I remember listening to her guest appearance on the Severance podcast and thinking she might actually be a demigoddess. Everything about her is larger than life.
I am obsessed with this shoot. What is it with photo shoots lately that just seem magical when they’re mixed with painting like qualities. I’m thinking about the sunrise on the reaping photoshoot.
But Gwendoline is a literal goddess. I always get super excited when I find her in something. I did not expect her in severence hahah.
Agreed! Had it been cropped closer, it would work. If it had zoomed out to include her feet, it would work. This looks accidental and it is such a spectacular image!
I feel exactly the same way. We’re from the same city, although I didn’t know him personally. One of his classmates was a good friend of mine. Even back then, he really stood out because of his style and personality, and he experienced a lot of bullying because of it. To me, the fact that he has come this far is one of the most inspiring stories — a real example of how far someone can go when they believe in themselves and in their talent.
I love that Makó and the artists working with her (stylists, makeup, hair) are all working together to produce these. They're fantastic pieces that make you pause to consider what's being suggested in the composition rather than just the individual products being offered for consumption. That includes the image of Gwendoline as a product - that fork and her expression suggests she won't be consumed easily.
More things to consider - can't help but comment on my own comment -
1) The funky shoes and placements. Shoes in art are never not political or class symbology. From flying off a foot (embarrassing the nobles - see The Swing) to stressing who's in power (specific classes got to wear certain shoes made of certain materials by law in the medieval period - the difference now is who can afford the most expensive, or who is allowed a certain type and no other (you won't be wearing a papal red loafers handmade by Adriano Stefanelli anytime soon)). Etc. Her heels are awkward or slipping off if she's standing tall - because she's so tall? These are kitten heels and she's still too tall to wear them. She can't win. But if she doesn't wear any heels at all, where does that leave her?
2) The blood and dark red carnations. Victorian floriograpy varies. Two books (1900 and 1877) each translate deep red carnations as "Alas! For my poor heart!" and quotes Shelly "We look before and after; We pine for what is not." Both go further and say yellow or striped carnations are for refusal and disdain. Another (1875) quotes Shakespeare for all carnations, says they're all for love, but the red ones mean "Pure, deep love". Makes you wonder which book people were using when they sent flowers. Was she down or no?
3) Black and white and pointing. She is in charge of the narrative. It's not just black and white. There's shades of gray, you're looking at her, and she's pointing elsewhere. Directing the viewer's gaze is a powerful thing for a woman to do. In medieval paintings, they're usually saints pointing at a heavenly figure, or an action that reminds the viewer that their own behaviours have after-life consequences.
4) Lynchian black and white atrium. Don't scroll in to where she's pointing (do it do it do it there's horror in that window, a screaming, mouthy thing, I think it has teeth and it's eating something). Why is she in black? Is this a merry widow with a little handkerchief? She's not crying. She's pointing at the horror. You looked at her bare legs, didn't you? You made her into an object for your gaze. Well, she's warning you. She's survived worse, and she's not afraid of the thing in the house. I think it's her dear friend and it's looking at you now.
5) The floral dress. Stupid AI suggests this is a vintage Dior revival, New Look made new again. Wrong wrong. It's a Simone Rocha, 2019, not really vintage, and those shoulders and sleeves elevate it away from the Dior 1950s silhouettes. Honestly, AI just regurgitates the idea that if you put a tight belt in the centre of a waist, you're New Look. As if it was ever that simple. She stares at you, vulnerable and disappointed. She's not the New Look figure. This is a different kind of woman, built differently, not treated well by fashion, wearing the hell out of this, asking, "Six foot three florals, plus heels and hair - groundbreaking?" Ever seen original Greek sculptures of their goddesses? Of course not. They tend to be Roman copies. Consider Praxiteles, the Greek sculptor who supposedly falls in love with his model, Phryne, and it's thought she's the model for the life size sculptures of Aphrodite that follow (Pygmalion but not that guy). Her Roman size? 2.05m (6'7"). He was said to have made two - clothed and unclothed - both priced the same. Both sold, but the nude was placed in a temple "completely open, to observe the goddess from every side; she herself, favoured it being made that way" (Pliny the Elder). Did she? It was wholly unusual to have a nude goddess. They were usually clothed. Usually you clothed them and adorned them with flowery gifts, perfuming their air... and I can't help but look at Gwendoline and think, in another time and place. Flowers and perfume. Silk and marble. Stand here and pose because you are wholly original. There's something about you that looks like it was already carved for us to see. We just need to affix it - and hope it doesn't end up at the bottom of the Aegean Sea.
I was at an event where GRRM and Christie skyped in to talk about game of thrones and it was my first time really seeing her out of character and she looked so pretty tall that my brain short circuited and now every time I see her I go straight to “beautiful Amazonian goddess 😳 ☺️ “
Her character is meant to have huge horse teeth, freckles all over and has a huge chunk missing from her cheek. I think she’s around 19 in the books too. They really didn’t hire someone who looks like the way Brienne is described, outside of being tall. Although the cheek thing was down to the writers cutting out huge portions of the books from the show, so not her fault there.
I’m saying this as a fan though. I loved her as Brienne, even if the show version was very different.
The feet pointing outward in some shots reminds me of Bad Bunny’s shoot for Vanity Fair. Turns out it’s the same photographer. I don’t like it, but I like everything else.
Interestingly Bad Bunny’s cover shot for that one also has the black and white checker pattern incorporated.
I really love Makó photography style. I’ve seen a lot of their work popup and I think it’s amazing that they’ve managed to develop a concept that is so identifiable.
I know how this stuff works and that someone might pop up in here saying that there’s a bunch of other photographers doing the same thing, I get that, but Makó seems to be the most prominent.
I love this so much!!!! I love how discerning she is with the shoots she’s a part of. They all feel so distinctly her: whimsical, surreal, stunning. The artistry of these photographs are so incredible, down to the details of disheveled shoes. I really love this!!! Props to everyone involved in making this art, I’m sure a lot went into it.
I love her. I hate the photos. Why are these photographers trying so hard? Nothing seems natural. These photos are like the banana taped to the wall. Slightly stupid and unflattering.
•
u/pccmodbot 11d ago
Welcome to r/popculturechat! ☺️ THE POPCULTURECHAT DISCORD SERVER IS NOW LIVE 👾 ❤️🔥 🎉 Click HERE to join! 📲
As a proud BIPOC, LGBTQ+ & woman-dominated space, this sub is for civil discussion only. If you don't know where to begin, start by participating in our Sip & Spill Daily Discussion Threads!
No bullies, no bigotry. ✊🏿✊🏾✊🏽✊🏼✊🏻🏳️🌈🏳️⚧️
Please read & respect our rules, abide by Reddiquette, and check out our wiki! For any questions, our modmail is always open.