This model’s gifts are plentiful, powerful, as well as particularly pretty. She’s got an easy, natural, girl next door charm, but it’s not at all difficult to imagine her dressed to thrill and knocking ‘em down in the big, sophisticated city.
If I have one complaint about Edwige A it is simply that she sticks to a rather narrow range of facial expressions. She has a pretty face — I only wish she would explore more of its innate expressive potential. Here she’s mainly in studious, serious, model-at-work mode. When she steps away from that safety zone she generates far more interest.
What has no trouble generating interest here are her physical gifts. From the texture and color of her smooth skin, to the shapely curves of her legs and ass, to her generously proportioned and artfully shaped bosom, she offers an enticing array of bodily beauty. As luck would have it, she doesn’t appear at all shy about showing it off.
Koenart doesn’t let the opportunity escape his lens and, while the set begins on a somewhat demure note, by the time it’s finished we’ve been treated to a broad assortment of explicit shots, including many wonderfully detailed close-ups.
The lighting and set design are clean and stylish. Edwige, barefooted from the start, is wearing a figure-hugging little black dress over pleasantly provocative black lace panties. Even when nothing much is exposed, as in a detailed figure study like #017, her ripe curves are irresistible.
“Dinamita” concludes with ten shots of Edwige A, dressed down in faded jeans and a printed T-shirt — and, yes, that message is true in my case, and countless others, I don’t doubt. It’s a nice way to end the set. It gives a greater sense of who Edwige is as a person, and leaves us hungry to see more.