The new—and first—book by British born and Los Angeles based photographer Nadia Lee Cohen is part of those works made by courageous and talented young artists who are helping to re-establish a representation of women in a more inclusive, realistic, and consequently respectful way. WOMEN, published byIDEA, with a foreword by German artist Ellen von Unwerth and an introduction by Alessia Glaviano, Vogue Italia Brand Visual Director, features a series of 100 staged portraits that stand as a representation of strong femininity. These female characters inhabit a world built on politics, beauty norms, and values different from those on which ours is based: here every woman can be brazenly herself, free to be portrayed as she wants to be portrayed, free to be seen as she wants to be seen. John Berger would perhaps blush at the impudence of these naked women; hopefully, he would be happy with the progress made so far.
Yes, you read “naked”. In fact, each woman unveils a state of nudity which makes the subject even more interesting, making explicit the provocative nature of the images—which can already be glimpsed from their hyper-surrealist aesthetics and theatricality, so typical of Lee Cohen’s work. Indeed, these photographs look like film stills imbued with ’80-’90s pop iconography, drawn by American and British cinema culture and flamboyant glamour glossy magazines which have shaped the ideals of beauty and perfection that prevailed until a few decades ago.

When I look at Lee Cohen’s images I feel like I’ve seen them before. At first glance they are familiar, full of references and visual quotes that are part of our collective image. Then I look at them better, and what made me feel a kind of uncomfortable before, now calms me. Looking at those portraits, I have the sensation that I can finally appropriate of that world that has always distanced me, that has never represented me. Those wisely posed women in front of the camera appear as intruders on the set of a nostalgic movie, ready to stand up for who they are and the values they believe in. I feel safe with them.

Intrigued by this beautiful and disruptive work, I have asked a few questions to Nadia Lee Cohen.

This is your first book. How do you feel about it?
So happy. I’m usually very British and have something cynical or sarcastic to add, but I am honestly so humbled at the response it’s received. Though there is an overwhelming sense of relief too; I’ve worked on it for close to 6 years and struggle with indecisiveness and perfectionism; I could have gone for another 16 if the David’s (David Birkitt and David Owen) hadn’t given me a much needed motivational intervention. Throughout the years It became a personal challenge to complete the book whilst simultaneously trying to keep the images secret. This proved pretty difficult, as people would ask ‘how’s the book?’ and I was unable to show them anything I’d shot. In a world where we’re so used to instant recognition as a response to imagery, this lack of validation was slightly nerve-wracking in terms of wondering if the photographs were worthy of a photo book. 

How did the idea for the book come about? How long did it take to realize the project?
I started in university, it was part of a project that I shot for my end of year assignment, though at that point I didn't know it would eventually become a book. The decision came after noticing a cohesion in the initial imagery and I was naive enough to think that I could complete it in a year. I’m so glad I didn’t as it wouldn’t have been very good! My tastes changed and developed dramatically over the course of its progress, though there are one or two that remain in the book from those very early photoshoots that show the progression. 
The construction of each photograph was generally a frustratingly slow process, the idea, location, model, set design, styling, hair, make up etc—so much consideration and time went into these smaller details to develop each character. However, I have a great team and we developed a shared taste level, so the more we photographed the more unconsciously we were able to make the decisions on who each character would be. 

How did you select the women portrayed? Who are they?

Some are very close friends, others are people I have only met once with the intention of photographing them for the book; together they are all individuals that I admire or am inspired by in one way or another. I’m drawn to them by the belief that they can portray the character in mind.

Did the identity of each actor/woman influence how you developed the characters? Was it a collaborative process?
It was intended that the photographs feel more like film stills than still images. I enjoy character construction and narrative in photography whether fictional or documentary. It was important that the character was a collaboration as I wanted to ensure that the models felt that sense of empowerment. Prior discussions were had around the choices of props, wardrobe, hair, make up etc, some subjects wanting more input than others, it really depended on each person.
From personal experience the alteration of appearance in order to reflect a certain character can inject confidence, it’s the same idea as wearing sunglasses to give a speech—like a barrier between you and the camera. 

I have to admit that at the beginning I had mixed feelings about the reiteration of nudity. Then, by browsing page after page, well, I started to feel a connection with these women, perhaps also thanks to the different degrees of nudity they’re showing. Can you tell me more about the element of nudity in this work?
I think we are naturally accustomed to a sense of mixed emotions when confronted with any form of nudity, the connection you mentioned might stem from the narrative, for me it is perhaps the reiteration of the 'state of undress' that removes the focus from the nudity and steers our consciousness instead towards the narrative. The degrees of nudity are determined by whatever the individual personally believes it is to feel ‘unclothed’ and this naturally differs between subjects.

These portraits seem to get a lot of inspiration from American visual culture. Thinking about photography, I can see Cindy Sherman and Gregory Crewdson in some of them. Where do your visual references come from?
I draw reference perhaps more from film than photography. I thought of the photos like film stills rather than still images, treating each as though it were a paused moment from a non-existent movie. This concept has a charm to it as unlike a film, the photograph offers no certainty or satisfaction of knowing what develops before or after this moment and leaves the viewer to fill in the gaps. 
I am also very inspired by my surroundings, American visual culture yes, though I am viewing America through the eyes of a Brit and perhaps that shows. There are also a lot of personal references and childhood nods throughout that are overtly British. On a whole, it’s a mixture of my inspirations, interests, life and upbringing. 

In the introduction, Alessia Glaviano states that “Any image is inherently political and this has never been truer than it is today,” and we can only agree on that. Is there a message behind the images you created? 
I wholeheartedly agree with Alessia, though I do not seek out to inflict specific messages or opinions, those are to be extracted subjectively and entirely depend on the individual’s reception to them. The worlds are staged fiction, though the situations and characters are based on a form of truth and real life. I am not moved by the concept of magical or fantastical, I look instead to reality, mundanity, and everyday and I think this naturally shows in the photographs.