Photographer Stefanie Langenhoven originally trained in psychotherapy. This experience of an in-depth inquiry into the human psyche now informs her work as a fine art photographer. The artist said: “I look at how self-image, body image and perceptions of the feminine self become distorted through what is being mirrored to us in a society that is so obsessed with the female image.” Her series The Extraordinary Beauty of Ginger Haired Girls (2024), explores society’s perceptions of this unique hair colour. The artist explained: “my project started when I dyed my hair ginger, and discovered a new identity where stereotypes were projected onto me. I found this experience particularly insightful and as a result, I began to explore this in my work.” The images seek to celebrate the distinctiveness of those with auburn tresses and challenge traditional beauty standards.
Less than 2% of the world’s population has ginger hair. The Ancient Greeks believed that redheads turned into vampires when they died, whilst the Romans bought red-haired slaves at a higher price, believing them to be a sign of good luck. The myths continued into Medieval times, where it was considered an indication of witchcraft. Fast forward to today, and superstitions can still be found around the world. In Poland, a tradition states that if you pass three redheads in a row, you’ll win the lottery. For women in particular, the hair colour comes with a certain set of imagined personalities, such as a fiery or passionate temperament.
Langenhoven explained: “My work explores the stereotype of ginger haired girls by placing them in a fictitious world where they are free to immerse themselves in nature without any external judgements.” The images are representative of a fantasy realm, where societal norms and perceptions of value do not exist, instead allowing the beauty of individuality to shine through. The young women appear otherworldly, easily negotiating the space between reality and myth. The series takes on a fairytale quality, as though the protagonist is like Alice, fallen through the looking glass. In one photograph, a girl is draped across the back of a white horse, head turned away from the camera as though asleep. Elsewhere, two figures are ankle deep in a pond, bent over as though searching for something unseen and almost hidden by branches.
The project also seeks to remove the taboos and embarrassments that come with the transition from girlhood to womanhood. “In the series, butterflies emerge from their cocoon, releasing a red liquid symbolic of menstrual blood, illustrating the profound change from innocence to self-awareness. Yet, societal norms often teach girls to shame and silence their bodies during this pivotal transition, obscuring the authentic experience of their transformation.” It is a topic emblematic of Langenhoven’s oeuvre, which consistently demonstrates an understanding of the vulnerability and self-consciousness that comes with standing out.
Words: Emma Jacob
Image Credits:
All images courtesy of the artist.
