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O Magazine
2015-2017

Antonio and Yago are two friends that grew up in the same Galician village. Since they were little, they shared their passion for art and photography and started using both as their narrative tools. That’s why, one day, they decided to create Phillipe Milton, the name with which they sign their photographic works.

Ad, Esquire or L’Officiel are some of the mastheads that have fallen in love with them. And Zara Home, Pepa Salazar, Masscob, Mr. Boho, Wellnes, Airam Sacul and Pöe, the brands that want them to shoot their images. 

Phillipe Milton does not really exist as a person, but it does as a concept: a common outlook arisen from the never-ending conversations between these two childhood friends in which spontaneity, slowness and gentleness become the axis drawing the out-of-time beauty that their images reflect. 

What do you think you can contribute to O with? Or what do you expect O to do for you?
We don’t really know. It’s like going to a party with someone you really want to be with: you don’t plan anything because you know everything is going to flow… On our behalf, we want to enjoy the process because this is the most important thing for the moment. Phillipe will take care of the rest… 

Who is Phillipe Milton?
Phillipe is Swiss, anonymous and with a presence. In the fifties, dressed all in white, he took many pictures in Africa attracted by the spontaneity of the great mammals. Given his background, he came into contact with the intellectuals that gathered in Cologne’s English clubs. He built his portrait studio there, but he never really fitted in, so he destroyed his archive and became one with nature. We are just continuing his legacy. 

How do you split work between two people? What does each of you do?
Our equation is based on vocation, respect, technique and illusion. We exchange roles or simply assist each other. It’s a very good exercise for the ego, because Phillipe is always above us.  

What are you working on now (if you can talk about it)?
We’re developing a project called Desire Paths in which we photograph genuine lifelong models following our own decision, as well as abstractions of the concept in the studio and some outdoor installations.

What would the perfect photograph or ideal project be like for you?
It would have to do with the tension between sculptural and fresh.  We’re interested in creating our own version of what’s natural and beautiful. It’s a thing for life. The project should allow us to develop these concepts, or else make us question them.

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