together wonderfully. Michelle and I had as said worked together before, though for the rest of the team it was a new experience. Each team member took the shoot concept on board and brought their own contemporary twist to the notion of nostalgia,” Natalie explains.

We asked stylist Ise White to comment on the story: “- The choice of location was an old NYC hotel, One I had passed by often but had never been into. The old industrial paint and avocado green bed - at one point this place must have been beautiful. The only sign of it being so was the number on the door and the butler shelf on the door. Once upon a time this place was beautiful, so to use a tattooed model to go with it was appropriate and beautiful.

Natalie J Watts’ journey up the professional latter might have been a slightly more eventful and tougher one than that of the regular fashion photographer. But as most creatives, her passion came to life at an early age: “- Santa brought me my first camera for Christmas when I was 7 years old and I took a LOT of photos growing up. After having a baby at 18, I put myself through college and then University where I became involved in the Burlesque scene. I began photographing live shows and moved on to more staged shoots. Many of my models would be performers, which led to vintage and pin-up clothing companies noticing my work and asking me to shoot for them. After graduating, I moved to London and worked for ASOS.com for 2 years, where my personal work took more of a high fashion direction. Though much of my photography is now for commercial clients I still like to keep a darker edge to personal creative projects.

Photography by Natalie J Watts
Styling by Ise White @ Artists By Timothy Priano
Makeup by Michelle Webb using Mac Pro
Hair by Kyra Dorman @ Artists By Timothy Priano using Tigi Bed head
Photography assistant - Jermaine Clarke
Makeup assistant - Jill Freeman
Models - Dinara Chetyrova @ Muse and Bradley Souileau @ Red NYC

Eléonor by Paul Whitfield

Pure - simple - raw.” That’s what Paul Whitfield says when I ask him to describe his story. Three simple words that say it all. The story, which also marks Paul’s debut on Ben Trovato, is entitled Eléonor after the model, Eleanor from Select Models in London, and is partly inspired by the model herself, and films, fashion and art that has inspired Paul through the years.

Paul has worked with stylist Marie-Claude Lamb many times before, but said the rest of the team including hair stylist Sarah Palmer, and makeup artist Keiko Nakamura he had never worked with before. “I really enjoyed the team, its effort and bringing our ideas to fruition,” he says.

He started out studying fine art, but worked commercially to make a living. “Somewhere along the road the two backgrounds collided and all my focus has shifted to editorial fashion!” An incredibly fortunate collision.

Photography by Paul Whitfield
Styling by Marie-Claude Lamb
Hair by Sarah Palmer
Makeup by Keiko Nakamura using MAC
Model - Eleanor @ Select Models

A Brooklyn Story by Lara Jade

Lara Jade has been a poster child for aspiring fashion photographers all around the world for many years. Her ability to promote her work and connect with other creatives is an inspiration for anyone looking to break through in the business. Today Lara is finally making her way on to Ben Trovato, with her first exclusive story entitled A Brooklyn Story.

The story is loosely based on a woman ‘trapped’ in an urban Brooklyn in the 1950′s and how she expresses herself through the current seasons’ clothes as she goes about her every day duties,” Lara explains. “For the story theme, I was inspired by the surrealism of Alfred Hitchcock and how he portrayed Tippi Hedren in ‘The Birds’ - her attire always elegant but always inappropriate for the settings she found herself in,” she says, adding: “- And as always - the current trends of the season. I was incredibly inspired by this seasons Spring/Summer outfits - from the colors and fun elements, to the shapes and elegance of the cuts and how past styles were mixed together into one.

The star of the story is 18-year-old Texan Caitlin Ricketts from Wilhelmina Models, who’s quickly making her way up in the business. “Caitlin was amazing and a real team player - she really got into character. It wasn’t an easy shoot - the cold weather and the mixture of the people commentating at the girl in the ‘crop top’ made it a little overwhelming (although rather funny) but she played it cool and kept her energy throughout the day!

Lara has a set few people that she tends to work with regularly, and Kim Weber (makeup) and Alexander Tome (hair) are two of those. However, it was her first time working with stylist Orsolya Szabo, Fashion Editor of ES Magazine: “- I hadn’t had the opportunity to work with Orsolya before so it was great to work with someone new also. I find working with regular and new talent together brings something new to the story because everyone has different ideas and how things should be portrayed (especially from a styling perspective) - and in this case it really worked!

Orsolya brought on a wardrobe including garments from Frankie Morello, Jason Wu, Prada, Alexander Wang, and many more.

Lara actually started of shooting when she was only fourteen, playing with self-portraiture and self disguise to hone her skills. Then at seventeen she decided to open her own local business in a small town in England, taking small commissions. “It was then that I discovered fashion photography through expanding my styling team and decided to move to London shortly after to pursue it!” she tells us.

In 2010, she decided to start the tutorial side of her business, teaching fashion photography workshops and most recently, a photo tutorial DVD with photographer Joey L. “As a photographer, I find it hard to stick to just one venture. To keep my inspiration flowing I am always thinking of new project and business ideas to expand my business and to feed inspiration and funding back into my editorial and campaign work. And I thoroughly enjoy the prospect of sharing my knowledge and experience with other photographers and encouraging them on their own journey in this tough industry!

Photography & Retouching by Lara Jade
Styling by Orsolya Szabo
Makeup by Kim Weber for Ellis Faas Cosmetics
Hair by Alexander Tome
Model - Caitlin Ricketts @ Wilhelmina Models
Photography Assistant - Fleur Hoare