A mad, murderous fashion editorial. The chosen backdrop: a house styled by interior designer Oriel Harwood.
For the unfamiliar, Harwood creates furniture with embellishment, weaving the fantastic with the functional, to create pieces that wouldn’t look too far removed from a Game of Thrones set.
Harwood’s creations are feral, almost as if they’ve been infected, the host body sprouting appendages and bubbling over, lava-like, to morph into something other: tables with gnarled, intricate stumps, and grim protrusions hanging like stalactites in a cavern; figureheads, with vegetating crown, reminiscent of Medusa; and antlered, craggy, chandeliers that seem to creep and climb and drip. There’s something wild in her work, something sinister in their excess. A unicorn horn here, a branch there. They emerge from her deconstruction of modern taste, a semi-conscious revolt against pure functionality, against a world of square-edged, Ikea-born abstractions.
In this house, this Harwood house, these baroque pieces are married with comfort: a lavish reclining sofa, a plush rug, a canopied bed of escapist dreams. Gilt juxtaposes with wear, bold with wood, disorder with opulence. This is a setting drawn from tragic theatre, its protagonist flawed by self-indulgence. Heartbreak is rife. Love obsessive. Beauty consumed by the ravages of excess.
Credits: Film, Giulia Hepburn; Fashion, Rebekah Roy; Hair & Make-up, Evan Huang using Mac and Carol Joy; Model, Chloe Lloyd; Fashion assistant, Lucy Giles.
Devour the full shoot in the spring issue of Disorder, available soon.