Digital FeaturesChanges of HueRui Faria
Eye MAC Pigments Teal, True  Violet and Rock-It Yellow Lips Ruby Woo
Eye MAC Pigments Green Space, Neon Orange and Teal Jacket and Trousers Marni
Eye MAC Pigment Rock-It Yellow and Teal Trousers Osman
Lips MAC Lipstick Heroine
Jaw MAC Pigment Hi-Def Cyan Jacket Longchamp Swimsuit Prism Sunglasses Regina Pyo
Face and leg MAC Paint Sticks Genuine Orange and Primary Yellow
Eyes and forehead MAC Cream Colour Base Pink Shock and MAC Eye Shadows Aquadisiac and Chrome Yellow Jacket and Trousers Max Mara Sports Bra Koral
Neck MAC Pigment Magenta Madness Jacket Longchamp
Lips MAC Lipstick All Fired Up
Eyes MAC Cream Colour Case Luna Hat Stephen Jones for Osman Top and Skirt 1205
Lips MAC Lipmix Yellow Body David Koma Sunglasses Hook LDN
Neck MAC Pigment Hi-Def Cyan Eye MAC Cream Colour Case Madly Magenta Dress Roksanda
Eye brow MAC Technakhol Liner Funfare Eye MAC Pigments Teal, True Chartreuse, Violet and Rock-It Yellow
Jaw MAC Cream Colour Base Madly Magenta Jacket Tim Ryan
Lips MAC Lipmix Cyan Sunglasses VOW London
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Rui Faria

RUI FARIA by Jake Armstrong

PHOTOGRAPHY Rui Faria CREATIVE DIRECTOR Barney Pickard MAKE UP Kim Brown @ Premier Hair & Make up using MAC HAIR Cher Savery @ David’s Artists using Tigi STYLING Orsolya Szabo @ Sarah Laird MANICURIST Chisato Yamamoto @ Terri Manduca using MAC MODELS Ruby Jean Wilson @ Models1, Clarice Vitkauskas @ NEXT DIGITAL OPERATOR Nick James, Phil Bradley PHOTOGRAPHIC ASSITANTS Emilie van Kinschot, Kathryn Younger MAKE UP ASSISTANT Fiona Gallagher HAIR ASSISTANT Danilo Giangreco FASHION ASSISTANT Amy Ryall CASTING DIRECTOR Kiaan Orange Location Shot at Studio 9, with thanks to Paul Moreland RETOUCHING The Forge UK CAMERA Leica S with Summarit-S 70mm f/2.5 Asph., Apo-Macro-Summarit-S 120mm f/2.5 Asph.

The yearning for spring and summer, a new, fresh, colourful season, a renewal of life, of hope and energy: that was the train of thought of beauty photographer Rui Faria, when he created ‘Changes of Hue’, exclusively for the S Magazine.

S Magazine: Your beauty shots are meticulously planned and achieve a high aesthetic quality. How long does it usually take to prepare such a shot and how do you, in your opinion, attain your photographic goal?
Rui Faria: It all depends on how elaborate the shoot is.  Essentially, it all starts with a brief and top line brainstorming session with the client to ensure we are all on the same page, I then formulate an idea that translates into a story. Once approved, the next step is curating the best possible team suited to the project and developing the mood board.

At what stage of the production do you feel that you've reached the point where you are confident that the motif is perfect?
I think it’s once you have all the elements together… make up artist, hair, stylist and model – with the model being the most crucial part of the shoot in my opinion. Working closely with a casting director to make sure that we get models tailored to brand and theme is paramount. Your shoot can go horribly wrong if your model is the wrong fit for your story.

What qualities must a model's face have for you to find it attractive or interesting enough for the look you want to portray? A certain shape of the eyes perhaps, the lips, the overall appearance?
I always try to meet the model before the shoot, even if it’s just for 10 minutes for a general chat so that I can get a sense of her personality. For me it’s important that I know something about a model before the shoot, it could be something as random as where she went to school. I need to feel a sense of familiarity on the day of the shoot so that I can relate to her, which then results in me getting great pictures. Yes great lips are important, but, above all, for me the most attractive features on a person’s face are the eyes. It is a well known saying that “the eyes are the windows to the soul”.

Did you have a certain theme or line of thought for the S Magazine shoot? Does the shoot tell a story?
For the S Magazine, it was all about colours reflecting the longing for the new season to arrive, the renewal of life, hope and energy. As you know, England is famous for its long cold and grey winters, so in contrast, the shoot represents the wish for an endless summer.

Is your conceptual approach tend towards series or is each picture to be seen separately, standing for itself?
Sometimes a single image is more powerful than a series of images. For S, we see both a series of photographs to offer a full sense of the story as well as each in its own right, as beautiful stand-alone portraits.

You once said that your style is one of simplicity. Could you elaborate on that?
There’s famous saying “less is more”. I love simplicity, I apply this approach as much as I can in every aspect of my life. There’s no reason to complicate things. If you are trying to express a point of view, I believe it’s best to make yourself understood in its purest form, no distractions or trying too hard.  

Where do you get your inspiration? Is it a long intellectual process or do you decide on the spur of a moment?
More often than not, it’s not an intellectual process at all, it’s about running free and open with your mind, subconsciously editing along the way. I get my inspiration from everyday life, such as walking around, talking to people, looking at architecture, watching old Hollywood films. I love getting lost in that world. Before discovering still photography, I wanted to be a film director, in fact I studied film-making in my first year at university in the USA.

You have named Helmut Newton, Guy Bourdin, and Bert Stern as your photographic idols. Are there any more contemporary photographers that you admire and that have influenced you, and why?
Yes all 3 photographers are my idols. I was fortunate enough to have assisted Bert Stern and I met Helmut Newton when I attended a lecture that he gave at Parsons School of Design in New York. Contemporary photographers who inspire me at the moment are David Sims and Nick Knight in particular. Nick Knight is perhaps one of the few photographers today who still pushes the boundaries and is constantly reinventing himself. I never tire of seeing his work.

How would you describe your style and appreciation of femininity? Is there an ideal woman for you, “the perfect one”, or do you see each of your models differently?
I would say that my style is classic, yet of the moment. I love women, and the female form, delicate yet strong. My ideal woman is one that is confident, strong and feminine, yet vulnerable enough to be desirable.

Do you try to attain a timelessness in your pictures, or do you rather go with a trend?
I avoid following trends, which come and go.  It is this short life span that can more often than not date everything. For me, I prefer to produce images that are timeless.

What qualities do you look for and find particularly useful in a camera?
It’s a very personal choice. I look for a camera that is durable and one that produces the perfect image for me. I know that we currently live in the disposable generation, but for me longevity, tradition, and continuity is what is most important.

The palette of colours you use has very strong hues, and you chose a bright white background. Do you have a preferred colour scheme or is it subject to the fashion the model is wearing?
I love strong colours, and I normally shoot everything on a grey background. For this shoot, I wanted to push the colour spectrum and the best way to achieve this was by using a stark white backdrop.