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Rihanna’s ANTI

Going to do a little #tbt in my part. I remember when Rihanna came out with ANTI in 2016 and she gifted the first 1-million copies of the album to the fans. I flipped out. In my opinion, ANTI is Rihanna’s best and most cohesive work.

To go along with this fabulous album, Rihanna commissioned renowned photographer, Paolo Roversi, to photograph for her 2016 album, ANTI. These images can be seen as the single artworks for songs like Bitch Better Have My Money, Kiss It Better, and Needed Me.

So obsessed with these images till today. Combining the elegance, surrealistic and evocative style of Roversi’s photography, Rihanna’s confidence and sensuality, and Alastair McKimm’s high-end street fashion. Unfortunately, I cannot find the make-up artist and hair stylist for this photoshoot. Which is a shame, because the work is superb. Once I find them, I will be sure to update this post.

Until then, please enjoy more of the images from the album shoot:

Photography by Paolo Roversi // Fashion Styled by Alastair McKimm, i-D Magazine’s Fashion Director.

Essay 2

The Beginning

At the beginning, the notion of emerged as a secondary source to my photography account on Instagram. However, as I developed the vision board for the site, I refuted the idea and so I began to conjure something that would be separate from my professional life. By separating work, I could create a blog that was not only for myself to enjoy, but for an audience to admire and connect.

PLUTO as a Platform for Creatives

In addition, the blog offered an opportunity for me to “frame, curate, share, and direct [my] own engagement” in a “learning environment” (Campbell, 2009, para. 10). It would imply that creating PLUTO allowed me to educate myself on how to establish a stronger online presence. By sharing this knowledge, the public that I aimed to have with PLUTO was creators who wanted to discover other creative people. On a worldwide web scale, I would hope to become a one-stop-shop for inspiration. As well as a destination to view beautiful photographs to invigorate one’s creativity. To do this, the website’s design had to become image focused.

PLUTO to Address Audience

To start, PLUTO was then created to be a platform for myself to share and talk about creators in the fashion photography industry who I have high admiration for. As well as at times, showcasing editorials that enticed me. Partly, the blog was named PLUTO is based on the idea of being acknowledged, but at the same time, being not fully there. Like John Suler’s (2015), “The Online Disinhibition” stated, the “disinhibition effect” was to be “physically invisible” (para. 7). The quote would further play a role in the creation of the ‘about’ page. In the ‘about’ page, I would proclaim PLUTO to be the place “where creators hide in plain sight.” Quite literally, creators of the images we see in magazines cannot be seen in the image. However, their work is visible to the public.

In PLUTO, I wanted to change that concept a bit: putting the creators upfront and have their work be the supplementary material that drew the audience in. To do so, I utilized visuals as the basis of the site attractive. By replicating the format of Instagram and their focus on imagery, I would hope to “achieve success” (Gertz, 2015, para. 20). Further stated by Gertz (2015), whenever a “company achieves success,” others would “investigate what they did right and apply that to our own organizations” (para. 20). Taking on the format of Instagram, by highlighting the imagery presented on the blog, it would attract an audience to look and discover different creators that are behind the scenes. This would eventually play into the value that I hope is rendered into something people would continue to do: giving credit to people’s work.

PLUTO’s Value

Countless times I have witnessed people online—Instagram—where there are these gorgeous images that are clearly not their own are posted, but seemed to disregard the proper crediting of the images. It is not entirely difficult in contemporary technology, like Google Images, to ‘backwards search’ to find the origins of a photograph. Especially ones of great reverence and recognisability. In the end, providing proper credentials to others’ work shows deep appreciation to the creators and, it is a nice gesture.

Analytics & Comments

Regarding the analytics, I have noticed that the website attracts more users on desktops and laptops. I found this rather strange, presuming people would visit using their mobile devices. Then, I found a possible reason for this was that PLUTO was not mobile device friendly. Considering the WordPress template chosen, it would not give an overview of the site, but would fill the smartphone screen with one image at a time if one were to continue scrolling. However, I did find a spike on desktop viewership when there’s a spike on mobile devices—particularly from social media. This told me that people were finding PLUTO through Instagram and then head over to their desktop and laptops to see the overview of the blog.

As for comments, I have only received one comment and that stemmed from a fellow classmate who commented on the peer review page. The student simply asked for help on the website design and how to change certain things. It did not influence me in anyway. However, knowing the website is still in its infantry stage, I would not expect any comments on the blog.


Reflecting on the idea I had on publication at the beginning of the semester is not entirely different, but it has been expanded. Initially, I had a basic dictionary understanding of publishing: “The act of printing a book, a magazine, etc. and making it available to the public” (Oxford Learner’s Dictionary, 2019). Throughout the weeks, I came to build a thorough comprehension on the ‘public’ aspect of publishing. Particularly, one aspect was the act of self-marketing. PLUTO became an “important medium” to “learn about” the relationship I had with others through an online platform (Chittenden, 2010, p. 517). Part of it was understanding how to gain and maintain an engaged audience through the content I publish and the overall aesthetic of my brand.

Looking forward, I would continue to blog. However, between school work, freelance jobs, and maintaining a social life (ha-ha), it is difficult to successfully maintain an frequently updated blog. Considering the blog that PLUTO is inherently about, a lot of research goes into it. Thus, becoming disabled in the efforts to continue a regular basis. Except, I would be maintaining the Instagram account. While PLUTO rummages through its infant stage, Instagram was a platform where I could engage more with the creators I shared on the site. Continuing Instagram, it would help elaborate my online presence as it would give me a chance to directly thank the creators for their work. “When you find someone whose work you like, tell them” (Thorn, 2012, para. 71). This is vital to my online presence, because I just want those who worked hard know that people genuinely enjoy their work. By using Instagram, it has allowed me to do so. Even if the comment gets lost within countless others.

Concluding Thought

The Internet—especially social media—can be a nasty place. But, it is in these moments where I can find joy in social media and think of the difference I can make when I comment, “Hey! Love this!” on someone’s post. Like the Chittenden (2010) article state, “If you can’t say anything nice, don’t say anything at all.”

Positive vibes everyone. Positive vibes.


Campbell, W. G. (2009, September 4). A personal cyberinfrastructure. Retrieved from

Chittenden, T. (2010). Digital dressing up: modelling female teen identity in the discursive spaces of the fashion blogosphere. Journal of Youth Studies13(4), 505-520. doi:10.1080/13676260903520902

Gertz, T. (2015, July 10). Design machines. Retrieved from

Publication [Def. 1]. (n.d.). In Oxford Learner’s Dictionaries, Retrieved November 25, 2019, from

Suler, J. (2016). Psychology of cyberspace the online disinhibition effect. Retrieved from

Thorn, J. (2012, April 11). Jesse thorn. Retrieved from

Featured image is by Jackie Nickerson for AnOther Magazine (2018).

Kristian Schuller for Vogue India (2017)

For Vogue India’s 10th anniversary issue in 2017, Vogue India commissioned photographer, Kristian Schuller, to photograph couture pieces by designers in which they were employed to create looks inspired by one of the 29 states in India.

Team Credits

Photographer: Kristian Schuller // Creative Diretor: Peggy Schuller // Fashion Stylists: Priyanka Kapadia & Anaita Adajania // Set Designer: Peggy Schuller // Model: Pritika Swarup

Prompt 9: Community Guidelines


  1. Reposting images
    • Most images used in are not owned by PLUTO. If you decide to repost the images in this website, please credit the photographer and/or creator. All images have the photographer listed within the post itself. If you are not sure about the copyright of the image, simply leave a comment in the post you found the image in and I will get back to you within a few moments. 
  2. How are comments moderated?
    • All comments posted to blog posts on PLUTO will be first reviewed by a moderator to ensure they meet community standards. This process should only take a few moments. Your comment will appear on the site after it has been approved.
      • I also ask the community to self-moderate and abide by the rules outlined in this guide. I believe anyone can add to the discussion on the many posts. 
  3. What kinds of comments are removed?
    • Spam
      • Do not flood the comments with multiple messages that say the same thing. Messages promoting businesses, special deals, sales, and others will be removed. 
    • “Trolling”
      • Please remain relevant in and on the topic. If one is to purposely deviate from the conversation or post inflammatory comments, they will be removed. 
    • Racism, sexism, and other forms of discrimination
      • Attacking a group of people or making statements against groups are not allowed anywhere in this site. PLUTO is a safe and open space for people of every form. 
    • Offensive usernames
      • If your username includes words that are offensive or abusive, your comment will be rejected and removed.
    • Targeted attacks
      • Attacks against the writer, against other commentators will be rejected and removed. Name-calling, threats and verbal abuse is not tolerated.  


The guidelines will be displayed in my ‘about’ page where it provides easy accessibility. The ‘about’ page is the only part of the blog that is relevant to the website itself and not the content. 

The guidelines will be further implemented by the comments be moderated. When one makes a comment, it will sends an email to me to moderate the comment. Based on my short, but hopefully effective guideline for comments, I will then examine each comment before deciding whether to post or reject.

These are the right guidelines for me, because

Firstly, because my blog is image focused, people may want to share the images. The majority of the images are not mine, but I make sure to credit the original creator or photographer within the posts the images can be seen in. Therefore, making the guideline for crediting the originator is vital. 

Like the article by the Guardian said about the ideal commentary space: “comments threads are thoughtful, enlightening, funny: online communities where readers interact with journalists and others in ways that enrich.” 

My hopes for PLUTO is to have an open and safe space for people to enjoy the content that is being presented and discuss their likes and dislikes. People sharing their thoughts on the blog, the posts, and the content itself can help make my blog better and more tailored towards my audience. Essentially strengthening the connection between blogger and reader. It also makes it possible for the readers to be visiting the site more often if they enjoy what they see. 

In addition, the Pluto Blog is not only a place for me to showcase my favourite creative works by people in the fashion industry, but also—hopefully—a place where readers can also share some of their favourite work in the comments by linking to editorials, photographs, biographies, videos, and other forms of media. As much as I try to learn and open myself up to new people, I absolutely adore discovering new things from people who are much more educated than me in subject of fashion photography. 

Having a more rigorous moderating system and guidelines will help with targeted harassment and “trolls” that seem to find the most discreet websites on the Internet to infuriate and bamboozle the community. As stated by the Time article, “what trolls do for the lulz ranges from clever pranks to harassment to violent threats,” is not something I ever want to see in PLUTO. Arguably, the Internet is for an open arena of comments and it’s “undemocratic” to close off certain opinions. However, just like the everyday life, when we talk to people in person, we expect certain behaviours like being polite. By having a moderator system in place for comments will help implement the notion of ‘treat others the way you want to be treated’.

Featured image by Elizaveta Porodina for Vogue Arabia (2019), starring Adriana Lima.

Prompt 8: Transmedia

Other than the Pokémon reading for this week, the other readings were inaccessible. Therefore, I took it upon myself to research a little on the notion of ‘transmedia’. According to Terry Heick (2019), transmedia is defined as “a narrative that extends beyond multiple media forms that also plays to the strength those forms” (para. 1). Based on this definition and in the context of the process post prompt’s question on implementing “more transmedia integration,” my plan is simply to be active in my online presence when it comes to my blog.

To do so, not only do I post at least once a week for my regular blogposts outside of PUB 101, but I also share posts in respect to the blogposts in my social media account. The channel I am currently using is Instagram. Through Instagram, especially with the algorithm now, people won’t necessarily see all the posts I would share. This may seem like a negative, but as a benefit, it allows me to share as many posts as I want without it being a nuisance to my audience. 

The reason why Instagram remains my medium for transmedia storytelling is because my blog is mainly focused on images. Other than Instagram, photographs are not exactly the focus for other media sites. Pinterest can work, except I can be more active in Instagram than Pinterest since I am already an active member in my personal accounts. 

In addition, the reading: “Pokemon as Transmedia Storytelling,” says that transmedia “does not simply disperse information: it provides a set of roles and goals which readers can assume as they enact aspects of the story through their everyday life” (para. 7). In relation to my choice of Instagram is that part of its worth is the notion of being able to keep track—and sometimes in real-time—of other people’s lives. By immediately sharing new posts in the Instagram account, it tells my audience that I have a new blog post on my website—if they wish to view it. 

Links to References:


Featured image photographed by Nick Knight for the Gareth Pugh’s F/W 2017 collection.

Photographer 4: Ethan James Green

Ethan James Green started in the fashion industry as a model, starring in campaigns like Calvin Klein. With the aid of photographer mentor, David Armstrong, Green swapped modeling for photography. 


Quickly, photography thrusted Green into portraits displaying looks of candor, simplicity, while exploring sexual and gender identity.

Portraits of queer youth, for Wall Street Journal

Green’s distinct photographic vision articulates an aristocratic sensibility that resonates with the work with famed photographer, Diane Arbus (below is an example of Arbus’ image and examples of Green’s street portraits to show you the influence Arbus has on Green’s style).

Photo by Diane Arbus

Photos by Ethan James Green for Love Magazine

Bringing intimacy and authenticity to fashion. Commonly seen using natural light, Green favours the evenness of diffused light, bringing not only drama through the posing of models, but also fully exposing his viewers to the rawness of his black and white portraits through his subjects. 

With his time as a photographer, Green articulated his sense of style through fashion campaigns and look books for the likes of Fendi, Helmut Lang and Alexander McQueen

Ethan James Green for Fendi

Becoming even more prolific, Green is commissioned to photograph for top tier fashion magazines, such as Vogue, W Magazine, Wall Street Journal, Dazed, and countless others.

(Left to right) First & second images: American Vogue // Third & fourth images: Dazed Magazine // Fifth & sixth images: W Magazine // Seventh & eighth images: Wall Street Journal

I think Green’s been so successful in such a short amount of time, is because his imagery is classic. There is such authenticity in his images that really captures a human being’s persona. Similar to documentary styled photography, it resonates with human emotion–like you can see the subject without a facade.

The combination between his simple style, the fashion and the model’s energy, there are narratives his photos that cannot be replicated. Probably explains the reason why Green has become a favourite in photographing celebrities, personalities, and politicians.

(Left to right) First image: Joaquin Phoenix for Vanity Fair // Second image: Megan Thee Stallion for i-D Magazine // Third image: Cynthia Erivo for American Vogue // Fourth image: Mayor Pete Buttigieg for American Vogue // Fifth image: Ashton Sanders for Another Man Magazine // Sixth image: RuPaul for Interview Magazine

The saying, “a picture is worth a thousand words,” is the best explanation I have regarding Green’s photographs. Even with posed images, they hold greats amount of emotion–truly capturing a narrative in each photograph he takes.

Here are some behind the scenes video clips of some of his photoshoots:

To view more of his work, check out his Instagram: @ethanjamesgreen.

TUSH Magazine’s Scarfschützen

I wanted to showcase this specific editorial, because of its styling. The first image of the editorial from TUSH Magazine’s editorial titled, “Scarfschützen,” utilizes face-paint to replicate the Pucci patterned headscarf on the face that creates a camouflage effect that highlights the eyes of the model.

Keep on scrolling to see the rest of the images!

Photography Style

I am a great admirer of photographers who are able to use simple setups to create impactful images. In fashion, the impact relies on the model and their ability to–basically–sell the clothes they are wearing.

The photography style is very much like Richard Avedon and Steven Meisel where the simple backdrop is utilized. However, what makes these images look so angelic and soft is the use of diffused light that spreads evenly across the image: minimizing shadows and highlights.

Notice the basic backdrops and how they bring focus to the models and the fashion.

Team Credits

Photographer: Armin Morbach // Hair: Stelli // Make-up: Loni Baur // Fashion Stylist: Arthur Mayadoux // Body-paint: Milla De Wet // Models: Emily Liptow & Lia Marie (Modelwerk), Samuel (Iconic Management) // Photo Retouch: Sebastian Reuter // Digital Operator: Bastian Achard // Photo Assistant: Alex Craddock & Simon Stock // Make-up Assistant : Melanie Krieg // Styling Assistant: Mathilde Chaize

Fashion Stylist: Ibrahim Kamara

Signed to the coveted Art + Commerce agency as a fashion stylist, Ibrahim Kamara has taken his creative integrity and pushed it forward into artistic works of art.

Photo by Kristin-Lee Moolman

Ibrahim Kamara’s creative choices in his styling is radically unique. In my opinion, Kamara is one of the most brilliant fashion stylists in the industry. There is a whimsy-apocalyptic-grunge about the way he dresses his subjects. From use of netting, oversized fixtures as headpieces and even as shoes, Kamara bridges the world of reality and fantasy.

An aspect of Kamara’s styling that I admire is his ability to become gender neutral in all his choices. His work is the definition of “clothing has no gender.” Plays on the idea of masculinity and the ability to push it further and over the hegemonic lines that restrict men, and specifically targets black masculinity. 

(Left to right): First and second image by Kristin-Lee Moolman, 2016 // Third image by Tim Walker, 2018 // Fourth image by Kristin-Lee Moolman, 2017 // Fifth image by Kristin-Lee Moolman, 2018

There are no boundaries in the perspective of Kamara’s work. His distinct perspective is audacious and inventive while marrying the borders of high fashion with peculiarity. By creating a symbiotic companionship between looks and incorporating striking artistic decisions, Kamara elevates his styling to pieces of art. To some people, Kamara’s styling may look random, but the articulate way the articles of clothing are folded, pinned, and tied are purposeful—nothing is an accident. 

(Left to right): First image by Kristin-Lee Moolman, 2019 // Second and third image by Kristin-Lee Moolman, 2017

Born in Sierra Leone, and being raised in Gambia, at age 16, Kamara moved to London. In 2018, Kamara was appointed Fashion Editor at Large for i-D Magazine. In addition, his work has been featured within the pages of Vogue Italia and Dazed

(Left to right): First and second images by Paolo Roversi, 2019 // Third and fourth images by Kristin-Lee Moolman, 2016

Kamara was also a consultant for brands which include Christian Dior and Nike, and has collaborated with artists like Madonna and Solange. 

Solange by Tim Walker
Madonna, styled by Ibrahim Kamara

Ibrahim Kamara defies boundaries: bridging the world between reality and fantasy.

Check out Kamara’s Instagram for more photos of his styling creations!

Prompt 7: Analytics & Data Trails

Since this week’s process post prompt does not really offer a question to be answered, I will assume it is something about analytics and “data trails.”

Google Analytics Discoveries

Regarding analytics in context of my website, one of the most important discoveries for me was finding out that I have a greater presence on a desktop rather than a mobile phone. In a way, it was shocking to me, because arguably, people’s lives are revolved around our smartphones. The website’s accessibility of a smartphone however can be challenging. When I tested the website out on my iPhone, the structure wasn’t particularly the best. It is not my intention to make people scroll all the way down to see my posts, for that, I can only blame the template that I have chosen. Another discovery in my analytics was that people tend to stay quite a while on my posts—in terms of Internet time—approximately 30-seconds to 50-seconds. This surprised me, because I did not think my content would be intriguing. But I guess images help a lot, and possibly creating short paragraphs that are spread out within a post in coherence with images help make the posts more interesting.

Data Trails

As for data trails, I have not thought about it…until now. Though now that I come across the term, “data trails,” I do beckon the thought of how long mine might be. To begin with, almost everything nowadays is or will be digitalized. Artificial intelligence (AI) has made it efficient for some people to multitask in a busy contemporary setting. Like Suzanne Norman (2015) says in her article, “[AI] is used to enhance the customer experience; to making shopping easier.” It makes it easier, because systems can collect data through our motions, voices, and even eyesight through recognition software to identify different qualities of our beings and then tailor our likings or desires into a compact system. I am no stranger in using AIs. For anyone using Apple products, Siri is a significant feature in Apple products and I have utilized the function a few times while multitasking. Siri has definitely made working easier and more efficient, because I don’t have to worry about getting smaller things done that may slow my actions. As I have mentioned before, I do not even think about my digital trail. Which suggests that I don’t attempt to minimize my digital trail.

However, I am ambivalent on the idea of data trails. I can contest that everything around us are becoming digital which can cause some issues. For example, by deliberately offering information of my locations, information about my contactless cards and banking information: I have given my security essentially to digitized programs in my smartphone to make my life simpler and more readily accessible. The security issue that is questioned by the article, “Digital breadcrumbs: The data trial we leave behind,” is about the information that I knowingly give up and if the information “can be used against us?” My answer is yes. As a communication major, I have learned over the semesters that information technology can easily be hacked and spied on by the people around us and even by the government.

Despite the pros and cons of data trails, it is essential to comprehend that information is becoming digitalized for convenience. Our knowledge and lives will be infused with computerized systems and that is something—I don’t think—anyone can avoid.

Featured image photographed by Helmut Newton for Vogue US (1995). Outfit: Thierry Mugler.