Established in 1986 as a festival for young fashion designers, and adding a prize for emerging photographers in 1997, the International Festival of Fashion, Photography and Fashion accessories, Hyères has established itself as a small but beautiful festival with a cutting-edge handle on photography in fashion and beyond.
The artistic director for photography is Raphaëlle Stopin, and this year she’s presenting exhibitions such as a solo show by Craig McDean plus a 25-year retrospective of Self-Service magazine. As usual, the festival also features work by 10 up-and-coming photographers, plus exhibitions by the two prize winners from 2018 – Eva O’Leary (who won the Grand Prix for photography last year) and Sarah Mei Herman (who won the American Vintage-sponsored prize).
The finalists for the 2019 competition are: Federico Berardi (Switzerland – Italy); Hubert Crabieres (France); Kerry J Dean (United Kingdom); Tommy Kha (China – USA); Hilla Kurki (Finland); Vincent Levrat (Switzerland); Alice Mann (South Africa); Andrew Nuding (Ireland); Jean-Vincent Simonet (France); and Elsa & Johanna (France). Their work will be on show until 28 May, and as well as competing for main prize, they will be commissioned to shoot new images for a Still Life Prize, and for the American Vintage Photography Prize.
Patricia Karallis and Giada De Agostinis from the Lucie Award-nominated Paper Journal pick out the photography and projects that caught their eye – including Dave Heath’s Dialogues with Solitude at Le Bal, Paris
BJP-online Loves Maria Sturm’s You don’t look Native to me, Jean-Vincent Simonet’s psychedelic images of Tokyo, Roger Melis’ photographs of East Germany, Dawoud Bey’s exhibition Places in History, and the fact that MACK’s First Book Award is now open-entry
“I love how the city is in perpetual metamorphosis. It’s always moving and glowing,” says Jean-Vincent Simonet, who visited Tokyo, Japan for the first time in 2016, and quickly decided he would shoot at night. “Giving a liquid feeling to the photographs made sense to me. It reinforced the psychedelic experience of being in the city”.
People in Japan describe Tokyo as a “living entity” – not just because of the earthquakes and typhoons that regularly stir the capital, but because it is a city in constant flux. At all hours of the day and night, streams of people and cars rush down its huge neon streets, which sprawl out like tributaries into pedestrianised roads, stacked 10 stories high with shops, restaurants and karaoke bars. Vibrant city centres seem to emerge right off the back of darker inner-city suburban streets, which are all connected by colossal highways, and an elaborate train network that dwarfs most other capital cities’.