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Time You Got A Watch

When Selfridges engaged us here at Rhubarb Fool to put together a luxury Arabic magazine for them, we knew that we didn’t just want to focus women’s fashion and accessories. We knew that truly brilliant content requires balance, and that we needed a fresh shoot concept to offset our stunning fashion and accessories photo shoots.

The answer? A stark, monochromatic men’s watches and accessories shoot to completely contrast with the poppy metallics, brooding florals, and glistening jewels that take centre stage elsewhere in the magazine. We were even more excited when we managed to snag a top still

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life photographer with a particular specialism for watches.

A still life photo shoot is an entirely different beast to one with a model. Upon entering the studio, instead of being met with an array of hair and make up products, there was a plethora of fascinating props. Spanners of different sizes were carefully painted in glossy black, and large razor blade wheels were polished to perfection to match with our high-end hyper-masculine aesthetic.

The early morning saw a rushed breakfast and a

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dash to Selfridges itself to pull some extra accessories to really accentuate the watches. As anyone who has ever had the pleasure of pulling pieces for a photo shoot will tell you, there’s nothing quite like wandering around a department store like Selfridges with the freedom to pick out whatever you like. The only constraint was the shoot brief. From the fantastic selection in-store, we were able to source some great pieces, from classic Rayban sunglasses to stylish Mulberry cufflinks and finely made ties from Saint Laurent and Lanvin.

Meanwhile, back at the studio shoot prep was well underway. Fishing line wire, delicate

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and near invisible, suspended spanners and watches alike on set, and our stylist and photographer worked to contort the finest men’s watches on the market into stunning shapes. The main aim was to show off their best assets whilst at the same time delivering a creative and unique shot. From an early peek at the results, it looked like the mission was accomplished.

But the day wasn’t over – there were still plenty of amazing watches to shoot, ranging from the latest Chanel J12, to classic models from Cartier, Jaeger-leCoultre, Panerai, Parmigiani, Roger Dubuis and more. Once again, the studio was awash with guards keeping a keen eye on their precious charges.

Ties came alive for the background of the second shot – like snakes twisting and looping in the air. The watches themselves shined next to the sharp-edged circles that gave literal meaning to the word ‘edgy’.

In the end, the day flew by. The vibe of the day was contented and confident – perfectly fertile for the kind of creativity required to turn out amazing shots.

A Day In The Life Of a Jewellery Shoot

On one of the first days of spring, there are few more picturesque places to be than the tranquil surroundings of Kew Gardens. The blooming evidence for the new season was everywhere, and the bright rays of tentative new sunshine were reflected in a gorgeous carpet of yellow daffodils.

There were plenty of people taking advantage of the fine weather and enjoying a relaxed walk around the gardens, tourists and Londoners alike – but we were there with an important job to do. Photo shoots, especially those on location, require a great deal of hard work.

Our task? To create images that speak of a tropical world; sultry, humid, and a little dark and brooding, to contrast with Selfridges’ pick of the Autumn/Winter collections’ amazing floral prints and the array of stunning high jewellery that can be found in the infamous Wonder Room.

The day dawned more like our shoot brief – that is, brooding and a more than a little foreboding (thankfully the fog gave way to sunshine as the day wore on). After meeting up with our location contact and our Winnebago driver in the wee hours of the morning, we parked up outside of the Palm House and got straight to business.

The first job was to unpack and put the location vehicle’s built-in rail and steamer to good use. The dresses were like pieces of high jewellery themselves; Mary Katrantzou’s Autumn Winter collection covered with artisanal embroidery and glittering embellishments, Giambattista Valli’s creations finely covered with lace, and Dries Van Noten’s crafts adorned with iridescent silver flowers. Stunning creations from Chanel, Erdem, and Peter Pilotto were also present and correct. The once innocuous rail was transformed.

The crew squeezed in breakfast in between the all-important shoot prep. Photographer Matilda Temperley and her brilliant assistants headed off to the glasshouse to scope out the best locations for shots, and our stellar hair and makeup team set about transforming our model into a tropical goddess.

By mid-morning, we were ready for the final touches – the most spectacular jewellery that money can buy. Each high joallerie brand sent their

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own guard to ensure the safety of their precious cargo. When fastening a gorgeous floral necklace from Van Cleef & Arpels, its guard warned us to be careful – it was worth over £500, 000. As if it wasn’t already abundantly clear, that moment epitomised the extreme high-end aesthetic of the shoot. And the fact that we were in a single room with the equivalent value of several properties!

Each brand got its chance to (literally) shine, with the exquisite pieces showed off in a myriad of original ways. A Cartier brooch found a new use as a stunning hairpiece, and our talented art stylist/art director (Thea Lewis-Yates) played up the glamour of rings by the contrast with earthy branches and overhanging palms. Chanel pearls and diamonds glimmered in the shadows.

The resulting pictures were breath-taking – the shadow-play from the palm leaves overhead and the sunlight just piercing through created the very atmosphere we’d imagined would

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compliment fine jewellery and Autumn/Winter florals perfectly. Our beautiful model and her glamorous gems took the place of Henri Rousseau’s brooding tiger (from the painting Tiger in a Tropical Storm) amidst the sultry palms.

As the afternoon flew on, we found ourselves tasked with everything from guiding bodyguards to scouting around for prop leaves, to fielding last minute deliveries and emails. By four, no one wanted to stop shooting – the atmosphere was too good to leave behind. It was time to turn on the charm with the events manager, and we managed to wangle an extra half an hour to capitalise on the flowing creativity and get those final shots.

With the camera down at 430, everyone felt satisfied. We all knew that the amazing team (including photographer Matilda Temperley and stylist/art director Thea Lewis-Yates) had done an amazing job and gotten some incredible images that will undoubtedly give the magazine the hallmark of high-end authenticity.

A few days on, our best suspicions were confirmed. Selfridges were as thrilled as we are. We can’t wait to share the final product with the world! Keep an eye on the Rhubarb Fool website, because you won’t want to miss these fantastic images when we put them up.