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Inspired by Susan Sontag's 1964 essay Notes on "Camp", we envisioned a theatrical, topsy-turvy world where absurdity reigns and the ordinary is upended in favor of playful chaos. It was, in many ways, a way of rebelling against conventional expectations, especially those that dominate mainstream bridal photography.

This work is, at heart, a deliberate subversion of seriousness and norms—a place where the Mad Hatter feels perfectly at home precisely because he doesn’t make sense. The delight is in that very absurdity, and I truly love this little world I've created!

The planning, production, ideation, conceptualisation and co-creative direction was led by the innovative Erato Flessa (5th Muse). I would really recommend that you visit her work here.

AS SEEN ON

With these questions, we undertook a journey, not merely towards a photoshoot, but towards an unmasking of culture itself. This photoshoot was an unabashed celebration of artifice, of stylization to the point of rupture. Here was a visual language of decadence, of deliberate excess—a hedonistic worldview expressed in the grammar of flamboyant mannerism. Think of it as a jazz chord left unresolved, a note suspended in the air, vibrating with tension and pleasure, slipping from one meaning into another.

This is, unmistakably, Camp: that peculiar blend of sincerity and parody that delights in its own failure of seriousness. It’s like watching children dress as adults—a brilliant, tender revelation of how the adult world, with its gravity, takes itself all too seriously. Embracing Camp is to confront culture with a sense of delight, to hold up a mirror that reveals the world’s affectations and then becomes one with them.

In the process of discovering, studying, and ultimately embodying Camp's hedonistic posture—I have found not just a style, but a way of seeing. It’s not merely a lens through which to photograph, but one that refracts life itself. This journey has irrevocably altered me, lending a playful seriousness, a seriousness that’s failed—beautifully, intentionally failed—to my view of the world.

“Can we create something… not romantic (in the usual bridal sense) and yet seductive”? “Something… seductive, and yet innocent?”

Creative co-direction, concept, production and planning were led by the visionary Erato Flessa (5th Muse). She brilliantly showcased that photoshoots can be fueled by bold conceptual creativity, breaking free from the conventions of being "average" or "ordinary." I highly recommend exploring her incredible work here.

The video was captured by the talented Pascal Dele, florals were beautifully arranged by the exceptional Flowers Living, and the marvellous cake by Monica Kos.

Aesthetics of Absurdity

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This photoshoot draws its spirit and philosophy from Susan Sontag's essay Notes on "Camp", published in 1964—a cultural touchstone that laid the foundation for understanding Camp as an aesthetic that revels in artifice, extravagance, and contradiction. Sontag’s exploration of Camp has inspired a wide array of artistic expressions, most notably the 2019 Met Gala theme, "Camp: Notes on Fashion." That year, the Met Gala transformed the red carpet into a stage for extravagant performances of self-expression.

In the context of a photoshoot, absurdity is the lens through which Camp reveals its most profound truth: that nothing is too excessive, too ornate, or too nonsensical to become sublime. The nest on a plate, the feathered eyes, the excessive makeup and feathered clothes, and a cake shaped as a giant egg. These are the joyful annihilation of convention, the ecstatic declaration that style, not substance, is the true substance.

A photo, in this context, becomes a theater of the impossible: couture gowns made of feathers, birds, hair styled into improbable sculptures. Ultimately, the aesthetics of absurdity ask us to reconsider the very nature of art and to cherish the absurd as a profound, ineffable truth.

Monika Kos Sweets has reimagined the classic cake as a colossal, whimsical egg that’s the epitome of camp.

Celebrating maginalized identities

This work wasn’t intended as a “lesbian photoshoot” nor does it follow the hidden marketing agendas often found in LGBTQ-themed projects, where identity is used as a selling point. Rather, it explores a space beyond labels—neither fully romantic nor platonic, neither strictly within nor outside societal norms. This series is about joyful resistance and the universal desire to be seen, celebrating true self-expression. By embracing the unconventional, it aims to subvert norms authentically, giving visibility to those often overlooked in traditional narratives without catering to commercialized identity tropes.

This second image was inspired by my photography idol Richard Avedon. My goal was to capture a powerful tension—juxtaposing closeness and distance, attraction and repulsion. The two figures create a magnetic, almost uncomfortable connection that is as harmonious as it is discordant.

The Freedom of Unshamed Self-Expression

Photography, fashion, and performances, in their dazzling excess, draw us into a world untouched by restraint. Here, feathers are piled high, and gestures become grander than life itself. Innocence in excess speaks to an unfiltered joy—a childlike fascination with all that is glittering and grand, free from self-consciousness or restraint. It is a celebration of beauty that isn’t bound by tradition but revels in the freedom of unashamed self-expression.

in excess

Innocence

as Identity

Theatricality

I am endlessly grateful to my talented friend, videographer Pascal Délé, whose eyes brought movement to life. Every time I’ve had the privilege of working with Pascal, he’s gifted me with some of the most joyful and fulfilling moments of my career.

Video

OFFICIAL VIDEO BY THE UBER TALENTED Pascal Délé FilMmaker

PLAY ON VIMEO

Camp as "failed seriousness"

Camp often finds its origins in ambition gone awry. It is what happens when something tries earnestly to be profound, sophisticated, or dramatic but instead lands somewhere charmingly off-mark. In this delightful misalignment, a kind of magic unfolds, transforming what was intended as “serious” into something irresistibly humorous, strange, or even sublime.

I created the first image of the crane, statue, and the model inspired by Alice in Wonderland (specifically her encounter with the Pigeon in chapter 5) where Alice faces the Pigeon with the utmost theatrical drama: the bird, poised as though it might defend or accuse, while Alice, entirely sincere, tries to understand the illogical world unfolding before her.

Beauty and History

This haven of tranquility has long been a magnet for great minds and iconic figures. Napoleon Bonaparte is said to have marveled at its grandeur during his conquests, while Franz Liszt found solace and inspiration within its tranquil beauty, perhaps weaving its spirit into his romantic melodies.

Legend says the villa’s name comes from the Italian word "pizzo," meaning a “point,” as its tip stretches toward the heart of the lake. But the villa hides quirks as well: a secret staircase winds between its walls, and its gardens feature rare blooms brought by explorers of another age. Today, Villa Pizzo is not just a place—it is a dreamscape where time lingers, perfect for lovers and storytellers alike.

VILLA PIZZO

“The hallmark of Camp is the spirit of extravagance. Camp is a woman walking around in a dress made of three million feathers.”

— SUSAN SONTAG - "Notes on Camp"

Scenes

Behind

by Andrea Pinacci

the

Andreas

travel the globe photographing life’s important events, weddings, and editorial shoots.

more about Andreas →

PHOTOGRAPHER, WRITER, GENTLEMAN

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The AKG studio was created out of my fascination for blending modern techniques with the art d'excellence from a bygone era, creating a photography of timeless aesthetic and heritage.

My photography is intimate and infused with a sense of purpose, stemming from a deep desire to advocate for diversity, empathy and empowerment.