Bubblegum Club

Tag: Gabriella Achadinha

  • Splash of the Southern – Frill Paradise. Exploding Colour

    Liz Valentina is a 23-year-old fashion graduate from FEDISA. Born and raised in Hamburg, Germany she moved to Cape Town some years ago and expresses that the coastal city allows her to be the colourful person that she is. Her graduate collection has been memorialized by the lens of photographer Gabriella Achadinha. Drawing on the work of David LaChapelle, a collaboration was born between designer, photographer, and art director Lana Fredericks, and makeup artists Toni Olver. Ocean, earth, air, fire. These are the natural elements that inspired Liz’s colour pop choices for the collection.

    The editorial created by this team drives the eccentricity of a world that they wanted to create. This world, albeit taking inspiration from LaChapelle, is an extension of the vibrant and unconventional personhood that Liz embodies. With a visual account on her WhatsApp DP that is cued by lily pad head adornments and earrings resembling a cluster of grapes, it is no wonder that the collaborative team saw it fit to extend on her expression of individuality. Their scenic fictional land was created with these thoughts, “all things colour and crazy” Gabriella tells me, and succeed on this notion they did. The title of their work then is not only catchy but appropriate. ‘Splash of the Southern’ speaks of water in movement, referring back to the natural elements that inspired colour choices for the collection as well as coastal living and the vibrancy of South Africa – a fitting analogy.

    Liz has always been on her way to becoming a designer and after industry insight gained through various internships, the young eccentric aspired to make her passion her career. Her graduate show collection is reminiscent of some sort of fantastical colour party. A party inspired by 1970s fashion, with Salvador Dali on the guest list. Dali, of course, saw it fit to create human-like sculptures with lobsters during the festivities. No, not really. Liz created all of the lobster and jelly fish jewellery herself and styled her models with head pieces and pompoms by Crystal Birch. “I have a very fun and colourful look on life, that resembles in everything I design,” Liz points out.

    The use of frills ranging on superfluous is motivated by a desire to emphasize movement. The movement of ocean waves reminds one of the way in which frills move on the human body when walking. When asked about the patterns on some of the garments in her collection I am told, “The pattern actually started with me playing around. Sushi is my favourite food, and rainbow is my favourite colour, so my first little sushi character came to life. I feel like all these different excited characters just put a smile on your face.” Liz’s sushi characters contain an edge on quirk and contribute to the depth of her designs worthy of high fashion status.

    An obsession with Alessandro Michelle and his recent work with Gucci is almost visually given away by the boldness and unafraid nature of Liz’s designs. Dutchess satin and chiffon are Liz’s pet fabrics to play with. She enjoys combining them to transform fabric into garments that contain not only nostalgia for its observers or wearers alike, but a keen sense of otherworldliness.

    Gabriella’s practice is an indicator within itself of the level at which she is drawn to studying the female form with her ocular eye. A student of film production at AFDA in Cape Town, Gabriella initially began her experiments with photography in her final year of study. Gabriella’s work, in short, is never devoid of distinct employments of colour utilized to evoke emotion and individuality. With work that traverses in between fashion, street, documentary and travel, Gabriella has a photographic eye more developed than most. Her colour keen obsession is perfectly aligned with Liz’s collection acting as proof of the powerful collaborative project that has ensued.

    During the conceptualization of the shoot, Liz and Gabriella came to a decision to join their ranks with that of MYUZU, a South African conceptual branding and art direction collective, in order to make their vision a reality. Gabriella met Liz accidentally, and when acquainted with her practice fell in love with her prints, designs and uncommon style. As initial conversations pursued regarding ‘Splash of the Southern’ Liz mentioned that she was eager on the inclusion of art elements. This made Gabriella think of a favoured collaborator, Lana, from MYUZU and so they set forward to putting this body of work together.

    A fashion editorial not devoid of art, the grouping of models that occupy this narrative was done painstakingly well by Liz who wore many hats to bring this work to life. Gabriella implemented strikingly unusual framing within this range of photographs, consciously cutting off fingers and limbs of models at times. Awkward cutting and close ups are used to highlight specific design features forcing the viewer’s eyes to her intended focal point. There is a pleasing discomfort in the way that Gabriella chooses to frame her subjects. A framing that carries a message of its own.

    Taking her visual cues from Liz’s designs that can be described as a paroxysm of colour and form, Gabriella made the discussion to photograph in studio. Not naturally inclined to work within the clinical studio setting, Gabriella’s choice was motivated to enhance Liz’s designs. “I just could not imagine them in a natural setting; they’re so consuming and engaging that any setting would make the picture too busy. The designs take centre stage.”

    Not playing a copy and paste game, the David LaChapelle influence can be seen in styling, makeup and art direction. This shoot, however, retains its integrity by being a fresh body of work combining the creative inputs of various collaborators and kind-hearted souls who were willing to make this more than an aspiration. If vibrant colour, quirky designs and patterns are your thing, then Liz Valentina is a name you should familiarize yourself with. Of course, if you enjoy intimate soft spoken photography combined with a variety of framing techniques, then Gabriella Achadinha is your go-to photographer for femme inspiration.

    Credits

    Designer | All pieces by: Liz Valentina

    Photography: Gabriella Achadinha
    Art Direction: Lana Fredericks & Liz
    MUA: Toni Olver
    Models:

  • UKIYO || Floating World

    Gabriella Achadinha introduced me to the term UKIYO – うきよ – ‘The Floating World’ in the dance and fashion film that she co-directed with Alistair Blair. She explained that the term was used specifically during the Edo era [Edo is present-day Tokyo] as a way to describe an artistic movement within an urban culture. During the Edo era Japan was under the rule of the Tokugawa Shogunate, the last feudal military government. Characterized by economic growth and an end to continuous wars, the period also saw a rise in the development and enjoyment of artistic activities. This saw the rise of theatre, dance and music movements. UKIYO-E was also the term used for Japan’s famous woodblock prints which focused on this artistic revival – depicting imagery of actors, dancers, sumo wrestlers, etc. Gabriella also explained that UKIYO is a term which can be used in Japanese slang to refer to ‘one who is on another world, whose head is nestling in the clouds on another plain’ – a ‘dreamer’. With this definition, dancer Tomoko Kim was the perfect protagonist for the film. When she was a child Tomoko’s grandmother would refer to her as UKIYO, her obsession with dance making her take on the characteristics of a dreamer. “Thus, the dance video drew inspiration from this ethereal meaning of the word. Overall danced in a contemporary style, the video transitions from a mixture of the traditional Japanese butoh and bugaku into an African-influenced Dogon Mask step, ending off with a fluid fully-contemporary dance,” Gabriella describes. With Tomoko’s angelic movements combined with garments by South African designers, the film becomes a dream. As the viewer you are transported to three different locations, and the music lulls your senses as you watch Tomoko move across the screen. I had an interview with Alistair and Gabriella to find out more about the inspiration for the film and their creative process.

    Where did the idea for this fashion/dance film come from? What made you feel you wanted to connect dance and fashion in this way?

    Gabriella: I’ve always been a massive fan of dance videos, from Storyboard P to Lil Buck – contemporary dance combined with the medium of filmmaking has always been fascinating. We have such incredible local designers that it felt right to combine dance with showcasing local fashion. I met Tomoko Kim at a house party at the same time I was chatting to Alistair about collaborating on a project, it all fell into place naturally. Alistair and I have a very calm, easy-going rapport and immediately there was a click in our visions and working styles. Working together was perfect as he understands and has such an incredible technical and location vision whereas I steer more towards working with narrative/performers and art department/wardrobe. It was a dream working with Alistair as we share a very similar aesthetic preference.

    Alistair: Shooting fashion has been my main focus yet I like to incorporate the arts into my work. It allows one to feel something when they view a project like this, at least I hope it does. Living at The Forge in Kalk Bay has opened my understanding of art and creativity thanks to the guiding hand of Katherine Glenday. So when Gabi presented Ukiyo as an idea, I was really eager. She has a really cohesive understanding of all the parts that need to come together to make a film.  We both naturally fell into our roles and I appreciated her vision and creativity. I can’t take much credit to be honest. I was really mostly choosing the way I would like to shoot the project and how I would go about it. Gabi was a constant source of good opinions and ideas when we went over how we would light, choose locations and film the project.

    Could you share a bit more about the South African garments that you show in the film? Was the fashion the starting point for this film? This is a dance/fashion film, how did you incorporate the different styles of the designers with the contemporary dance styles you featured in this film?

    Gabriella: The film started off solely as a dance film. However, whilst conceptualising the film and reaching the topic of styling we decided it would be best to represent some local designers. We left the styling decisions to Sarah Byram, wardrobe stylist on the project, and her choices were extremely on point in matching the individual dance themes to clothing items. She combined pieces from local designers such as Sheila-Madge Design (with illustration by Andel Olivier Art) and Meso with vintage finds from her label Better Half Vintage, as well as Babette Clothing. It was crucial for us to match the pieces with the dances being represented thus the need to source vintage items that matched the bukoh and Dogon styles, with contemporary touches that linked the traditional with the modern.

    You shared some interesting info on Tomoko Kim and how she connects to the idea of UKIYO through the name her grandmother gave her. Could you please share a bit more about your choice to have her be part of the film?

    Gabriella: Japanese culture and its traditional butoh and bugaku dancing styles have recently become quite the inspiration to me – it’s rigid yet free-flowing nature, the beauty in its subtle emotion. Meeting Tomoko when I did was serendipitous, she’s a professional contemporary dancer and is extremely passionate about diverse styles. Her background in traditional Japanese, as well as modern and African contemporary styles, made her the best match for the project. She also has an incredibly strong, charismatic energy. I’ve loved the word ‘UKIYO’ for a while – ‘the floating world’, a term used for those on another plain, ‘a dream world’. But I definitely wanted Tomoko’s input with the title as she is Japanese. It was great when she was excited by it due to her background and her grandmother endearingly calling her that.

    It is interesting that you divided up the film into three sections. Could you perhaps share more about how you conceptualized the film and your creative process? What were your ideas behind the different spaces and colours in this video?

    Gabriella: UKIYO is all about a floating world, a world in which a dreamer exists, away from the mundane reality. We wanted to depict this via the various spaces and corresponding colour palettes, representing the dream worlds one creates through prominent influences, especially as a dancer/a creator. The three locations represent the three different dance style influences and the colours further heighten these dream worlds. A shout out to Henry Uys, our editor and grader, for meticulously colour grading the project to represent UKIYO. The conceptualisation was greatly initiated by working with Tomoko as we knew we wanted to do a dance video but she was the catalyst in how it turned out. She gave a lot of input into the dance styles. We researched diverse dance styles and loved how UKIYO / a dream world is beautifully accurate in explaining the space in which an amalgamation of experiences and exposures co-mingle and thus create.  Alistair, Tomoko and I spoke about individual inspirations and moved from there. Overall it was a very collaborative project between all departments.

    Alistair: The different spaces had to connect to the story for us. After discussing a few ideas we came to these three locations. They felt perfect to reflect the ideas of the story. The forest we choose is ideal as a Japanese setting, whilst the warehouse had this rawness that suited the African contemporary dancing and finally shooting a neon lit scene has been something I’ve wanted to do for ages so that was kind of a dream come true. It’s never perfect when it’s not a closed set but I think we did a pretty good job.

    The music adds to the kind of dreamy feel of the short film and it almost mimics the movements of the dancer. How important is the music in engaging the dancer? Could you share more about who you got on board to produce the music?

    Alistair: Gabi and I discussed what type of mood and feeling we were going for in terms of music so when I mentioned that a friend of mine, Mishaq Diesel, could perhaps produce something for us we listened to some tracks he sent us and were sold. We struggled a bit with the middle section because we had a tough time filming that from a time perspective but I felt Mishaq really produced something excellent for us. It’s got this great rhythm that carries you from beginning to end.

    What were you looking to do with this project?

    Gabriella: Honestly, we were not interested in reaching a specific goal with the project as much as we were focused on the process of collaboration in creating a film we felt we could grow and learn from, as well as showcasing Tomoko’s unique dancing style. This allowed for a very relaxed and experimental process. Alistair and I felt we needed a bit of a break from commercials and wanted to create something a bit wild and unlimited.

    Credits:

    Dancer: Tomoko Kim

    Production & concept: Gabriella Achadinha

    Directed by: Gabriella Achadinha & Alistair Blair

    Director of photography: Alistair Blair

    B camera: Keenan Ferguson

    Camera assistant: Ted Saczek

    Edit & grade: Henry Uys

    Styling: Sarah Byram

    MUA: Thandeka Steenkamp

    Music: Mishaq Diesel

    Credit design: Marlize Eckard

    Special thanks to Better Half Vintage, Maison Meso, Sheila-Madge Design, Andel Olivier Art, Babette Clothing, Max Botha from Hokey Poke Bar,Isak Persson, SUnshine Co.

  • Cale Waddacor: breathing new life into analogue photography with the platform DEAD TOWN

    Cale Waddacor: breathing new life into analogue photography with the platform DEAD TOWN

    DEAD TOWN is a platform aimed at highlighting the work of contemporary analogue film photographers in South Africa. It focuses on a wide spectrum of photography styles from landscape to documentary to fashion and beyond. The definitive desire is to create a blog with interviews, print publications and distinctive exhibitions. In my interview with creator Cale Waddacor we discussed the platform and the first video interview with Andile Buka.

    DEAD TOWN created by Waddacor in January of this year was birthed out of his endearment for film photography. Waddacor tells me that he has always had an affinity for the analogue format. He had a desire to group mind-blowing film imagery in one space. DEAD TOWN currently displays in the form of a blog. He aspires to grow this newly formed platform into a physical realm. Since the inception of the platform there has been various features including interviews with Gabriella Achadinha, Kent Andreasen, Albert Retief, Duran Levinson and Matt Kay. Other posts on the blog consist of an overview of the national photographic landscape, zines, book publications and picture round-ups from their Instagram feed, as well as a video interview with photographer Andile Buka.

    Photography by Katya Abedian

    The label DEAD TOWN refers to the approaching death of film photography that has been caused by the influx of the digital shooting mode which is not only an easier route to take but also less costly.  It may also refers to a time when people captured moments in time within a frame that has now exceeded sustainability and cannot be revived organically. Waddacor also states that he chose this title as it is not obvious, it is not instantly recognized for what the platform is, and slips easily off the tongue.

    Waddacor decided to focus specifically on analogue photographers because he holds that it is more extraordinary and niche. In his opinion the analogue photographers featured on the blog have a concentrated methodology and the style has the power to conjure diverse emotional responses from its viewers. Being a film photographer himself he is thrilled by the practice and the in communicable sensation that he associates with his images when he goes through the process of creating work. DEAD TOWN commemorates South African film photographers because there are few local blogs dedicated to this practice.

    Photography by Rowan Patrick

    Showcasing different styles, DEAD TOWN is fond of showcasing photographers that are not only skilled in the craft of analogue photography but have voices that cannot be matched. Waddacor states that he’s been following the work of most of the featured photographers on the blog for years. Some of the photographers are only hobbyist photographers and others shoot so much film that it’s unbelievable.

    Striving to make DEAD TOWN into a zine within this year, Waddacor is all about the quality of his product and only features the highest standard of work. Waddacor has developed a style for both platforms that enhances each other; he meticulously curates DEAD TOWN’s Instagram and blog.

    Photography by Andile Buka

    DEAD TOWN has released their first video interview with Johannesburg based photographer Andile Buka a few days ago. The in-depth video interview looks closely at Buka’s documentary style photo work as they visit his studio. Buka speaks about shooting on film exclusively, his process and what influences him, as well as the city of Johannesburg itself and his passage that led him to where he is now.

    Buka born in Soweto, was raised in Orange Farm. He currently resides and works in Johannesburg. His work comprises of portraiture, street and fashion photography. His client base includes brands such as adidas, Levi’s and Superga. Buka is known for shooting not only in medium format, but 35mm as well. Capturing his subjects with a candid personal air, he has a knack for tone and composition. Crossing Strangers (2015), Buka’s first monograph, was published by MNK Press in Japan and launched at the Tokyo Book Fair. Buka was freshly invited to take part in the New York Times’ 5th Annual Portfolio Review. His work has been exhibited in Europe, Asia and America and Buka plans to introduce a solo exhibition in the near future.

    Waddacor explains that the video interview with Buka consisted of minimal direction. “I wanted it to be natural, and to be born out of conversation. Andile was the perfect candidate because of his amazing body of work, gentle nature, and just the sheer amount of film he goes through.” Waddacor and Buka met for the first time on the day of the shoot. They went up to Buka’s studio and had their interview straight away.

    Waddacor tells me that the interaction between them was not forced, and that they shot an extensive interview in that time. Waddacor and Ryan Jarrett (cinematography and editing) then proceeded to follow Buka around his studio to get to know him more. Afterwards they scouted out the roof captured in the interview and walked around the block in downtown Hillbrow. The filmmakers then proceeded to Buka’s home to view and capture his post-process and discuss his admiration for music and books. Speaking to Waddacor he expresses a desire to explore more video work for his platform. The first video interview with Buka has set the tone for future projects.