As I said above, I was not very pleased with this editorial when it was released. It seemed drab, not in the least because Caroline's poses, while they might have been dramatic in isolation, are very much repetitive when seen in the context of the full editorial. I am ashamed to relate that all that was going through my head while looking at it was a grim voice lamenting: "You had an excellent photo this week, but flipping through your film, the judges noticed something that greatly concerned them... [ominous pause for intended suspense]... ALL of your photos looked THE SAME."
Now, realizing that my initial reaction to an editorial by The Brasch was to berate it with the words of Tyra Banks, I was unable to face the prospect of making a post about it. No, until I could come up with a reason for not liking the pictures other than the same one used week in, week out on one of my least favorite prime time comedy shows, I would not address the issue at all. Suffice it to say, had Ms. Banks' critique never entered my mind, I would have felt completely justified in not liking it. But as it did, I had no other choice but to search for something I deemed amazing about "Beauty of Extreme," or risk the nauseating prospect of agreeing with a woman who believes she's the best thing to happen to fashion since... well, ever.
What I think is important about this editorial is the overpowering sense of snobbery that it exudes. Not only is this demonstrated by Caroline through her posing, but also through the camera angles in each shot, and the way that these play off of each other. Caroline is often depicted looking away from the camera, indicating a sense of either disinterest, or ignorance of the viewer, and in the cases where she is looking directly into the lense, her head is tilted up with her chin held high, so she is effectively "looking down her nose" at you. Combine this with the placement of the camera, looking up from her feet, and the overall impression is that she is quite untouchable.
Of course, there are some occasions where the camera is level with her, and I feel that it is on these occasions that we see a bit more depth to the character's story. In photo 2, we see the camera beginning to move to a more equal view point. In this picture, she is glancing over her shoulder somewhat suspiciously. Her gaze is not level, but angled somewhat below her eye line. What I would suggest is being implied here, is that someone has moved to challenge her in her state of invincibility. Whether intended or not, someone is competing with her, and she is surprised by this, and for a moment, threatened.
Deciding this is a passing moment of doubt, she returns to her state of divinity, as we see in the next image. However, in number 4, the camera angle is quite on par with her. She stands facing the camera with her feet spread, defensive, but also informing her competitor that she will not bow before any pressures they place upon her. Evidently, her opponent is again daunted, and backs down.
Picture 6 is one of the most fascinating in the story. For the first (and only) time in the entire editorial, she has bent down. Instead of someone challenging her, she willfully brings herself down to the camera's (and by association, the viewer's) level. She still looks away from the camera, showing her remaining sense of pride, but this photo is incredibly significant because it indicates that despite thinking herself so high and mighty, she has the ability to humble herself to a certain degree and see things from the perspective of more "lowly" beings. But in the context of the story, it is made clear that she does this of her own accord, not by the will of others.
As a result of all this background (whether by my own invention or my perception of what is meant to be there), my love is given to the last two shots. After establishing herself as being powerful, unchallengeable, but also enlightened and observant, we understand that second glance over the shoulder as the camera again moves level with her, more clearly than the first. She seems to say "After I have proven all of this, do you really think you can compete with me?" As if in answer, the camera immediately falls back to her feet as she resumes that all-powerful stance with her upturned face, sighing "No, I thought not."
It is a moment that is reminiscent of one towards the end of The Devil Wears Prada where Meryl Streep drawlingly states: "The truth is, there is no one that can do what I do..." Had it not been for all of the events you had seen occur up to that moment of triumph, you would find it much less easy to think of this claim as being justified. But having been made witness the way she has manipulated everyone so successfully, you do not doubt that she is the best at what she does.
I think that is what makes this editorial special. Through the way the photos have been organized, you get to see that there is a reason why this woman is so empowered and revered. While she is beyond all doubt very assured that she is better than everyone else, this sentiment is not the result of some sudden, ignorant conception. She has the status she has not only because she captured her throne, but also because in the face of all challengers, she has managed to hold it: a feat that is incredibly difficult to achieve.
Now, if we contrast this to the earlier-mentioned "lofty" Tyra Banks... there is no comparison. Tyra Banks was a Victoria's Secret and Sports Illustrated model. She was not high fashion, and as such, has no claim to the throne on which she places herself. Or perhaps she does. The difference, we might perceive, is that her throne was poorly made by her own hands out of tape and cardboard from a refrigerator box. The throne on which Caroline sits in this editorial was won by blood, sweat, and tears. And it is fashioned of Byzantine gold.
Photos courtesy of tFS user tarsha
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