Marie Lourier is a fashion photographer and stylist based in Moscow and working globally. The story Rosalie, shot in Milan carefully crafts a story electrified by the edginess of the outfits, bringing in a post-Soviet street style avision to the beauty of an Italian city while merging the contrasting elements to one.
Rosalie Ndour spices up the frames with a piercing stare and strong look, creating a character who lives and owns the city. The epiphany of aesthetics decision comes with the appearance of the mask in an exquisite work with shadows and light in a portrait. Marie shares with us insights on this shoot and some backstage stories.
‘MY MAIN AIM IS TO SHOW THE INTERACTION OF THE MODEL WITH THE CITY, SOME KIND OF PORTRAIT OF THE PRESENT TIME’
What was the main emotion or mood you wanted to create with this story in Milan?
In terms of shooting, the main advantage of Milan over Moscow is the variety and quality of locations. My main aim is to show the interaction of the model with the city, some kind of portrait of the present time. At the same time, I wanted to show the adaptation of the post-Soviet style in the European environment. That's why my team and I chose a model that is not common for Russian reality. The collision of cultures always turns out to something interesting.
Tell about the specifics of the work with models, what is important for you during the shoot. Which directions do you usually give?
If I work with a professional model like Rosalie Ndour, there is no need to give instructions. Models always arrive on time, I show them the mood board, and we start shooting. Everything happens quickly, as usual agencies cannot provide models for a long time shootings during the fashion week. There are an hour and a half for the whole shooting, so I am used to working very quickly, at the same time paying attention to details.
‘THIS IDEA WAS UNPLANNED, THE MASK WAS ACCIDENTALLY ON THE SET, IT WAS BROUGHT BY OUR FRIEND, VIRGINIA’
You shot both inside the apartment and outdoors. Tell about working with natural light in different locations.
When shooting with high ISO value, there are no problems whether lightening is sufficient. There are no black dips on the film, and that's fine. If there is a little light outside, and the room is not sufficiently bright I ask the model to come close to the window, it always works better than just turning on the lights. The streets of Milan are a perfect location for shooting, with this distinct saturated light, that you can find nowhere else. Especially at sunset.
Let’s speak about the idea to use this absolutely insane mask in the story and several other of your works. Where did the idea come from?
This idea was unplanned, the mask was accidentally on the set, it was brought by our friend, Virginia. The stylist loves such accessories and decided that it would work. The mask is often worn by the Chinese as an accessory, but in Europe, it is still a new experience, that’s why it gives such a cool effect.
‘I THINK THE MAIN THING IN PHOTOGRAPHY IS LOVE. AND GENUINE FEELINGS. IT WILL ALWAYS SET YOU APART FROM THE CROWD’
How do you think a photographer can define his style today to really stand out?
There is no such thing as style for me. Lifestyle cannot be identified - you can only live it, that’s the main premise. Sublimation is impossible, and the more you think about it - the more you borrow. I think the main thing in photography is love. And genuine feelings. It will always set you apart from the crowd.