Two models, two photographers and two brand owners join a teacher and a student, and a stylist and her assistant in an exchange of beliefs on their roles in the fashion industry.
Pictured above from left to right: Beng, photographer; Benita Leong, photographer
(On Beng) Shirt, The Idiot | Plop Apparels; Jacket, JUUN.J | Sects Shop: Pants, shoes, Beng’s own; (On Benita) Skirt, Latui | Plop Apparels; Top, sleeves, necklace, shoes, Benita’s own; Please Wait To Be Seated Tokio desk lamp, Cult Design Asia
Can the artistic ever be commercial?
Beng: If we’re thinking about just Singapore, our clients are less adventurous to try something different, perhaps even something that’s more creative. That’s why I think there is always like a fine line between being commercial and being creative. The line will always be there; that separation between something that’s true to your creative style versus something that clients might want. Of course, there’s an in-between that most people work towards.
Benita: Yeah, I find that whenever I can be creative, it’s definitely for editorial work; they’re seeking you out particularly for your style. Whereas if it’s from a commercial work, it’s a brief that you need to follow quite closely. So I would say from my experience, the artistic hasn’t quite translated into commercial viability for me. If it was a commercial that’s more conceptual in nature, especially with all these startups where the brief is centred around selling a lifestyle rather than actual products, you can have more creative freedom. They’re coming to you for, lack of a better word, vibes. For instance, have you seen those ads, for instance Hinge, where buzzwords are just put in?
Beng: I think those are like newer clients. Especially when they’re backed by younger teams. They would be more open to that.
Benita: There are also so many obstacles. Yes, we have the younger generation, who can bring in new ideas, coming into the work force now, but they’re usually in lower level fields. So I don’t think they have the control to bring in these new ideas. Instead, with startups and younger brands who are filled with younger staff, they’re more willing to take risks. And these risks are somewhat like creative freedom, because [the next generation] has a totally totally different idea of how things can turn out.
Beng: Yeah. It’s different because there’s a sense of personal style with images that are created overseas, even when they’re commercial. There’s that tinge of nostalgia, a bit of understated joy, which are different results from say me or like someone else. So I think one way where creativity can thrive in commercials is when the approach is always signature to who you are. What do you really envision as creative freedom?
Benita: I guess when you’re hired with the freedom to do your style, where they really trust you to have a sense of what the brand is like, and to execute it your way. I know people where it’s definitely a difference in how they talk about their work. They would say “oh, I did a commercial for this,” and it’s just another day in office. You can feel it in the end product of how much input there was or how much management there was from the company itself. What about you?
Beng: I think ultimately it’s about them recognising your work and being receptive to the work that you create. But what’s more important to you? What if you have more money on a project but you lose a bit of yourself?
Benita: At this point in my life, I think I need the money more [laughs].
Beng: I think we all just need money. It’s just unfortunately very rare to find a job that serves you well on both ends. I don’t think I’ve ever had a job that really ticked both boxes, in terms of the things that satisfy me creatively and monetarily.
Benita: If it’s your personal project, you’re kind of in charge of the entire vision, right? When you have any other work, that’s usually from the director or the multiple other people involved. That’s kind of the way photographers are, we can be a bit more controlling of how we want it to turn out. But if you mix people in then it’s just going to be a different result.
Beng: So it’s better to be more versatile locally, since the market so small. Just by looking at the more popular photographers, I don’t think I can tell you what their signature style is like. I don’t think anyone has a signature style in Singapore. But I think that works to in their favour. With our small market, it’s better to be versatile so that you’re “technical” enough to achieve whatever the client wants. I think that’s that’s seen as power in Singapore’s industry. It’s the same with most editorials, where the person in charge is usually the stylist who would come out with a board and pass it on to you. It’s where everybody could find some sort of comfortable spot to be collaborative and satisfied.
Benita: That’s why I really wanted to widen the scope of the way I approach photos, because I’m not getting as much commercial work. I think it’s because they’re seeing my style and it’s boxed in. So I need to explore other varieties, or maybe try different subjects or different lighting that I wouldn’t normally do. Even with editorials, if someone approaches me and suggest they want to do it outdoors, I’d have to follow their style even when I’m never associated with that kind of photography. I also don’t think it’s necessary for a photographer to really have a signature style in like, the current age especially because I feel like it’s very trend driven. but I feel like a signature style is something that could make you feel more fulfilled.
Beng: I was just thinking about this the other day. I think commercial clients are not looking specifically for a certain style to look for somebody. I mean, it’s great if you have a certain style, but it’s even better if you can mould that style to whichever concept they’re looking for. But then again the fashion industry is powered by brands and how many pages are bought by said brand? I guess the main reason why that’s how it happens is because the stylists will get boards approved by the brands first. That’s why it’s hard to have your own opinion unless the ideas are brought on during the initial stages of the pitch, which is rare. I don’t think that ever happens.
Benita: There needs to be energy too. I don’t get it from a lot of other photographers. It’s very much always an instance of “can you make it cool” but it doesn’t come out. I’m thinking now about the campaign you did with Saffron Sharpe, and that was like, very exuberant. The colours and the saturation you use and also like your angles are more “extreme”, so that’s how I associate you with this very youthful energy.
Beng: Thanks [laughs]. There are a lot of things you don’t see that goes on behind simple shoots. They require the approval from brands, editors and stylists etc. Which is why it’s a bit difficult to put your foot in every project you do.
Benita: Yeah, it’s very rare. But I don’t blame them. Because from my experience with freelancing, sometimes the back and forth between the client is harsher than going through a stylist for a certain magazine, where I think there’s division to the responsibilities. For magazines to be viable nowadays, there has to be a cohesiveness to who they think their audiences are. So many publications are shutting down worldwide. So the only way is to truly think collaboratively, and that includes allowing photographers to understand what’s in and what’s not. I wouldn’t know all the brands that are like the most trend worthy.
Is it worth it?
Benita: I think it is. Just because, you know, your 20s is the time to explore, like, what you want to do in the future.
Beng: Benita is 25-years-old by the way.
Benita: Wait, how old are you [laughs]? I mean, sure I’m younger and that means I still have the energy, or the mental strength, to be able to handle rejection in a more or less stable job market. I really have to do what I want right now. I’m the kind of person who’ll look back and think to myself “what if I did” if I chose not to pursue this. So I think it’s very well fitted for me. I think it’s very worth it.
Beng: Whether it’s worth it depends on what the alternative would be. Would it be something that fulfils you financially and less creatively? Even still, I think it’s worth it. I am a person that can’t be silent and not do what I want for a very long time; I want to do things the way I want and have full control of the narrative. That’s important. I can’t imagine what the alternative would be.
Photography Beng
Styling Manfred Lu
Text & Coordination Vanessa Grace Ng
Grooming & Hair Jenny Tan | Paletteinc. using M.A.C. Cosmetics and KEUNE Haircosmetics
Photography Assistant Alfred Phang
Styling Assistant & Production Coordination Lance Aeron
Once you’re done with this story, click here to catch up with our November 2023 issue.
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