‘Sit, Stay’ is a story shot in Brooklyn conceptualized by the stylist Sasha Clyde who collaborated on this shooting with the fashion photographer Emma Trim. The editorial is inspired by a soft color palette, nude shades, and calm poses that come in contrast to life in a hectic, quick paced city like New York. Delicate, fluid fabrics used in styling and decoration emphasize the comfort and easiness of the model in her environment.
Emma, what was the emotion that was important for you to capture for this editorial?
E: Sasha, the stylist, had reached out to me with this editorial concept of “Sit, Stay”, where we would be experimenting with the model posed in various sitting and lying positions. With our model Siena, I focused on capturing a sort of calm / dazed look, to go along with the vibe of stillness that Sasha wanted for this concept.
What are the locations you shot at?
E: We shot out of my studio space in Brooklyn and in various locations outside on the streets nearby. We wanted to show the juxtaposition of the soft styling / clean makeup look (done by our makeup artist Justine) with a grittier background — chipping floor paint and chairs that were falling apart contributed to that grit.
What does it mean to shoot on film for you? Why analog?
E: For me, shooting on film is all about the richness in color; you can’t get that same color with digital. I’ve also found that it makes me shoot with much more thought instead of firing the shutter over and over and hoping that I get one great shot out of a hundred. Because shooting on film is so unfortunately expensive, I am hyper-aware of what I am shooting and making sure I am not being wasteful with my shots. I prefer to shoot on film whenever possible.
"I see so many editorials come out that are full of movement and read very loud and chaotic and I wanted to create something calm and beautiful".
— Sasha Clyde
Sasha, could you describe the concept for the editorial? What was your vision?
S: The concept for "Sit, Stay" was all about stillness and simplicity. I see so many editorials come out that are full of movement and read very loud and chaotic and I wanted to create something calm and beautiful. Living in New York, sometimes I think the thriving energy of the city starts to seep into our work as many of us are greatly inspired by the chaos around us, so I just wanted to make something that contrasted our everyday lives. I almost wanted her to look a bit bored, and we focused on poses that made her look like she was stretching…the kind of stretches one would take while slowly waking up in the morning.
Soft, falling fabrics and nude shades are feminine and charged with emotions. What was your inspiration for those styling choices?
S: I love the juxtaposition of hard and soft, so I chose soft colors and more nude shades to contrast the grittier locations we shot at in New York. I wanted to add that in as an element of the shoot so I made sure that the locations we shot at outside weren’t soft, clean and beautiful and that our indoor location was a more lived in the studio. I feel like it tied in well with our original concept of being more still and quiet in New York…a city where those two things rarely meet.
Tell about the background design that the model interacts with as a chair she sits on and the fabric she lays on.
S: Honestly, those elements came naturally as we were on the shoot. I definitely wanted her to be lounging in chairs as well as lying on the ground. The chairs in the studio seemed to fit well, but I only wanted a few with the more office-like chair, as it wasn’t as sleepy looking to me. I ended up draping the fabric against the wall and holding it as Emma shot because I loved the idea of her partially leaning against the wall, again holding odd positions that one would do to get comfortable. It wasn’t too thought out though. We didn’t even bring props but instead improvised with the props that we already had in the studio. That’s why some of the props have draped fabric over them, as they weren’t quite right on their own, but I like working in that way. Sometimes the more you overthink every detail, it starts to look too contrived and less fluid.