The photoshoot was heavily inspired by Dune and its characters, namely, The Bene Gesserit, whom are an exclusive sisterhood of witches, the styling is a clear reflection of them. Director/photographer Mars Washington’s intention was to create a dark fashion editorial, combining elements of classic fashion with narrative storytelling. He draws influence from fashion, cinema, music and fine art, assimilating such influences into his outlook and practice.With this partnership once again ZOOT had the opportunity for a collaboration with Drawing Cabret Couture, aka DCC. Set against the backdrop of DCC’s London studios, DCC is inviting illustrators to have their take on the shoot, you can view the illustrations through a link at the end of the post.
This production was created in collaboration with Drawing Cabaret Couture and ZOOT.
Creative direction, photography and lighting Mars Washington
Assisted by Lauren Cremer
Film Jack and Mars
Styling Nyle Amin
Assisted by Nadia Martin
Set Design Matthew Lawrence
Makeup Candy Chung
Hair Maria Pélo
Lighting 123 Lighting
Studio DCC Studios
Retouch by Mars Washington and Lauren Cremer
Models Zara Bellord, Ning Yu and Demilosa Fagbayi at First Model Management London
And professional dancer Natasha Lily Trigg
Interview and words Daniella Teixeira
Originally hailing from Dover, Kent. Photographer Mars Washington studied Fine Art Photography in the University of Creative Arts in Surrey. After graduating he moved to London and worked as a studio assistant. He went onto work as a freelance lighting assistant for top photographers and filmmakers. Eventually he transitioned into becoming a gaffer and lighting consultant before pursuing his own work as a director/DOP and photographer.
Mars’ work is primarily focused on People and fashion but it was through music that he first began to make connections and develop his style. A keen interest in fashion, fine art and narrative story telling informs his working practice. Mars also shares a passion for abstract and experimental image making processes.
The shoot was a collaboration with DCC Studios, the team had a short time frame to complete the photoshoot as they had time constraints from the drawing classes hosted by DCC. Mars and Matt from DCC Studios did the set design with the resources they had. With the help of Nyle Amin, the stylist and Mars’ assistant, Lauren, they pulled together a mystical and captivating editorial. Mars shares: “I think we only ended up having about 2.5/3 hours to shoot this entire editorial story and video piece. The fact that the story successfully translates my intention is a testament to the whole team and shows that we have become quite well versed in shooting in short time windows….models were not based specifically on members of the Bene Geserit, the Interpretation of The Cult of Mars means we were not bound to re creating any elements of the Dune narrative, it was merely the point of influence.”
I’ve been collaborating with DCC studios since their early days. This year they offered me the opportunity to envision my own editorial concept. I wanted to do something that would challenge the set design aspect of the collaboration, that would sit well with my natural influences and equally challenge myself in terms of lighting and story creation. I loved Denis Villeneuve’s 1st Dune film and was eagerly awaiting the 2nd release upon conceiving this idea. — Mars Washington
Mars about the collab with DCC Studios…
I always love collaborating with Matt and Jan at DCC. We have a very strong and close working relationship dating back to our time living together and testing. DCC studios is almost like a second home and together we have developed the studio’s capabilities in terms of lighting.
On this occasion, one of the most enjoyable aspects about the collaboration was getting to envision and develop the set design with Matt. Turning the ideas into a tangible plan, making the most of the resources we had and getting my hands dirty in that regard was actually hugely enjoyable. I have huge respect for Matt’s artistry and I really enjoyed being more immersed in the construction than I usually would.
Mars about postproduction…
As minimally as possible. My preference is to get as much in camera as we can and use retouching to simply enhance and soften areas that have too much clarity due to the digital sensor of modern cameras.
In this editorial we tried to do very basic work, fixing issues with the makeup and clothing that we did not have time to fix during shooting due to time constraints, hiding elements of the set design which were a little rough and extending the set where required.
Nyle about the styling…
When styling multiple models in a single shot keeping the looks cohesive is key, especially in a narrative-lead story such as this. I thought of the models as a collective; as if they were actually part of a cult. When I think of cults, I think of uniformity. I drew on images in my head of The Fates of Ancient Greece or the Witches in MacBeth. Envisioning them as this sisterhood meant having a motif running through the looks. Whether that be having heavily structured garments around their shoulders or long flowing dresses and skirts, it was important for me to be able to see a common thread that links these characters together at that moment.
Matching the looks to a specific model, I think, happens very organically when working on a story-based editorial. By the time they are in front of my rail, the models have come from hair and makeup and already start to embody their characters. Projects like these are truly a collaborative process and I bounce off of everyone else’s creativity. This helped make the process feel natural so my styling didn’t feel contrived or overstating the narrative.
Mars about the backstory of the shoot…
Collaborating with Stylist Nyle Amin was an absolute pleasure. Nyle got the vibe straight away and was able to source some fantastic pieces which helped to really bring the story to life.
I was particularly captivated by the Harkonnen and Bene Gesserit character designs and costume work. The darkness, texture and structure of both being a huge influence. I’d always been somewhat fascinated by the culture of Witches and the occult and began thinking how I could create my own spin on this character base and the Dune iconography.
The «Litany against Fear» Incantation was equally a really great point of inspiration for our story and I would at times ask the models to chant “fear is the mind killer” to aid in their transformative performances.
In the Video piece we ended up taking more of the David Lynch 80s aesthetic, which serves as a homage to the lower budget realisations of Dune.
Litany against Fear
You must not fear.
Fear is the mind-killer.
Fear is the little-death that brings total obliteration.
I will face my fear.
I will permit it to pass over me and through me.
And when it has gone past, I will turn the inner eye to see its path.
Where the fear has gone there will be nothing.
Only I will remain.
An incantation used by The Bene Gesserit in «Dune» by Frank Herbert 1965
Mars about the different characters….
My intention was that we are witnessing the initiation of a new Witch to the coven. The model Zara, (whose eyes were coloured for the shoot) is very much our inductee Witch. This is why she is the only character to feature the white eyes and wears the veil. The other two Witches bring her to ceremony for her ascension into the coven. In many ways you could liken her Character to that of Lady Jessica in Dune.
Why the title ‘Cult of Mars?
So the original “spin” on the Dune, Bene Gesserit focused narrative, was simply that this would be a story about a group of witches on the red planet. Obviously my name is Mars and I’ve probably been a part of a few cults in my time, so it just made sense to go with that title.
If you got curious now about the incredible artwork collab with six DCC artists, please check out “Illustrating The Cult of Mars” on ZOOT.
FASHION REFERENCES
ARIANNA ANTONIAZZI @ariannaantoniazzi
COOKIE H @bycookieh I PR Crescent agency @crescentagency
DIJÁGO STUDIO @dijago_studio I PR The Pop Group @thepop.group
ERA OF MYSTIQUE @eraofmystique I PR KMR Fashion Consultancy @kmrcomms
IGA KAMPA @igvv.dsgn
KANYÄ LONDON @kanyalondon
MAISON LUMIERE @maisonlumierecn
MEG FLETCHER @__meg__fletcher__
PK BIJOUX @pkbijoux I PR The Pop Group @thepop.group
PUBLIC DESIRE @publicdesire
RECLAIMED VINTAGE @reclaimedvintage_ec
RUAA ELMANSURI @ruaaelmansuri I PR I.DEA PR @i.deapr
SANNA PATRICK @sanna.patrick I PR Limitée PR @limitee_pr
ZANDRA RHODES @zandra_rhodes_ I PR KMR Fashion Consultancy @kmrcomms
To boot
Get to know photographer Mars Washington better through our interview – read about his background, his inspirations and what advise he has for young artists who want to persue photography or filming.
Mars Washington, photographer & film maker
@marswashingtonstudio I www.jackandmars.com
ZOOT: What is your educational background, where are you from?
Mars Washington: I’m originally from the town of Dover in Kent but I have lived in London most of my adult life now. I studied fine art Photography at University for the Creative Arts, Farnham, in Surrey in the UK. The course gave me a fantastic appreciation of the ways in which the medium of Photography could be explored. After graduating I moved to London and began working in a high end Photography studio as a runner/studio assistant. Working at the studio introduced me to the commercial, advertising and Fashion Photography Industries and began my tuition in lighting design.
I then went on to work as a freelance lighting assistant for many of the world’s top Photographers and filmmakers, eventually transitioning from assistant to Gaffer and Lighting consultant. I decided never to go full time with any 1 specific Photographer as I wished to get a better overview in terms of different technical and creative practices and approaches. Working with so many hugely talented visual image makers imbued me with a technical and creative know-how that has informed my own practice.
The assisting pathway is a very valuable route to learning one’s craft.
ZOOT: Where do you source your photography inspiration from, how did you start photography / filming?
Mars Washington: My 1st love in terms of Photography was really through Music. I was avidly obsessed with music as a teenager, playing in bands and daydreaming of shooting music videos. It was at early shows that I first started exploring Photography, taking pictures of bands playing live and making portraits to serve as Promo imagery. Getting behind the lens felt like a passport to inclusion. As a somewhat shy young man, the camera became my license to interact and make connections.
Similarly a love of Film played a large role in my sphere of influence and direction. I remember avidly watching The Lord of the Rings behind the scenes films, soaking up as much information as I could about the process of filmmaking. Directors who had a specific influence at that stage were Richard Linklater, Jonthan Glazer, Sofia Coppola and Paul Thomas Anderson.
A love of Science Fiction, comic books and Fantasy story telling, particularly when such narratives could have specific connotations to our daily lives began to take root. My fandom of Star Wars preceded my knowledge of the Dune verse, which feels quite simplistic and dumbed down in comparison to the complexity and relevance of the Dune story now. In terms of sourcing influence now. I’m still hugely inspired by music and cinema and storytelling but inspiration can truly come from anywhere. I went for a cycle through the woods in order to find the idea for The Cult of Mars.
ZOOT: Who were your greatest influencers in pursuing photography /filming?
Mars Washington: My greatest influences are numerous but there are several Photographers who have a specific importance in my career trajectory.
Firstly, Jason Evans, who I was lucky enough to have as a mentor at university, was and continues to be a huge source of inspiration, his approach served as a revolution of perspective at a time where I felt weighted down in the concept driven fine art course I was undertaking. He was similarly influenced by Music and had made artwork for many of my favorite artists. His approach and ethos left a huge impact on my own outlook.
When I began assisting the Photographers that had the most impact were Sarah Dunn, Paolo Zerbini, Laurence Passera, Luigi + Iango, Rory Payne, and Jason Bell who I worked with for over 7 years. Jason taught me a huge amount about lighting, composition and talent and client interactions
The Photographers I always felt a specific call towards, in terms of my fine art background were mainly artists like Andreas Gursky, Joel Sternfeld, Jeff Wall and Gregroy Crewdson, all of whom worked with large scale narrative processes. These Photographers, particularly in the case of Wall and Crewdson, really got me into the idea of using the still image as a means to convey a specific, albeit potentially ambiguous narrative, which the audience interpretation could help to complete.
Currently I am super inspired by the work of fashion Photographer Elizaveta Porodina and the art Filmmaker Isaac Julien. The Director Yorgos Lanthimos is also a current fave.
I equally enjoyed expressive and process driven work that flirted with the themes of abstraction, psychedelia and informed happy accidents. An “expressionist” approach has often informed much of my work. Using the camera as a means to process personal trauma and identity creation. More and more though I would return to work which really was focused on storytelling. Director Ian Pons Jewell has also had a significant impact on my career path. It was with Ian that I first took steps into working in film and the experience left a huge mark on my current career path.I’d go as far to say that I consider myself more of a director now than a photographer. However, photography is such an important element of my practice that it is totally intertwined with my pursuit of film.
ZOOT: How important is lightning and camera technique for your work?
Mars Washington: Hugely. My work, creatively, is very much connected with my technical process and lighting direction.
ZOOT: Analog or digital and why?
Mars Washington: Both, Whichever is the right choice at the right time. I immensely dislike Purism. I think there are great advantages in the pursuit of both digital and analog image making. My practice often favours digital imagery but that is usually due to the need of immediacy for clients and the cost of film processing.
I have multiple cameras in both formats. I tend to prefer shooting (medium format) film over digital in daylight conditions.
I have invested quite a bit of time into developing a process for making digital imagery look more like film. Originality in Photography can be a tough thing to find and so many Photographers may protect their process. Finding ones own style can take time and then can continually evolve. I think this editorial is a good reflection of whre my current signature sits.
ZOOT: What would you advise to our readers who want to pursue photography / filmmaking?
Mars Washington: Practice, practice, practice and don’t think too big until it’s time to. Success can often be found through creative limitation. Enjoy the process.
ZOOT: Creativity and talent versus technical knowledge?
Mars Washington: Both, absolutely learn your craft but equally remember what you’re putting in the frame, what your intention is. Always keep learning.
ZOOT: What´s your view on AI in photography and filming?
Mars Washington: AI can be a great tool for visual communication if used in the right way. It can give a far greater sense of accessibility. It’s already making elements of post production much easier and giving a greater scope for story telling when resources are limited.
However I also can see why there is an anxiety around its licensing and usage in a wider context. It will be very interesting how it develops and how that development impacts our Industries. I always think there will be a demand for imagery made in reality. I’ve always preferred a mixing of analog and digital and feel that should be the approach we take with AI still.
Thank you Mars!
