Lovely location for the shoot suits the style of the fashion and hair very well but it’s the interesting posture of the lovely Louisa that really catches the attention here. Coupled with the seemingly out-of-place footwear there’s a definite feeling that the model is saying “you can look at my gorgeous ensemble but if you come any closer I’m going to sprint as fast as I can out of here.” Ordinarily a very wise, precautionary position to take but she’s telegraphing the direction of her flight and it should be fairly simple to intercept her by making a diagonal move to the right.
It’s the pose that got Angelina Jolie mocked mercilessly on the red carpet but the errant leg is pulled off with more subtlety by Louisa in this shot. This nicely-framed photo between the gates also showcases a dated, simple elegance in the long skirt and plain blouse, and the old, early-days-of-photography feel is carried over into the finer points of the picture; vintage Kindles (back then they were called “books”) and casual scratching of the neck indicating the onset of scabies (rife in the latter part of the nineteenth century) enhance the retro aspects of the shoot without ramming it down your throat.
There’s a lovely contrast between the firmness and darkness of the leather chair and the lightness of the outfit worn by Louisa in this final shot. This also allows us to get a good look at the make up and styling by Cecylia Kee, Lanie Phelps, and Leesa Gray-Pitt; it all works well to be both modern and sympathetic to the era expressed in Karen Woo’s photos. Nicely lit too but the standout point of this shot is the attention to detail in highlighting – again, subtly – how women of the time were becoming tired of playing second fiddle to men; Louisa’s feigned inability to wear a bra is the transitional step between wearing a bra correctly and the suffragette movement. Nicely done!