Carolina Mizrahi was born in Rio de Janeiro, Brazil in 1982. Mizrahi works predominantly in the medium of photography. Coming from a background in fashion design, she brings the inventiveness of a designer to her Photography, Styling and Set Design. Educated at London College of Fashion, she holds a BA in Fashion Photography and Styling. Gender Stereotypes, The Representation of Woman in Advertising and Contemporary Beauty Rituals are several important themes of exploration for Mizrahi, always with an element of surrealism. She lives and works in London.
Tell us a bit about what you do and how you got into this field.
I always been a bit of a nerdy. I have done many courses related to fashion design and when I had nothing else to study, I decide to pursue a course on Photography, mainly for the sake of keeping myself busy. Since I knew a lot of creatives in Rio, soon we started organising few photo shoots and that was the beginning of everything.
In order to bring my ideas into life, my work covered for many different sides of the creative process, as per set design, styling, photography and art direction, always collaborating with very talented artists along my journey. Currently, I work in different sides of the image making process, depending on every project. Although I am always strongly involved on the creative direction side of every project I take part.
Your background is in fashion design, what initiated the shift to a more image making practice?
I used to work as a fashion design for a very commercial brand in Rio de Janeiro. After starting a fashion photography course as a hobby, I started to focus all my creativity on the making of fashion related editorials. This was the shifting point I would say, afterwards I moved to London to study Fashion Photography and Styling at London College of Fashion.
How did your education prepare you for the industry and professional practice. What kind, if any, of work experience or internships did you carry out during or after your studies?
I have three degrees related to fashion, I think all of them contributed somehow to my view as an artist today. My BA in fashion photography was fundamental to develop my theoretical base/point of view as a photographer, stylist and art director. I have done an internship at Another Magazine, assisting Katie Shillingford and also at Love Magazine, assisting Panos Yiapanis. Internships are really hard work, but I think they are fundamental to properly understand the fashion world.
Tell us a bit about your experience working freelance.
Working as a freelance is quite unstable. You don’t a fixed agenda, things can move a lot from day to day. Although, I quite enjoy the idea of working on something I love and for myself. Along the years, I started to learn to valorise my work and to position myself as an artist. My daily routine swings across answering emails, working on new projects, paper work and so on.
Tell me a bit of about your latest project and how it came about.
My latest project was for Vogue Italy. My task was to create a series of photographs based on the theme “fire”. I was responsible for the art direction, production and photography of the project. Shoot for Vogue Italy was something I always dreamed about.
Can you talk us through your inspirations and how they inform your creative process?
I drive inspiration for several different things, that is why I always carry a notebook with me where I write random ideas all the time. My main themes of exploration are gender stereotypes, the representation of women in advertising and beauty rituals, somehow I always relate to those theories when working on a project.
What has been a career highlight for you?
Vogue Italy shoot.
What are the main challenges your field and how do you think they can be overcome?
I think the main challenge on my field is the lack of support from people in general. Whenever I hear someone saying that is willing to pursue a creative related carrier, there is always someone to say that it’s really hard or blah blah blah. There will be always space for talented, hard working and professional people. It’s not easy, but I believe everything is possible.
It seems as though your practice is quite multidisciplinary, how do you see the future of fashion in this regard?
I feel like is great to have some knowledge in many different segments of the creative process. This will helps you to see the big picture. Although, I guess it is better to specialize in just one segment and people you remember you for being good for it. I don’t really know actually... because I personally move around in many different sides of the process and somehow people still remember me for something.
What blogs, magazines or books are you currently reading?
I am currently reading The Medium is the Massager by Marshall McLuhan and Quentin Fiori.