LesMads

David James, Fotograf und Creative Director des AnOther Magazine, zeigt im Moment digital seine wichtigsten Arbeiten der letzten 22 Jahre in der Online-Ausstellung "Out of Print" und wählt damit eine neue Form der Portfoliopräsentation.

As digital media becomes the dominant media, I want this exhibition to mark the beginning of a new way of working for the studio. Our practice is no longer focused on two-dimensional representations, but all possible dimension.

Bis Mitte Mai können wir uns durch das umfangreiche Archiv klicken, in dem sich viele bekannte Werbekampagnen für Prada, Alexander McQueen oder Christian Dior finden lassen, genau wie Editorials, Einladungen zu Modenschauen oder unter James kreativer Leitung entstande Cover. Unter "Idea Evolution" in der linken Spalte erfahren wir noch dazu alles über die Entstehung des Motivs: Die obenstehende Kampagne für Prada Sommer 1997 ist zum Beispiel vollständig unretouchiert.

Dazu beschreibt er die Anfänge in der Zusammenarbeit mit der italienischen Marke.

I've been interested in fashion since I was a kid in the early 70s. I was really influenced by my older brother. At the age of 11, I was wearing loafers, two-tone trousers, Ben Sherman shirts and a Crombie coat. That was the Suedehead look. I still love that look now! I actually started working in fashion because the photographers I worked with on record sleeves, also worked in fashion. We started working together on projects and one thing led to another. Prada came about because Glen Luchford was invited by Prada to pitch an idea fortheir campaign. They were looking for a new approach. Glen and I had been working together since the early 90s, so he asked me to help him out. We developed some ideas together and presented them to Miuccia Prada and Patrizio Bertelli. They really liked them and hired us forthe campaign. All ofthe ideas were inspired by films and the production was nothing short of epic! It involved a huge crew and took th ree weeks to shoot. Lots ofthe images were shot outdoors, with just the available light. Glen preferred shooting either at dawn or just before dusk, which meant that sometimes we could only do one or two shots a day!

Prada Sommer 2001

We wanted to appear spontaneous and arbitrary, but the models and props were actually painstakingly arranged, in a very static way. That's why it looks like a frozen world. It took us four weeks to shoot! It was one of the last of the big production campaigns, being shot just before 9/11. After that, photo shoots were dramatically scaled back because of the recession.

Prada Sommer 2003

The collection was certainly 60s-inspired. We emphasised it with the style ofthe photography and the treatment ofthe layout. The images were made so that they could be used vertically or horizontally, simply by rotating them to fit the format. The model appears to be floating in space. There were some interesting hints of colour used in this collection and the use of plastic was also a feature. The fluorescent panels we employed referto these elements. and also to 60s modernist aesthetics.

Alexander McQueen Winter 2007

Well, the collection was inspired by the 1968 student uprising in Paris, and featured a combination of civilian and military wearfrom that period. During our research for a campaign idea, we came across archival images ofthe riots and realised that these would say more about the spirit ofthe collection and brand than any form of simulation. Authenticity is a very elusive quality. But in this case, what could be more authentic than the event itself? McQ's target audience understands rebellion. It's part ofthe McQueen brand DNA.

Prada Sommer 2007

The campaign was actually inspired by the catwalk show. The contrast between the fabrics, colour combinations and the show environment itself was very inspiring.

Repräsentiert wird David von der Fotografen-Agentur Art + Commerce, nähere Infos zu der Ausstellung gibt es hier und auch Susie hat eben ihre Highlights vorgestellt. Grossartige Idee!