Fashion house PORTS 1961 presented their Fall Winter 2022.23 campaign featuring models Bella Hadid, Vittoria Ceretti, Sora Choi, Milla Van Eeten, and Acherin Madit. In charge of photography was the legendary Steven Meisel, with art direction from Fabien Baron, and styling by Karl Templer. Beauty is work of hair stylist Guido Palau, and makeup artist Pat McGrath. With the series of single and group portraits lensed in the streets of Brooklyn, the campaign explores the mood of an intimate moment, unity and friendship, strength and togetherness.
“The collection is a celebration of individuality and the modernity of style, featuring an irreverent mix of textures: leather, wool, curly shearling. Oversized bomber jackets are worn with frilly leather skirts. Body conscious wool dresses mix sartorial with corsetry, while wild winter white shearling coats embrace the wearer. All worn with chunky hit-the-pavement boots and jewelry that resembles megawatt diamonds but cast in silver and gold, for the final perfect touch.” – from Ports 1961
Fashion house PORTS 1961 presented their Fall Winter 2022.23 campaign featuring models Bella Hadid, Vittoria Ceretti, Sora Choi, Milla Van Eeten, and Acherin Madit. In charge of photography was the legendary Steven Meisel, with art direction from Fabien Baron, and styling by Karl Templer. Beauty is work of hair stylist Guido Palau, and makeup artist Pat McGrath. With the series of single and group portraits lensed in the streets of Brooklyn, the campaign explores the mood of an intimate moment, unity and friendship, strength and togetherness.
“The collection is a celebration of individuality and the modernity of style, featuring an irreverent mix of textures: leather, wool, curly shearling. Oversized bomber jackets are worn with frilly leather skirts. Body conscious wool dresses mix sartorial with corsetry, while wild winter white shearling coats embrace the wearer. All worn with chunky hit-the-pavement boots and jewelry that resembles megawatt diamonds but cast in silver and gold, for the final perfect touch.” – from Ports 1961
