Helena
“We want to talk more about self-sexuality, self-pleasure, self-enjoyment, empowerment, and beauty!” are the lines that present the story, Helena. The topic came from the frustration of the representation of women through the male gaze. The sexualization of the body was redefined through the prism of self-exploration and self-realization. We meet a woman, confident in herself, in her feelings, movements, strength, and sensuality.
Helena is a character through which we are offered support in the legitimacy to discuss topics that are still rarely open or well understood. The colors red, black, and white, the shadows that appear, invite us on the intimate journey following the revelations Helena is up to face.
We speak with María Viñas, a Photographer and Creative Director, and Lucía Lomas, a Stylist and a Founder of Jel Studio, about the concept of the editorial and the technical side of the project.
We discuss the problems behind beauty standards, the desire to allow for more openness to discuss self sexuality and pleasure, especially from the women’s perspective, and the importance of creating a comfortable and trusting atmosphere on set. María explains her work with light, “I wanted to talk about sensorial sensuality through light as if it were a breeze of air that brushed Helena.” The slow body movements, the red light gently filling the space reveal some of the inner emotions of the woman rediscovering herself.
Photography and Creative Direction María Viñas Styling Jel Studio Photo Assistant Sofía Colodrón Talent Helena García
‘We had seen several sessions with similar styles that sexualised women from a masculine point of view, and we wanted to turn it around.’
— María Viñas
Let’s start by speaking about the character - Helena. What were the traits you explored and wanted to reveal in the photoshoot?
María: In this session, which was born out of a conversation between Lucía and myself, we wanted to explore a specific trait of femininity. We had seen several sessions with similar styles that sexualised women from a masculine point of view, and we wanted to turn it around. We decided to talk about self-sexuality, the empowerment for a woman to treat her body and sexuality for her own pleasure and strength.
We wanted the character of Helena to be the personification of a moment of erotic explosion for oneself. Of security, of enjoyment, of tickling, of sensuality, of intimacy, of looking at yourself in the mirror and falling in love, of caressing yourself, of having your day-to-day life light up with sparkle, of being your own lover.
‘Touching on issues from the canons of beauty, such as the lack of knowledge about female sexuality and pleasure, external sexualisation, insecurities, and intimacy, a conglomerate is formed and linked to female sexuality that gives us a lot to talk about.’
— María Viñas
In the intro to the editorial, you emphasize the theme - a launch of conversation about "self-sexuality, self-pleasure, and self-enjoyment through empowerment and beauty." Why do you think the focus on the self is important? What needs to be healed or changed?
María: We wanted to deal with the subject of female sexuality from a point that I, personally, as a woman, and many people I have spoken to, have felt lost on many occasions: one's own sexuality. Touching on issues from the canons of beauty, such as the lack of knowledge about female sexuality and pleasure, external sexualisation, insecurities, and intimacy, a conglomerate is formed and linked to female sexuality that gives us a lot to talk about. I think we all have felt confused and lost at some point on this topic, both in front of an external person and with ourselves. Therefore, it seems important to me, even if it is in a subtle and visual way, as an ephemeral instant of approach through photographs, to put this topic as a protagonist, shape and present it as this is me, this is my light and leave a space that feeling lost at times, self-exploration and self-acceptance are normal in the search for healing on this issue.
From my own experience and conversations I have had, we often delegate pleasure, self-esteem, and sensuality to external factors and people. That's why I think it's important to talk openly about this, to realise that you have sisters to lean on and learn from, to take this energetic and precious ball of red light that is sexuality and make it your own, to find your own way, to take care of it and to make it work as an element that gives you strength (not takes it away as it sometimes happens). I think it is especially nice to have shared this project with these women in my life, Lucía, Helena, and Sofía, who are very different people with very different experiences in this aspect, but who have a very powerful and nourishing common thread when it comes to talking about this.
‘We found that subtle light, soft but strong, as if the air was filled with Helena's gestures, with her doubts, her possible insecurities and shyness, and also with her power, her energy, and sensuality.’
— María Viñas
Speaking about the technical side of the project and the work with the light on set and the printed image to add an additional layer of a folded paper, in what way do you think the chosen process defines the end result, the atmosphere, and the specifics of the story?
María: When we started talking about the project, the colour red, pink, skin, and fluid shapes came to mind. Originally it was a warm, subtle, sunrise light. I wanted to talk about sensorial sensuality through light as if it were a breeze of air that brushed Helena. In the end, we found that subtle light, soft but strong, as if the air was filled with Helena's gestures, with her doubts, her possible insecurities and shyness, and also with her power, her energy, and sensuality.
When it came to treating the images on paper, I wanted to find the more organic blending of colours that occurs through the physical moment of the photograph when it is printed, passing through that more sensorial moment and summarising the image in blocks of colour, more pictorial, which makes the air and the light denser. As a process of that corporeality, there is an image that asked me to centre the cross of the paper in the heart. She has her back turned, but for me, the focus and her movements are on her chest.
In terms of styling, what were some of the guidelines for creating the character (as creating a feeling of empowerment with garments)?
Lucía: Although the idea of empowerment and sexuality is something deeply intimate, I wanted to bring María's understanding of it to a place where there were elements in which she, Helena, and I could feel comfortable and even identify with. The body is surrounded by garments created for that very purpose and accompanied by the red tapestry. The most important thing was that Helena, who was going to interpret those clothes, was fully comfortable.
Which moment from this project is most precious to you?
María: As I mentioned before, it seemed very special to me to bring together these women in my life for the same project, especially speaking about this subject. They are very different, but they are incredibly special and powerful women, each in their own way. Seeing myself in the studio working with them in such a healthy atmosphere of improvised trust and total sisterhood made me feel really lucky and is certainly my favourite aspect of this project.
