Tessa Kuragi in “Metamorphosis” by Sølve Sundsbø for Beauty Papers, Fall/Winter 2017
Photographer: Sølve Sundsbø. Source: Beauty Papers. Stylist: Set Designer - Andrew Tomlinson. Makeup: Val Garland. Hair: Ken O’Rourke.
Posted Oct 15, 2017
Tessa Kuragi uses the body as a palate and avant-garde beauty as the brush, in “Metamorphosis” by Sølve Sundsbø for Beauty Papers Magazine, F/W 2017. An Ode to Etiquette unleashes the beauty beast, as the bends of her body break through the mysteries of the skin. Like a model in waiting, she stands for public viewings taking a variety of poetic poses. Capturing the conceptual art of humanity, this story plays on page like a live art installation seen on stage. To appreciate this form of artistry, you must first put yourself in a different head space. Using the body as a vessel proper, we begin to view this pictorial as an act of visual mastery. Less a grouping of individual images and more a movement of the mind, perusing each piece you should feel as if you’re being lifted in aire. Set Designer, Andrew Tomlinson, uses his immense talent to transport us to another time and place. Swaths of flowing silk are placed over sheets of corrugated metal, inviting elements to take shape. Colors are cast across the skin, as curves collide, allowing the camera to catch every nuanced move.
The art of makeup comes to be as Val Garland projects something so hypnotic we can hardly speak. Rhythmic images move in free form, as each angle reflects the culture of the creative. There’s no distinction between time and space as we experience the whole of the body and face. Garland creates a palate that highlights her dark features, by showcasing her stark skin. The contrast is complete, as the ethereal makeup collides with black brows, orange shadow and deep, red lips. Her face is kept in tact, taking the shade of skin to a yellowish tone. An Artistic Avatar comes to life, as Tessa is beautiful and blue, covered in sublime swirls. In an abstract twist things are taken to another level, as her face falls to the ground reflecting a light, cobalt color, while her body follows suit in a darker tone. Natural skin shows through an indigo base, giving the illusion of a tiger stripe, while flashes of light reflect a burgundy hue. Throughout the story we see Kuragi coiled in variety of positions, all paying tribute the agony of existence.
Sundsbø honors this journey with one final image of her falling on her back, completely open to all that she’s been avoiding. What’s interesting about this color course is the choice of tone. Garland keeps the body paint within the same tonal charge, however, we see a shift. Black shadow bleeds across her lids, while scarlet screams over her lips. Washed in a bathe of neon shades, her body is beaten but wholey revived. Her charcoal eyes dream in dark matching in kind her private parts, as power pink delights to ignite her liquid lips that look like liquid. Evocative, provocative, powerful and real… this pays tribute to the strength of the skin, as we watch her limbs languish. Ken O’Rourke fulfills our 40’s inspired Bob fantasy, by foisting upon us straight locks with a clean-cut edge. This dew is done with a twist by randomly letting her black hair creep into a backwards updo. To Taste is To Flavor as Feel is to Touch – like paint on a canvass colors caress the skin, as her limbs twist/turn as they bend/extend.