“There’s a Juliet in every woman, and I will never stop looking for her,” says Roversi, who invited nine women, including Emma Watson, Claire Foy and his daughter, to present their version of the ideal heroine
The annual photography festival returns for its fourth edition with a group show of 30 artists presenting 104 images that diverge from the mainstream
In the 25 years since his graduation, Tim Walker has become one of the most singular photographers of his generation. Diane Smyth finds him in reflective mood ahead of a new book and exhibition at the V&A
A major exhibition of work by Tim Walker opens the V&A in London this September, including 10 new photographic projects directly inspired by items from the museum’s permanent collection
“One huge image can fill a spread and stop you in your tracks”
In 2015, when Poland’s most radical right-wing organisation, the Law and Justice (PiS) party, won the general election with a sweeping majority, photographer Joanna Wzorek and her liberal parents were shocked. Policies against immigration, same-sex marriage, and abortion just a few of the controversial views now channelled by Poland’s ruling party.
“Me and my parents felt deeply disrespected by the other side of our family, who voted right-wing,” says Wzorek, a Polish-born photographer who graduated from UAL last year with a degree in fashion photography. “I knew then I had to try and make something positive out of the negative nationalist standpoint that had dispersed within my country,” she explains.
“The first time my American agent came here, she said ‘I can’t believe you do all these pictures in this little room’,” laughs Paolo Roversi as he looks around the modest space he’s used as his studio for more than three decades. The Italian remains one of the world’s most sought-after fashion photographers, having forged his reputation during the mid-1980s shooting inspired catalogues for designers such as Comme des Garçons and Yohji Yamamoto, in an age when creatives were given unparalleled freedom of expression. Yet his studio is just a room in an unremarkable building in a nondescript arrondissement of southern Paris, furnished with battered chairs and old blankets. He wouldn’t have it any other way.
“The idea was why don’t we go back to the market and put these clothes back in their home, back where they came from,” says Britt Lloyd, a young fashion photographer from North London. Working in digital photography for Showstudio, Lloyd has recently collaborated with Martine Rose and Machine-A to shoot a captivating menswear range which speaks to the communities of Seven Sisters and North London. Lloyd’s bold series does not follow traditional stylings of the male fashion industry, which she believes needs to change quickly.
Walking down the street with Jack Davison can be time-consuming. A sharp-suited bloke talking on the phone, a pretty young girl in a hurry, a bored construction worker seated by the side of the road, a balding old soak nursing a pint; Davison approaches each without a moment’s hesitation. After introducing himself and chatting for a few seconds, he’s circling round them, or leaning over them, or down on his knees with his camera, often inches from their face. He keeps talking to them throughout, framing quickly and firing off a few shots. He’s relaxed, composed in the moment, then a short thanks and he’s gone, walking down the street, briefly checking his new portrait. Davison turned up to BJP’s offices on a road bike that had seen much better days, sweating under the sun, wearing a baggy white T-shirt, denim shorts and a cycling helmet. He didn’t look like a fast-emerging fashion photographer. Like any 25-year-old, is still trying to work stuff out, to get his head around the complexities of making a career …
During his lifetime, Saul Leiter (1923–2013) was something of the ignored artist of American photographic history. While his career spanned a time when quintessential New York street photography was defined as swift, sharp and precise, Leiter’s leisured, impressionist style went against the grain. Leiter was a pioneer of colour photography, adventurously using Kodachrome colour slide film well before the likes of William Eggleston and Joel Meyerowitz. As the Guardian’s Sean O’Hagan wrote in Leiter’s obituary, “[his photographs] are as much about evoking an atmosphere as nailing the decisive moment.” A retrospective of the late photographer’s work has just began at The Photographers’ Gallery; the first major public show of his work in the UK features more than 100 works, including early black-and-white and colour photographs, sketchbooks and related materials. While Leiter’s early black-and-white images were published in LIFE magazine and exhibited in New York and Tokyo, he quickly moved into fashion photography, shooting for Harper’s Bazaar, Elle, British Vogue, Esquire and more. When I speak to Brett Rogers, director of the Soho gallery …