Backstages, shows and streetstyle across New York City for SS18, including names like Adam Selman, The Blonds, Custo Barcelona, Tome, Francesca Liberatore, Cushnie et Ochs and more; and models like Romee Strijd, Lexi Boling, Coco Rocha, Luma Grothe, etc.
Hotline explores the concept of performing to be seen, mirroring today's social media. Whilst it celebrates female sexual liberation, it serves to question who the spectator really is and how it is him who molds the performance. When it is the hegemonic male gaze who is still the oppressor, the performer materializes and turns ambiguous. This ambiguity is replicated in the model and the medium; as it goes from plastic to flesh as well as from film to a photo of a screen.
Paradise is the emancipation and empowerment of female sexuality in all of its forms.
Melodrama is both a tribute and a critique to telenovelas. Whilst they are a cultural product that define and empower our latino roots, they also carry on a social background of roles and expectations for what being man or woman means. Melodrama disguises as a desired happy ending, covering up naturalized symbolisms behind a still male-dominant culture.
Playground retaliates the idea of simulacrum in post-modernism. The idea of plastic becoming real and defining an identity through virtuality. Playground is a new space of playing and becoming where a new idea of girlhood is born.
Within an androgenic system, femininity is objectified in terms of utility. When it ditches the pattern, it is conceived as a threat to the natural state of collective mind, as a psychotropic. The Dolls, allegorically, personify different psychotropics (acid, meth, sleeping pills) under feminine archetypes in order to reconstruct in society a new voice with aesthetic strength that celebrates its imperfection. “Dolls” is an euphemism created by Jacqueline Susann in “Valley of the Dolls” referred to these substances as something to cling to for comfort, like a kid to its toys.
The series "Boyhood" explores masculinities as an imaginary landscape, and their public construction through subtexts and a camera. It seeks to make a political statement challenging the system which homogenizes, fragments and disturbs gender manifestations; resulting in a pasty dislocation.
Suburbia Anyway retrieves 60s nostalgia in suburban aesthetic whilst demystifying gender as a construct strengthened by media at the time. The series redefines identity through personal liberation.
Sugar High explores drug use within Baby Blue's make-believe land. When reality appears to be far away and it all gets down to fun and games, love is not enough. Sugar flares away leaving behind tragedy and transformation.
Sweet Dreamz introduces Baby Blue: myself through others. Sweet and quiet, she has lived all her life within a state of dreaming. Playing picture perfect, she's been broken by her toxic surroundings and solitude. When she gets home to her intimacy, it all comes down to her true self. Within nostalgic undertones, femininity is presented as something other than a construct created by men for me: she can at last feel celestial, be violent, sexual and evil in front on her only real friends, a doll and a teddy bear.
Baby Blue is an ongoing identity series that creates a fictional character within a fictional world based on play-pretend. Baby Blue, like identity in postmodernity, is ever changing and has no face. It follows up the premise of my photography about finding myself through those I shoot. It seeks to redefine femininity and demystify gender with childhood undertones. Finally, it does not limit itself to the medium and finds ambiguity in mixed media.