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FROLOV:through Carianne’s Ethereal Lens

by HQ

We chatted with dreamy film photographer, Carianne Older, about what it was like to shoot her first fashion show for the provocative and beautiful, FROLOV.

Founded back in 2015, Ukrainian brand, FROLOV, founded by designer and creative director, Ivan Frolov, showed their SS24 collection at London Fashion Week.

Captured through the eyes of photographer, Carianne Older (also known as Peggy Shoots Film), FROLOV’s opulent and provocative collection comes to life in Older’s hazy backstage film photos. Amidst the chaos that typically manifests backstage, Older’s images represent a keyhole look into the dreamy qualities of the collection, managing to pluck them out from the hectic happenings leading up to the start of the show. Older, having never photographed a fashion show before said, “There were a lot of moments of downtime that I could pull the models aside to snap their photo. Everyone was incredibly courteous towards me. I spent the bulk of the day there, so it was nice to document the entire process with everyone”.

FROLOV takes fetish gear and maintains the basic elements with his gimp masks, fish net fabrics and form clinging mesh panels. And yet, all the hardiness and intensity of typical fetish gear is swapped out for much softer colours and dreamlike reimaginings of the usually intimidating kink garments.

Older’s imagery enhanced these ethereal elements that FROLOV so wonderfully masters. With light glinting off the mirrored surfaces and metal clothes rails, fairylike qualities of FROLOV’s garments are spotlighted both literally and metaphorically by Older’s carefully placed lens. “I always want my photos to match the vibe of the brand I’m photographing for. I feel like I’m always hired on to projects that want my specific vibe.” The champagne pinks on the lace train and taffeta skirt are bathed in a sort of golden light, whilst the intensity of the all blacks looks are made deeper by Older’s flash.

Opening the show, Lottie Moss wore a heather grey set topped with a hand embroidered fish net gimp mask. The look was adorned with matching grey roses, running up Moss’ right leg and carefully scattered across her mask. FROLOV’s decision in combining the typically restrictive gimp mask with the undoubtedly freeing fish net fabrics shows how to wonderfully strike the balance between complete freedom, whilst having the ability to hide away when needed.

As seen in Older’s imagery, a particularly rosy addition to the looks is a motif across the collection. Whether it’s scattered across an intensely seductive black mesh dress, or used as the main component of the wedding look, as modelled by artist Solange Smith, it’s clear that the innate femininity of the rose serves to bring out the daintier qualities across FROLOV’s collection. When asked about her particular photographic aesthetic, Older went on to say “I want my fashion photography to stand out. When you see the photos, I want people to recognise that I took them because of my distinctive style. I love the use of colour and flash, and I feel as though I utilised both of those to perfection when shooting FROLOV”.

Words by Olivia Barrett

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