“It’s a bit hard to find words for this – You don’t look Native to me won the PHmuseum Women Photographers Grant,” says Maria Sturm. “I feel exponentially happy and glad to be sharing the list with other women photographers whose work I admire.”
Sturm has won the prize in a strong year for the PHmuseum Women Photographers Grant, with the 31 shortlisted photographers including Magnum Photos’ Diana Markosian, Sputnik Photos’ Karolina Gembara, and Taylor Wessing Photographic Portrait Prize-winner Alice Mann. But her long-term project You don’t look Native to me, which shows young Native Americans in Pembroke, North Carolina impressed the judges with its sensitive approach to its subjects.
Fashion photographer Sølve Sundsbø was awarded an Emmy in 2011 for his direction of a series of short films, shot for the website of the The New York Times Magazine. The series, 14 Actors Acting commissioned by Kathy Ryan, was acclaimed as a “new approach”, but the Norwegian photographer claims he simply “dabbles” in film.
“I’m not proficient or even adequate yet,” he says. “But film is a way of rejuvenating the work I’ve already done. It’s like a little vitamin boost.”
Sundsbø’s photography career has been meteoric. Four months into a course at the London College of Printing, he attracted the attention of Nick Knight, and became his assistant for the next four years. Now he’s a regular in Italian Vogue, Visionaire and W magazine. His commercial clients include Chanel, Hermès, Nike and Yves Saint Laurent and, outside the fashion world, Royksopp, Friendly Fires and Coldplay have all chosen his work for their album covers.
Vogue Italia’s picture editor picks out Monica Alcazar Duarte’s The New Colonists as one of her top five of 2017 – and throws in one more selection for luck
“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 main issues in fashion currently are gender and identity, and a more inclusive image of beauty,” says Alessia Glaviano. “It partially comes from Instagram – Instagram has made a big change.” It’s forward-thinking comment for someone known for her work on world-famous print magazine Vogue Italia, but then Glaviano’s also known for pushing the boundaries. In addition to being senior photo editor on Vogue Italia, she’s web editor of vogue.it, and she’s also responsible for PhotoVogue – a curated online platform on which emerging photographers can submit their work. And in addition she’s director of the Photo Vogue Festival, the first-ever international festival of fashion photography, which is now back for the second time in Milan. “Well it went very well last year,” she says. “So here we are again.” Then there’s Vogue Italia itself. A very different beast to its more mainstream counterparts in the US and elsewhere, it sets the standard for cutting-edge fashion photography. It’s known for its adventurous and sometimes dark imagery, giving photographers such as Steve Meisel, Miles Aldridge, Ellen von Unwerth, …
Spearheaded by Vogue Italia’s senior photo editor, Alessia Glaviano, the inaugural Photo Vogue Festival got off to an impressive start, says curator Federica Chiocchetti