STRIPPED - Aly Romero

Digital Photo Essay
104 pages; 51 spreads

This photographic expose reveals the true nature of the modeling industry for young women and the negative influence it has on body image. These harsh realities are exposed through the personal experiences of four current and former models.

STRIPPED


This photographic expose reveals the true nature of the modeling industry for young women and the negative influence it has on body image. These harsh realities are exposed through the stories of four current and former models who share their personal experiences in the industry. The book is divided into five sections with four of those being dedicated solely to each of the four women. Interwoven throughout each of their chapters are a series of photographs depicting their faces, bodies, and insecurities. The photos and stories explore themes of body dysmorphia, eating disorders, unjust power dynamics, and extreme criticism among various others. Many of the photographs correspond with the theme being explored on the same or nearby pages. This project directly opposes the mainstream glorification of modeling and instead provides an extremely raw, harsh, and realistic depiction of the industry by giving the women who are perpetually commodified the chance to finally represent themselves.

Taylor looking directly toward the camera with a relaxed, straight face.

Page 1 features four images of Taylor. Each is a screenshot from our zoom call. The largest image depicts Taylor looking directly toward the camera with a relaxed, straight face.

Page 18 depicts a pixelated image of Taylor’s torso straight-on with her arms by her side. This image focuses the viewer’s attention to the small size of her waist in order to exemplify the absurdity of her many experiences where she has been told otherwise.

Page 18 depicts a pixelated image of Taylor’s torso straight-on with her arms by her side. This image focuses the viewer’s attention to the small size of her waist in order to exemplify the absurdity of her many experiences where she has been told otherwise.

Pages 33 and 34 feature four images of Luba’s face. In the largest image Luba leans her cheek against her fist and smiles softy into the camera. In the first smaller image below Luba makes a silly scrunched up face and appears to be holding the computer screen up to her face with both arms. In the second image below Luba holds both of her hands up under er chin as she smiles wide. In the third image below Luba leans her chin and face against her outwardly clasped hands and looks deep into the camera. Each o

Pages 33 and 34 feature four images of Luba’s face. In the largest image Luba leans her cheek against her fist and smiles softy into the camera. In the first smaller image below Luba makes a silly scrunched up face and appears to be holding the computer screen up to her face with both arms. In the second image below Luba holds both of her hands up under er chin as she smiles wide. In the third image below Luba leans her chin and face against her outwardly clasped hands and looks deep into the camera. Each of these photos represent her silly, goofy personality in contrast to the images that typically represent her in the industry.

A spread with Taylor looking to the side with a smile

A spread with Taylor looking to the side with a smile

Spread across pages 41 and 42 is a large image of Luba’s torso. In the image she lifts her tank top up to just below her breasts to reveal an extremely tiny waist as bony ribs. This image is evocative in the way it illustrates a sense of extremity, anorexia, and illness.

Spread across pages 41 and 42 is a large image of Luba’s torso. In the image she lifts her tank top up to just below her breasts to reveal an extremely tiny waist as bony ribs. This image is evocative in the way it illustrates a sense of extremity, anorexia, and illness.