Kerstin Jaeger Goes Uncharted for a Good Cause
Like something out of a child’s high society, Kerstin Jaeger’s recent shoot for Uncharted Play brings reflections of royalty in youth. The toy company creates products that kids can play with and generate electricity. It quite literally is evidence of the power of play. Every piece that they sell presents one more child who they give access to their products, meaning that each purchase through Uncharted Play brings off-grid power to those who lack access to reliable energy.
The shoot is a glimpse at a lifetime of dress up. A multicultural collection of tots are decked out as the elite, and Kerstin’s make-up was in place to punctuate the message. Her light hand allows the kids to remain youthful and gentle, but underscore the sophistication and maturity framed by the composition. Applying make-up to children is tricky business, it’s a balance between the message of the shoot, but providing space for their youth and vigor to come through.
The hair is classic and regal, styled reminders of bygone eras. They reflect the elegance of these times, while keeping it playful and child-like.
For more information about Uncharted Play and the work that they do, check out their website. In the meantime, enjoy Kerstin’s portfolio.
Kerstin Jaeger Works her Magic on All of U-Das UNGER Magazin
When magazine editors sit down to plan a new issue, they have to create a wide variation of styles and images to keep their readers interested. Even though every magazine has a point of view, and a stylistic touch, they curate a range of looks to keep it fresh. This can present a challenge, since the magazine has to get whole teams for every editorial to cater precisely to each style. Hair and Make-Up Artist Kerstin Jaeger has enough range that U-Das UNGER Magazin hired her for every editorial article throughout the entire magazine. Every single editorial image features her work.
From “Asphalt Cowgirls,” that features women on the streets of LA in nouveau Midwestern garb, to “Desperate Housewives” showing off updates of 1940’s fashion, to four others, Kerstin had to manage each of the seven unique looks in the whirlwind three and a half day shoot. How was she able to work two stories per day for three and a half consecutive days? The German hair and make-up artist’s response may not be surprising: Organization. “Everything had to go so fast. The days were so short,” Kerstin says. “So it was just good planning and then pulling it through.” But this fits perfectly with how Kerstin prefers to work.
“I prefer to plan. It’s a very German thing I guess!” she remarks through giggles. “It’s just good if you know exactly what you’re going to do. It’s nice to be spontaneous, but it helps me to be planned.” By working with the stylists, doing research on the locations and apparel, and planning out the looks, more time is spent on getting the right shot than making sure the models look right. That work was already half done because of her preparation. “It’s like a marathon sometimes, but so much fun. So much fun and so creative.”
Kerstin’s ability to reach a great range of looks is likely thanks to her international work. Although Kerstin is German herself, she works prolifically for American companies, and she’s noticed that the German idea of beauty is slightly different from the American idea. “American is more bold in color. In Germany it’s way more natural, and clean,” Kerstin explains. “I would say in the US it’s a little more fun with the color and color variety.” The variety is built into her work, so it's no wonder she was able to pull this off.
Douglas Freidman and Donghia make the interior personal
One can wear their space like clothes. Constructing an interior design is the same as constructing an outfit. It says to the world, “This is who I am, and this is what I care about.” Douglas Friedman took this to heart when assembling Donghia’s campaign, focusing on the intersection of personal and public style. He highlighted the dual inspiration behind Donghia (the designer's father was a tailor) by juxtaposing well-crafted interiors against impeccably hung apparel.
So many elements, the clothes, the casting, the curation of furniture pieces, meant a lot of moving parts. Donghia had their vision planned out, but it had to be executed in real time. Douglas explains the beginning stages of creating the campaign saying, “There’s only so much you can do on paper. And then once you start to put the elements together that process creates a whole new set of challenges that needs to be addressed and solved.” That necessity to change required a fluidity from Donghia that they managed expertly. “The people at Donghia were great collaborators,” Douglas says. “And they were very open to the creative process with me.”
Interiors are already challenging enough, and have a long list of inherent boundaries. The room is a fixed size, the page that the ad will be printed on is inflexible. “You’re kind of building out, you’re creating these environments and everything has to sit so specifically within this box you’re given,” says Douglas about those limitations. “That’s what takes all day. Because you end up adjusting things by the inch. Everything is so hyper considered, every line, every shadow, everything becomes important because it’s occupying valuable real estate.”
It’s a three dimensional puzzle that doesn’t have a correct answer. The variables are infinite, and the image becomes less about perfection and more about the pleasure of a delicately constructed composition. “That’s the challenge and that’s the fun part,” Douglas says.
Unlike a high stakes fashion shoot that is based on energy and eking out a performance from a model, shooting an interior like for Donghia allows a harmony to build over time. The image becomes about the meticulous creation based on reflection. It’s object mediation, finding the voice of the components of the room. Douglas explains, “You’re meditating on something. You’re looking. You’re staring.” Building a silent and visual harmony. “It’s such a nice headspace to be in.”
This near obsessive consideration has become an integral part of the way Douglas approaches his own space, and changed the way he sees his environment. He says, “Every room I walk into [I think], “How would I photograph it?” So my aesthetic, how I curate my own space, is based on that. Very geometric. There’s a method to it.” His own space has become a sort of outfit to express what he cares about and what he sees.
The Hair and Make-Up were done by another B&A artist, Kerstin Jaeger.