2 posts tagged "Emma Reeves"
As creative director of her family’s business, Selfridges’ Alannah Weston has turned the massive department store on London’s Oxford Street into her private fiefdom of fun with a series of large-scale events that have brought together artists, filmmakers, musicians, and designers in the name of underscoring the store’s retail vision. Wednesday night saw one of the smartest, artiest events yet, to mark the opening of the Women’s Designer Galleries. Curator Emma Reeves commissioned a set of short films to interpret seven of the collections carried in the new space. The single criterion? A strong female character at the heart of each film. For Ann Demeulemeester, for instance, Michael Pitt filmed his fiancée, Jamie Bochert, as a wraithlike figure moving through the desert (top), like a contemporary version of Isabelle Eberhardt, the 19th-century French traveler who inspired the designer’s collection. For Comme des Garçons, Katerina Jebb filmed concert pianist Madeleine Malraux, the widow of cultural nabob André Malraux, still playing at the age of 90.
Ruth Hogben made a typically brilliant piece of film for Gareth Pugh (above), a hectic slice of Cabaret-style decadence. She also created a sepulchral German-expressionist short for Rick Owens: harsh angles, shadowy reveals, eldritch textures, and an opera soundtrack. Her grasp of atmospheric moviemaking is so acute it came as a surprise to hear Hogben admit that all she wants to do is take still pictures. I swear everybody’s going to be reading real books again in a few years.
Speaking of atmosphere, set designer Simon Costin has made Mars out of molehills, and here he turned the derelict Selfridges’ hotel into an outlying branch of the Overlook, with curtained-off spaces intended to obliquely echo the building’s former use. There were “rooms” with oversize sofas, long dining tables, cracked vanity tables, and huge beds, with the movies projected on the ceiling above them. That was how we got to see an edit of the film Christopher Doyle had made, but not used, as the backdrop for Dries Van Noten’s show for Fall 2005. (Technical issues pulled it at the last minute.) Doyle was the man whose camerawork made In the Mood for Love into the swoonsville date movie of the millennium. A perfect match for Dries’s own romantic leanings. It was kinda nice watching it lying down, too.
Funny, only one of the films—the McQueen one—really featured recognizable clothes. The others were all projections, figurative and literal, like Delfine Balfort’s erotic equine dance for A.F. Vandevorst. You can see them all on Selfridges’ Web site, but you’ve got till March 26 to experience them in person. More fun that way.
School’s in—with Nick Knight, Ryan McGinley, Tim Walker, and Fabien Baron, no less. Beginning in the fall of 2011, the School of Visual Arts in New York is launching a new graduate program in fashion photography, the first of its kind on the scale being proposed. SVA’s Stephen Frailey and Art + Commerce founder Jimmy Moffat (pictured, left to right) will co-chair the program, which will draw its faculty and guest lecturers directly from fashion’s most marquee mastheads. (In addition to those mentioned above, Cathy Horyn, Pascal Dangin, Emma Reeves, and Glenn O’Brien will take part.) On the eve of the program’s announcement, Style.com checked in with Frailey to discuss what’s new, what’s next, and who he’s looking for.
Let’s talk back story. Why this program, why now?
It really seems like it’s a good time for it. As an academic, as someone who is in the classroom at an undergraduate level, I think often fashion photography has been marginalized by the students. Despite the fact that it takes an enormous amount of work and is collaborative, I really feel like it’s been on the sidelines of the photographic education, especially at an advanced level. I come from the art world, and I came to fashion photography fairly late. About ten years ago, I started noticing the amazing work that was in W. I began to realize that art photography had borrowed so much from fashion without necessarily acknowledging it—an interest in narrative, in the staged and fabricated image. At any rate, I felt like it was time for fashion to be considered among the more elevated photographic pursuits in higher education at the graduate level.
What will the curriculum be?
It’s a one-year program; the classes will occur in the evening and on Saturday. There will be two classes that will last the full year, 30 weeks. One will be a critique class, [whichS will have a rotating faculty; it’ll be collaboratively team-taught by Jimmy Moffat, Dennis Freedman [formerly of W], and Andrew Richardson. Then we’ll have a class called the Symposium class, taught by Emma Reeves [of V]. It’ll be an opportunity for everyone to gather together and to go to whatever is happening in New York at the time, whether it will be a guest lecture by Karl Lagerfeld or an exhibition at the Metropolitan Museum or at galleries. Carol Squiers, who is a curator at the ICP, will be teaching a class on the history of fashion. I’ve been asked to have that class, by the way, streamed onto the SHOWstudio Web site. There’ll be a digital photography class for fashion photographers, which will be taught by Pascal Dangin [of Box Studios, and one of the most influential retouchers in fashion]. Not only will it be about technique, but also about some of the ethical issues of retouching, and the way that it creates a kind of utopian figure. And video, which is a very important part of the future of fashion photography. Continue Reading “SVA Launches A Master’s Program In Fashion Photography” »