Sofía Gonet has turned a striking piece of Argentine art history into a vivid Pride-season photoshoot in Buenos Aires. Known as La Reini, the influencer covered her body in rainbow colours and metallic sparkle, revisiting artist Edgardo Giménez’s 1980 body-painting work on Moria Casán while adding a bold fashion reference of her own.
Rainbow body art with a story behind it
There’s no mistaking the photos: Gonet’s skin becomes a canvas of bright stripes and glitter, with colours that echo the Pride flag. The influencer, known online as La Reini, shared the transformation on social media, showing the lengthy process of paint and shimmer being applied before the finished images appeared.
According to Fulana, the shoot featured rainbow-shaped pasties and silver high heels, while the poses gave the pictures a sculptural feel. The production was a standalone artistic project, not the outfit Gonet wore to the Pride march. That distinction helps explain why the look feels less like event dressing and more like a carefully staged image.
A 1980 intervention returns to view
The central reference reaches back to 1980, when Argentine artist Edgardo Giménez painted Moria Casán at the Tabarís theatre in Buenos Aires. The idea came from Silvia García and was created to promote Giménez’s first retrospective at the Museo de Arte Moderno, then on Corrientes Avenue.
Página/12 recounts Giménez’s memory of the project and the political climate under military rule, including Casán’s concern that the image might not be allowed to appear. It became the cover of La Semana, with the title “Moria Casán, una obra de arte”. Clarín also recalls the cover and identifies Giménez as the artist behind the body-art intervention.
The image’s impact came from treating the body as both artwork and public statement. It also brought high art and popular culture into the same frame, a playful crossing of boundaries that fits the broader account of Giménez’s career in MALBA’s exhibition dossier.
Versace brings a second fashion reference
Gonet’s homage also nods to Gianni Versace’s colourful, close-fitting designs around 1991. The Metropolitan Museum of Art’s publication documents Versace garments from that year with vivid colour, printed imagery and embellished surfaces, including a jumpsuit. It offers a useful sense of the designer’s visual language without claiming that Gonet copied a specific look.
Vogue’s archive gives another way into the period, documenting the Fall 1991 collection and its memorable finale, when Linda Evangelista, Cindy Crawford, Naomi Campbell and Christy Turlington walked arm in arm. Together, the two references lend Gonet’s production a layered feel: an Argentine art moment from 1980 meets the high-colour fashion world of the early 1990s.
Pride, process and the power of the image
The behind-the-scenes footage adds a more relaxed note to a deliberately polished result. Fulana reports that Gonet shared a separate video of the preparation, including directions and jokes from the team, and that the finished carousel drew online reactions, including a supportive comment from presenter Georgina Barbarossa.
The project also sits within a wider expression of support for the LGBTQ+ community, rather than being just a striking beauty look. Fulana notes that Gonet had previously criticised a transphobic attack in Buenos Aires. Here, colour and shine carry the message visually, while the historical references give the shoot an extra layer of meaning.
It’s a reminder that a powerful image can carry more than one story at once.
Essential Takeaways
- The look: Gonet’s full-body Pride production used rainbow-coloured paint and glitter.
- The historical reference: It revisits Giménez’s 1980 body-painting intervention on Moria Casán.
- The fashion influence: The shoot also draws on the bold, colourful Versace aesthetic associated with 1991.
- The context: The photoshoot was a separate artistic project, not Gonet’s outfit for the Pride march.
Explore the images as both a Pride-season statement and a conversation between art, fashion and popular culture.
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