Formento & Formento known for their romantic and sensually staged photography that blur the lines of ﬁction and reality, clarity and ambiguity. Their style reveals a fascination with mood and texture where a sense of place ﬁgures prominently. From America, Europe, Cuba, Mexico, India to Japan they blend fervent passion for photography and ﬁlm with a lasting love for one another. BJ Formento American born moved to NYC in 1999 and learned from esteemed masters such as Richard Avedon, Annie Leibovitz, Mary Ellen Mark and Arnold Newman. Richeille Formento was born in London and received her degrees from the prestigious Central St. Martins College of Art before working as an art director in the fashion industry.
In 2005, BJ and Richeille met while working together on a job in South Beach, Miami. They admit to love at ﬁrst sight, and were married in New York City three months later. Working together as Formento & Formento, they have been presented with Vogue’s New Exposure Award for their work with Bottega Veneta. Formento & Formento come out of this hybrid lineage of art and fashion. You might call them third Pictures Generation artists. Their work conjures the sensibility of an art ﬁlm and extends it though lengthy series. Although their work is usually not explicit fashion, they tend to observe high fashion standards in casting, hair and makeup, which invariably injects a frisson of glamor into the scenario. Their locations and their lighting are ﬁrst rate, giving a gen-uine cinematic sensibility to the photographs in the way Crewdson achieves big screen values, but Formento & Formento are a duo that travels light and manages to achieve soundstage quality without Hollywood budgets.
In their ﬁrst major body of work they created a dramatic portrait of the American West, “Circum-stance” embodies the combined American visions of both BJ and Richeille. Capturing a country during uncertain times, their dramatically lit subjects are transformed into heroines and femme fatales caught in intense moments of emotion and reflection, traveling in a mobile home and find-ing locations and casting on the fly. In the Japan Diaries the arrived as outsiders, bringing with them rich impressions accumulated from Japanese art and cinema, but possessing keen fresh eyes hungry for the exotic aesthetic contrarieties of this ancient yet ultramodern culture.