Txema is such a frustrating talent.
The underwater shots— as overripe with digital post-production as they may be, are simply a masterclass of composition. execution and technique: The water bubbles seamlessly becoming a part of the outfit, of Maaike, is nothing but heavenly grace. He is unrivalled in this dire era when it comes to such dramatic imagery. (And when compared to the abysmally amateur, sloppy underwater shots of Gisele in Perfect Magazine, it’s on such another level of creative professionalism.)
And such supreme shots juxtaposed with the more grounded B&W shots are more than enough for that rich contrast that’s always missing in all the rags in 2022. …But then he goes overboard with the unnecessary inclusion of the awful pink skies and in-studio shots. Someone once mentioned that his editorial efforts resemble a fashion student’s portfolio, and this is no exception. It’s such a desperate plead of an overeager student to land a job that everything and the kitchen sink is thrown in. It’s a consistent aesthetic whenever a shoot of his shows up. Just reign it back. Sheesh.
As if Greg’s story with Malgosia isn't pure gorgeousness enough, Kodo’s and Elina’s absolutely effortless elegance just sends this issue over the moon. This is the level of creative excellence that hasn't been typical since the 2000s of Franca's Vogue.
(Unfortunate about the Sofia/Mauro inclusion. It’s very student fashion photography 101, with an equally annoying layout. Awful. And just drags me back to the reality of 2022.)
