Along the banks of the Seine, Evan and Aleks, two young men, perhaps friends or perhaps something more, spend an afternoon aboard a boat. The images by Rose Guiheux, styled by Roxane Noel, capture a temporary stasis.

With calm and precision, boredom is transformed into an elegant artistic statement through Guiheux’s insightful gaze, offering a unique and evocative perspective on the emotional dimension of everyday life. Her images, like a portrait of youth, immortalise relaxed shoulders, marked knees and unbuttoned shirts under the summer sun. With the sensitivity of a director who frames the subtlest details, Mother’s Son is a callback to the intimacy of Larry Clark and the British youth of Corinne Day.

Roxane Noel translates youthfulness into a language made up of clothes that blend vintage and contemporary styles. Ouest and Ron Dorff are joined by vintage garments, possibly found in flea markets or forgotten wardrobes and recovered thanks to the Collectif Vintage association. The images document an alternation of moments of calm and subtle relational dynamics, where bodies intertwine naturally, sketching an emotional geography of great sensitivity. Evan and Aleks are learning to be in the world together, they are ambiguous but never provocative.

The series recalls the raw aesthetics of the early 1990s, reminiscent of Corinne Day, Nan Goldin and Juergen Teller, but expressed in a quieter, more contemplative French language in which everything speaks of innocence.

Evan wears a faded red t-shirt over a denim apron, and an imperfect, almost childish tattoo peeks out from beneath the fabric. The editorial refers to adolescence, a transitional period where the body becomes the main tool for exploration and self-discovery.

Two young people, on the cusp of adulthood, captured in a moment of pure authenticity. The editorial delivers a precious snapshot of time, where youth is shown not as a performance, but as a genuine experience.