Starshift: A Ride With Hilary Rhoda

Filmmakers Santiago and Mauricio Shift into Top Gear for an Exciting Interactive Beauty Experience

The power is in your hands in filmmaking duo Santiago and Mauricio Sierra’s highly charged interactive story. Inspired by 8-bit video games and their dad’s all time favorite film, Stanley Kubrick’s 2001: A Space Odyssey, the siblings created the interchangeable shorts featuring a helmeted Hilary Rhoda in four striking looks. Her bespoke, high-tech headpieces were added in post-production, while audio designers Golden Hum provide the aural backdrop—look out for a surprise from them while navigating the story. “We wanted to explore beauty through a playful lens by creating conceptual helmets that would encase facial creations,” says Santiago. “They’re a metaphor that makeup can be a shield to combat everyday life with.” Makeup artist Romy Solemani was behind the feline eyes, fuchsia cheekbones and glossy ombré lips that help characterize the resulting dramatic visages. “There were hints of the 80s and 90s—Antonio Lopez was an inspiration and there’s a bit of Catwoman thrown in too,” she notes. As for the face behind the helmet, Sports Illustrated mega-model Rhoda was a no brainer. “Her beauty is out of this world,” says Maurizio. “It reminds us of Pater Sato’s illustrations. She was the perfect choice.” 
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Conversations (1)

  • Olivier Venturini
    but what happened to her mouth? stuck opened? Is it some kind of illness?

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  • On Replay
    On Replay

    Diamond Version: Live Young

    A Punishing Take on the World of Beauty From Legendary Electronic Label Mute

    A flashing, pixelated depiction of a material life is achieved to stunning effect in this video by Diamond Version, a new project from Berlin sound artists Carsten Nicolai and Olaf Bender, courtesy of the stalwart British electronic music label Mute. Made to accompany “Live Young”, a track taken from their EP4 release due out this week, the work channels 80s commercial culture and excess through spliced footage of rouge being applied to plump lips, models walking the runway, and thick mascara on long lashes. “We drew our inspiration from fashion shows and beauty products, since we really love that world,” says the duo. “Beauty and youth are key elements of the marketing we are confronted with in our daily lives. We cannot avoid being affected by it even if we try, so we use the same imagery and strategies to promote our content.” Diamond Version was born out of Bender and Nicolai’s performances at the end of shows put on by their joint minimal electronic label, the cult Raster-Noton, and the use of slogans and aggressive rhythms distinguish this latest collaboration from their respective solo projects, Alvo Noto (Nicolai) and Byetone (Bender). Next up, they'll embark on a European tour with synth heroes Depeche Mode later this month before releasing a debut album in the autumn. Diamond Version also hopes to spread a singular, upbeat philosophy: “We really like to be positive! We like to be universal! And we like to deliver the best possible,” they say. “We are scientists for a better life!”

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  • On Replay
    On Replay

    The Future Catwalk

    Mirte Maas Walks an Infinite Runway in Barnaby Roper's New Interactive Story

    Your keystrokes guide Mirte Maas’ epic strides through a series of psychedelic landscapes in Barnaby Roper’s user-controlled fashion experience. As the Dutch model marches, new digital sound, image and effects create 26 distinct and immersive environments, from a high-definition forest and a space-age desert landscape to kaleidoscopic moving collages. Each one corresponds to its own letter on your laptop or desktop keyboard, while mobile device users can enjoy the journey in a specially tailored short film. The innovative piece marks a new level of complexity for the New Yorkbased director, whose previous experiment on NOWNESS saw model Iris Strubegger multiply on screen as visitors’ commands combined to form a dark visual symphony. To create the mesmerizingly addictive Mirte, Future Catwalk, Roper collaborated with Tristan Bechet to compose a hypnotic, driving score that morphs to keep time to Maas’ motion. The model kept a steady pace on a treadmill for the better part of two shooting days, wearing boots by Rick Owens paired with pieces from Givenchy and Christopher Kane by stylist Tony Irvine. “I like the playfulness and the air of discovery; I like that the viewer has the choice and that I am not dictating to them how they should view it,” says Roper. “Most of all, I like the possibilities of where interactivity could and will go in the future.”


    Time spent shooting: 

    2 days.

    Time spent on treadmill: 

    10 hours.


    Number of outfit changes: 



    Time spent in post-production: 

    2 months.

    Number of programmers: 


    Lines of code: 



    Keyboard letter with fewest steps: 

    N (1.8).

    Keyboard letter with most steps: 

    S (hundreds).

    Total steps visible (excluding “S”): 


    Credits: 1. Leather dress by Givenchy, skirt by Ann Demeulemeester, top and boots by Rick Owens, cape by Araks; 2. Coat, dress and boots by Rick Owens; 3. Leather dress by Givenchy, hooded top by Ann Demeulemeester; 4. Hat and mask by Rick Owens; 5. Top, dress and boots by Rick Owens; 6. Dress and boots by Rick Owens
    (Read More)

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