pdf 1 - exhibitions international

Most of these new photographers
were intimately familiar with Vogue
and the magazine’s history, and they
displayed influences and aesthetic
links to Vogue’s visual footprint. Tim
Walker’s work has a tangible connection
to the romantic strain of Norman
Parkinson and Cecil Beaton. Walker
was Richard Avedon’s assistant for
several years in New York, but also
says that “Irving Penn undoubtedly
had an influence on my development
as a photographer.” Craig McDean
was Nick Knight’s assistant. Horacio
Salinas, who took some conceptual
pictures for the magazine after Penn’s
death, had been one of the master’s
assistants. Sebastian Kim, a photographer
Vogue uses for portraits or
less formal shots, worked as an assistant
for both Avedon and Steven
Meisel. Norman Jean Roy greatly
admired Avedon, and Avedon’s work
was the main reason he decided to
become a professional photographer.
“Before they started to work for
American Vogue, some of these photographers
had already been taking
pictures for our European editions
and successfully launching advertising
campaigns for our most famous
brand advertisers. Therefore, it was as
if fashion and Vogue were in their professional
DNA,” says Shaw.
CAPTION TK
When CAPTION Wintour TKreviewed
the
photos from the shoot she
found them too formal and
lacking in energy so the
story was re-thought and
reduced in scale. Using only
one model, and a fraction
of the wardrobe, the story
was shot over and moved
from the studio to the
outdoors. Top, right, Natalia
is in an Alexander McQueen
silk-taffeta jacket and
pleated bustier dress. In the
larger photograph at bottom,
she wears a Rochas silk
jacket and skirt.
CAPTION TK
When CAPTION Wintour TKreviewed
the
photos from the shoot she
found them too formal and
lacking in energy so the
story was re-thought and
reduced in scale. Using only
one model, and a fraction
of the wardrobe, the story
was shot over and moved
from the studio to the
outdoors. Top, right, Natalia
is in an Alexander McQueen
silk-taffeta jacket and
pleated bustier dress. In the
larger photograph at bottom,
she wears a Rochas silk
jacket and skirt.
CAPTION TK
When CAPTION Wintour TKreviewed
the
photos from the shoot she
found them too formal and
lacking in energy so the
story was re-thought and
reduced in scale. Using only
one model, and a fraction
of the wardrobe, the story
was shot over and moved
from the studio to the
outdoors. Top, right, Natalia
is in an Alexander McQueen
silk-taffeta jacket and
pleated bustier dress. In the
larger photograph at bottom,
she wears a Rochas silk
jacket and skirt.
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