35 posts tagged "Nick Knight"
But he still will. The famously private Alexander McQueen jumped headfirst into social media on September 1 with this maiden tweet: “STRESSED! Microwave head meltdown! Sparks flying out of my brain! Preparing for the show—Lee McQueen.” Yes, it was really him. While McQueen’s Twitter @McQueenWorld has some of the publicist-driven tweets like other major fashion houses, the designer himself has been giving us intimate and occasionally expletive-filled little glimpses into his world, like this and this, and revealing abstract hints about the upcoming collection. It might actually be the case that for the shy designer—he once insisted on doing a TV interview with his back to the camera—Twitter may be the perfect mode of communication.
And McQueen is joining the likes of Louis Vuitton, Emporio Armani, and Burberry in live-streaming his show, called Plato’s Atlantis here on October 6 at 8:15 p.m Paris time. SHOWstudio head Nick Knight will be directing the live broadcast which will be spliced with footage already shot by McQueen and Knight that stars Raquel Zimmermann. Considering McQueen is usually one of the most thrilling and theatrical 15 minutes of Paris fashion week, it’s worth your while to tune in. In the meantime, you can pre-game on the site with a reel of past highlights.
Tired of hearing the two words “concept store”? Well, you may just be re-energized by the latest installment of such from London. “Up until now, so many fantastic props from fashion shoots, shows, and ad campaigns wound up in storage, back to the taxidermist, or even chucked,” said photographer Nick Knight at today’s viewing of his new shop on Bruton Place—the retail expansion of his Web site SHOWstudio. “These are real pieces of art, so why not treat them as such?” There it is: the “concept” of the new shop, which happens to be strategically placed nearby the city’s Matthew Williamson, Stella McCartney, Marc Jacobs, and Rick Owens boutiques. Quite a departure for Knight. “It’s a career move I never counted on—it wasn’t in the plan,” he added. But then, who plans on selling seven-foot stuffed tigers (from an Alexander McQueen for Puma ad) or gigantic eyeballs (from a Karen Elson portfolio)? Among the other goodies are a skull-slashed Union Jack, whipped up by Galliano for a portrait of himself by Knight, and a lion’s head that was made for a Dior show in Versailles—an indication that this ain’t no flea market. The tiger goes for £50,000 (approximately $82,000) and the Galliano Union Jack is £25,000, while the eyeballs are a snip at around £3,000. “It’s not like buying an It bag, to be sure,” said Knight. “But then how often do you get the chance to buy not just art but real fashion history?”
AnOther Fashion Book, a greatest hits compilation of the fashion photography that has been featured in AnOther Magazine and AnOther Man over the past eight years, makes its stateside debut today—and we have Karl Lagerfeld to thank for it. Well, not entirely. “It was actually Karl who came up with the idea of doing a book,” explains AnOther founder and editor in chief Jefferson Hack, who edited the collection. “I was at the atelier in Rue Cambon, and he said to me, you know, you have this amazing archive, you should compile something that can be available and accessible to people as a resource. And,” Hack adds, “he said he’d publish it.” Needless to say, that was a pitch Hack was eager to run with. The first in a series of three book to be published by Lagerfeld’s imprint 7L and distributed via Steidl, AnOther Fashion Book features work by photographers such as Terry Richardson, Craig McDean, Mario Sorrenti, and Nick Knight. A book of portraits from the magazines will follow this fall, and a collection of AnOther and AnOther Man interviews will round out the trilogy next year. Here, Hack talks to Style.com about stripping out, slowing down, hanging Kate Moss, and dancing.
One of the things that intrigues me about this book is that you’ve let the images stand on their own. There’s no layout, no dates, no captions—no suggestion, really, that they were ever published in a magazine.
That was one of the first decisions we made when we began working on the book—to strip the magazine element out. This isn’t a book about AnOther Magazine. It’s a book about photography, and we wanted it to feel timeless. So we’ve taken the most stirring images and laid them out simply and created a running order that’s non-chronological, nonlinear. And not even entire spreads, often—just selections. My hope is that people who have never seen a copy of AnOther will come to this book and find it compelling.
Media fantasies about fashion usually revolve around pouting bodacious bombshells strutting down runways or preening for gushing photographers. But actual fashion aficionados know that such images are rarely at fashion’s true core, where genuine innovation often takes the form of “Weird Beauty.” That’s the title of the new International Center of Photography exhibition opening today with 20 original prints and hundreds of tear sheets from Steven Meisel, Cindy Sherman, Mario Sorrenti, Nick Knight, and Sølve Sundsbø. Weird Beauty aptly sums up the difficult delights gathered and presented by co-curators Carol Squiers and Vince Aletti. Style.com caught up with Aletti, the photography critic for The New Yorker and formerly a senior editor at The Village Voice for nearly 20 years, to discuss the powerful push/pull of jolie laide.
On its most basic level, fashion photography pushes products. How do the photographers in your exhibition express and enhance the desirability of the garments or items they represent?
Fashion photographers create a fantasy—sometimes a narrative, sometimes an elaborate stage set, sometimes just a mood—around a woman in clothes. Their work might be functional (their employers do want to promote clothes) but it’s never merely descriptive, and over the past two decades it’s become more and more atmospheric. Even in fashion advertising, the garment is often the last thing you notice, and certainly it wasn’t a prime consideration when we made our selection for Weird Beauty. Many of the photographers in the exhibition weave a powerful spell around their subject, and it was that spell, not the garment, that seduced us.
Some of the photographers in your show are primarily considered artists while others mostly fit into the fashion category. Besides the photographer’s own intention or self-definition, do you see differences between the artists and fashion photographers?
In a word, no. Whether it’s Collier Schorr or Mario Sorrenti, Cindy Sherman or Sølve Sundsbø , they’re all looking for ways to make something fairly routine engaging and surprising. Most of the artists working in fashion have been able to apply their distinctive style to the project, but the same can be said for the photographers whose prime focus is fashion. For all of them it’s about maintaining the integrity of their vision, and the fashion pros are just as concerned with this as artists who consider fashion a sideline.
You’ve taken images from both mainstream and indie or avant-garde publications. But do you think magazines with wider audiences like Vogue or Bazaar don’t get enough credit for being image innovators?
I don’t think anyone overlooks the historic importance of either magazine. They set the bar very high beginning in the 1930′s and for much of the last century. But there’s no question that these days, [they] are overshadowed by other younger and more adventurous fashion magazines, including some that give the same photographers (Steven Meisel, Steven Klein, and Peter Lindbergh, for instance) more freedom. For whatever reason, American Vogue and Bazaar are more conservative than their European counterparts, but Vogue maintains an impressively high standard. Any magazine that publishes Irving Penn on a regular basis cannot be ignored, and Annie Leibovitz has done some stunning fashion work for them.
Have you always been interested in fashion imagery?
My father was a serious amateur photographer who had a darkroom in the attic and my mother was a dressmaker who made doll clothes for my sisters. So I grew up with fashion magazines and copies of US Camera in the house, and I spent a lot of time with both. But it wasn’t really fashion that interested me; it was the atmosphere of glamour and vivaciousness that the photographers conjured up around the model and the clothes. I was interested in Penn, Avedon, Horst, Blumenfeld, Beaton, and Hoyningen-Huene, not in Chanel or Givenchy.
Do you care at all about the clothes?
Not really. Although I notice if they’re especially outrageous or ornamental, the clothes don’t much interest me—just the photograph. But the show’s co-curator, Carol Squiers, can’t ignore an outfit she thinks is ridiculous or hideous, and in several cases rejected a photo for that reason.
Now that the first Paris screening of her fashion film festival has just closed, A Shaded View on Fashion’s Diane Pernet finally has time to sit down. The three-day program included intimate documentaries about Alexander McQueen (in his pre-Gucci Group days) and John Galliano by producer Madeleine Czigler and Tim Blanks (in his pre-Style.com days), which packed the house, as well as an hour-and-a-half-long presentation of international clips by known entities such as Nick Knight, Jeremy Scott, and Diane herself (her entry was a documentary on the reclusive master of corsetry, Mr. Pearl) and a couple of dozen lesser-knowns. An entry from the latter camp, Pattern Film by Anemone Skjoldager (pictured), swept the audience’s votes for the Prix du Public, while the international jury awarded sunglasses-shaped trophies for first place to Camille Vivier for Jenny Haniver, a series of six portraits of teenagers (Jeremy Scott came in second with his tongue-in-cheek Video Look Book). If you missed this year’s edition, a selection will be available on the film festival’s site in November—but not all of them. “After all, the whole point of the festival is to get people away from computers,” says Pernet.