Benjamin Canares
BENJAMIN CANARES IS A STYLIST WHOSE WORK INCLUDES ALEXACHUNG LABEL IMAGERY, STYLING ACTORS FOR THE BRAND BELSTAFF, AND STYLING MUSICIAN NILÜFER YANYA FOR THE LAST MAGAZINE.
He also styles for his boyfriend Tom Falle AKA Rhumba Club, a pop musician with whom Benjamin shares an affinity for ‘70s and ‘80s styles and aesthetics. Benjamin was able to make an ad-hoc shoot for TSUKI featuring Tom, and so we asked Benjamin about his influences, process, and life during lockdown.
WHAT KIND OF FASHION/STYLING WORK ARE YOU DRAWN TO AND WHY?
I'm drawn to images that find excitement in everyday situations. Fashion designers Miuccia Prada and Phoebe Philo (while at Celine) achieve this in their designs. They manage to transform the conventionally ordinary into desired items. A similar theme is at play in the photography of Juergen Teller and the late Corrine Day.
DO YOU HAVE ANYTHING YOU’D CONSIDER A STRONG INFLUENCE ON YOUR AESTHETIC?
David Hockney's tonal palette, paparazzi shots of models and actresses showcasing their personal style, David Bowie's shifting image. I am an avid reader of fashion magazines, from i-D to Self Service to Vogue, and I love discovering clothes while shopping both vintage and designer. I'm a fan of Wes Anderson films.
HOW DO YOU CREATE AT HOME?
HOW HAS THIS BEEN DIFFERENT FROM YOUR REGULAR PROCESS?
Pre-lockdown, creating at home would be more research-based—looking at Instagram, websites, Vogue Runway, magazines—ahead of time when preparing for a photo shoot on set with a team.
In this home-based project I had to do everything—I was styling and taking pictures. I had to use the resources available to me: my home, my phone, my own clothing collection, and luckily I live with my boyfriend Tom (AKA pop musician Rhumba Club) who was my model. I’d already been working on his styling, so this project was a great way for us to develop this collaboration further, and for me to have the primary idea instead of working on his projects.
ARE YOU ABLE TO WORK FROM A STUDIO OR IS IT JUST FROM HOME?
My work is limited to what can be done at home, and the need for a model, photographer, location, and clothing makes it tricky. That's why this project was a way to stretch my creativity!
HAS THIS SITUATION ENCOURAGED OR EVEN DEMANDED
YOU TO TRY SOMETHING NEW?
This situation has definitely demanded something new in my work. Usually as a stylist I collaborate with many people to achieve the desired finished image. And with styling you usually source the clothes from designer showrooms, press offices, and vintage hire, or you work with clients who already have their clothing/shoes/accessories—which is what I'm used to. But for this I styled, took pictures, and used items I already had in my wardrobe, and made a set out of our own home and Tom's instruments. Then I had Tom improvise some music for a short video.
I used my own clothing to style Tom: a mix of Prada and Raf Simons past designs for Calvin Klein. I wanted to portray a positive creative message for the future, as they recently announced they would be designing together.
“…THIS HAS ALLOWED ME TO REFLECT ON THE ISSUE OF SUSTAINABILITY IN FASHION. PERHAPS IN THE FUTURE THERE WON'T BE COUNTLESS FASHION WEEKS A YEAR, DEMANDING PLANE TRAVEL AND EXCESSIVE PRODUCTION.”
DO YOU HAVE A NEW OR DIFFERENT WAY
OF STAYING INTERESTED, INSPIRED, OR MOTIVATED?
I have deepened my online research, looked at art, photography, and fashion reference books I already own, and I’ve been reading old magazines and watching movies—I've been trying to watch as many as possible! I have loved watching MUBI and BFI films through Amazon Prime; I especially loved Paris, Texas and In the Mood for Love, both of which I have wanted to see for so long.
IS THERE ANYTHING POSITIVE (OR NEGATIVE) YOU CAN SEE COMING
OUT OF THIS SITUATION FOR YOUR WORK?
Given the absence of conventional shoots, these big changes have really made me consider the future of the fashion industry. I have particularly thought about magazine and advertising shoots which rely on travel and working in big teams. I've wondered how these shoots will take place in the future—will there be a reduced cast and crew? Will we start using more local locations to limit traveling?
On the positive side, everything has slowed down, and this has allowed me to reflect on the issue of sustainability in fashion. Perhaps in the future there won't be countless fashion weeks every year, demanding plane travel and excessive production.
I have have heard and seen stylists styling shoots via apps like Zoom, FaceTime, etc., so it would be interesting to see how that develops within the industry.