Styling and Creative Direction: Mario Ville (Kattaca)
Makeup design and make up artist: Lewis Amarante for Kryolan and Pankr0
Makeup and hairdressing: Sergio Jiménez
Models: Ricardo Nkosi, Mary Ruiz, Lewis Amarante, Aya Gueye, Juana Mum, Karina Soro, Ruben Buika, Virginia Buika, Isabella Menam, Oliver Lewis, Megane Mercury, Mendes Vieira, Claudia Duharte, Taylor Oscar Ruiz, David Durrant, Marina Gomes, Oscar Chibuike, Guille Gibbs, Lil Bambina, Elian Coiscou and Tigi.
I still can’t believe this. I can finally hold it in my hands after four years of continuous work. My editor sent me the first copy of The Atlas of Beauty Book and it looks fabulous. Seeing all these 500 photos at such splendid quality and remembering the stories of all these wonderful women is pure happiness.
It would mean the world to me if most of you will hold it in your hands too. Because that would mean that my work is appreciated and I can continue the project. The book is coming out on September 26 but if you know you will be ordering one, please pre-order it today. If we achieve a good number of pre-orders we will determine the future success of the book.
To make your decision easier, I have to tell you that most of the photos from the book have never been seen before and there’s so much more inside it, than on this page. You’ll love it, I’m sure!
Mursi women, Omo River Valley, Ethiopia (Click to enlarge)
The Mursi (Mun, sg. Muni) live in the Lower Omo Valley of southwestern Ethiopia and number less than 10,000. The Mursi see themselves as the product of a series of migrations, all of which were part of a continuing effort to find and occupy a “cool place” (bha lalini), a place with riverside forest for cultivation and well watered grassland for cattle herding. Cattle continue to make a vital contribution to their diet. But although often described as ‘nomads’ by government officials, they lead a relatively settled life and depend heavily upon cultivation. During the dry season they live mainly along the banks of the Omo. When the rains come they return to the grasslands, east of the river, to live close to their cattle and enjoy the fresh milk.
Life for the Mursi is often arduous and sometimes dangerous. But they have learnt to live well and there is much time for relaxation, chatting, music and gossip. They have a rich oral tradition through which they preserve and transmit their history, philosophical knowledge and moral stories. They have a keen aesthetic life that centres on their awareness of colour, cattle and body painting. Two distinctive features of their society by which they have become known to outsiders, are ceremonial duelling(sagine) and the large pottery discs or 'plates’(debhinya) which are worn by women in their lower lips. The lip-plate is an expression of female social adulthood. A girl will have her lip pierced by her mother, or another woman of her local community, when she reaches the age of around fifteen.
Today, the process of state-building in the lower Omo appears to have reached a new level of intensity, with the construction of a huge hydroelectric dam in its middle basin. This will eliminate the annual flood upon which the downstream population has always depended for cultivation and pastoralism and make possible large-scale commercial irrigation schemes.’ These will require the forced displacement and resettlement of thousands of people and irrevocably transform their environment and way life. (Source)
A hundred years after the First World War, modern women demonstrate military prestige by donning vintage uniforms historically exclusive to men. Highlighting uniforms from the Second Industrial Revolution until the end of the Weimar Republic, Eve’s Glory compares the ceremonial attitudes historically associated with the military to the proud independence of modern women.
Military uniforms are symbols of heroic and elite social status. The authentic uniforms belong to officers from several countries, symbolizing the strict value system of the period from 1868 to the 1930s. If women had been granted the same status as men, how would they have been perceived? Would society focus on delicate femininity or strength? Melting away the barriers by integrating women into this masculine world, this project questions the gender divide.
I am interested in challenging the conventional ways in which females are visually presented. Women in fashion magazines, TV commercials, and mainstream films are usually dressed in a way that speaks to a structure of social expectations. Characterized by a sharp division between masculinity and femininity, dominance and passivity, toughness and delicacy, women are narrowly defined. A woman in uniform is a visual impossibility.
Showing the contrast between two different worlds—the masculine and the feminine—Eve’s Glory deals with unique characters regardless of age, health, and origin to show women who fought their way through life and the young women who strive for their own path.