Interview with Fashion Photographer Fabrizio PerriniSeptember 20, 2013
When Papierdoll started nearly 10 years ago, our reason for being was to give voice, forum to emerging designers, artist and photographers that had a story to tell but no outlet to tell it. Now there are millions of outlets, but still very little in the way of a central location where an artist can be themselves. Its with this in mind we celebrate and cover Fabrizio Perrini. Perrini is a photographer with an eye for color, positioning and background depth. There is a dichotomous nature to his work. On the one hand you have a grit that shows a natural untouched aesthetic, but on the other hand there is a polish that gives quality and completeness to his photographic stories. He is a talent working in Italy and working on reaching his own personal level. We threw a gauntlet of questions at him and present this full interview to you both in English and in Italian.
You worked with an independent designer for this shoot, what did you see in this designer that made you want to work with them?
I love working with independent designers, I find both challenging and creative work with young emerging artists who like to experiment like me.
The designer of this editorial is called Reana Rubeca, and I chose her with my stylist Valeria Gaetano who selected the clothes. Reana’s creations are elegant and feminine fabrics used and perfectly suited to the location which contained desaturates tones.
To complete the outfit we have involved another emerging designer, Valentina Sarli, who made hats, and a boutique in Rome, LEOPARDESSA
Beauty is heavy influence in your work, other photographers have gone in an edgy direction, why have you gone for softer looks?
My purpose was not to get too strong contrasts, in fact I did not want to transmit anxiety.
I decided to give it a soft setting to photos, eliminating any conflict or element that disturb the flow constant and dim of the images.
This my direction has been well understood from the make up and hairstyles artists, Rosy Alai and Rocco Ingria, school teachers Makeup Rome Ro & Ro, with whom I collaborate for my works.
If you were not shooting fashion editorials, what would you be shooting?
10 years ago I started with the photography of the scene in the small theaters of Rome. This has strongly influenced my stylistic direction until today.
I believe that my commitment to telling stories within the projects that I make, comes from that period. If I had not come to fashion, I think I would have gone the way of the theater.
Are there any designers out today that fit your photographic styling?
I like the fashion designer who plays their works in the same way I interpret the photography. I love all those designers who let themselves be inspired by film and who make clothes that look like costumes.
The stylist I work with, is inspired by the lines of Balmain and Givenchy to make the outfits. It would be our highest aspiration to collaborate one day, with names of so much relevance.
What motivates you every day to shoot?
Taking pictures makes me feel alive, realize my plans or find solutions to technical difficulties I meet, it fills my head during the day, and often at night. I have a continuing effort to improve myself, to study and earn a living from my passion.
There’s been a war of words between digital photographers and photographers who still prefer film. Which side do you fall on?
I started my photographic journey 10 years ago, and I did it through the use of a digital camera. I’ve always wanted a retro taste in my images, I love an unclean picture, with a certain type of grain on it. I’ve never been impressed by images that are clean and well defined. But with digital, I’ve never been able to express exactly what I wanted. 6 months ago I’ve bought an old Canon AE-1 program, and I immediately knew I had found what I was looking for years. For my taste, the film is the most suitable to achieve the results I have in my mind.
10 years from now what works haven’t you created do you think will be your best?
My best work for sure will be the one that will describe my point of view in photography. It will have a style that will be the combination of fashion, cinema, theater, literature, painting and art in general.
I am sure that the work in question will be realized on film and that will be the result of an experiment of analog cameras, including pinhole photography.
Do you advocate a lot of post-production in photography (photoshop etc) or do you think natural is the way to go?
I think that in digital photography post-production is essential and that the best result is the apparent lack of editing, which instead means being able to be very skilled in the original image without intervention, leaving a natural look to the image.
There’s been a debate regarding plus sized models in fashion, what’s the photographer’s perspective on plus-sized models?
Fashion photography, in its essence, is nothing more than a commercial message designed to sell clothes in certain regards. For me, though if a model transmits well the message I want to convey, then it is the right model for my shooting, even if it is plus size. In general I think most worlds can co-coexist in fashion, and that of the plus- sized models will emerge very soon.
When someone looks at your photography, what do you want them to know about you?
I talk about myself in my photos. I speak more with pictures than with words. I wish others could see through my eyes, my visions, the lights reflected on the windows of a car, lost eyes of a passer, the moments that escape.
Hai lavorato con un designer indipendente per questa ripresa, che cosa hai visto in questo Designer che ti ha spinto a lavorare con loro?
Mi piace lavorare con designer indipendenti, trovo sia stimolante e creativo collaborare con giovani artisti emergenti che amano sperimentare come me.
La designer di questo editoriale si chiama Reana Rubeca, e l’ho scelta insieme alla mia stylist Valeria Gaetano che ha selezionato gli abiti. Le creazioni di Reana sono eleganti e femminili e i tessuti utilizzati si adattavano perfettamente alla location che presentava dei toni desaturi.
Per completare gli outfit abbiamo coinvolto un altra designer emergente , Valentina Sarli, che ha realizzato i cappelli e una boutique romana, leopardessa..
La bellezza è pesante influenza nel vostro lavoro, altri fotografi sono andati in una direzione tagliente, perché mi hai fatto per un look più morbido?
Ho deciso di dare un taglio soft alle foto, eliminando ogni contrasto o elemento che disturbasse il flusso costante e tenue delle immagini.
In questo caso, usare la luce di taglio, avrebbe reso inquieto lo spettatore.
Questa mia direzione è stata ben interpretata per il make up e per le acconciature, da Rosy Alai e Rocco Ingria, insegnanti della scuola di Trucco di Roma Ro&Ro, con i quali collaboro fin dall’inizio.
Se non si sparavano editoriali di moda, cosa vorresti essere riprese?
10 anni fa ho iniziato con la fotografia di scena nei piccoli teatri di Roma. Questo ha fortemente influenzato la mia direzione stilistica fino ad oggi.
Credo che il mio impegno nel raccontare delle storie all’interno dei progetti che realizzo, provenga da quel periodo. Se non fossi arrivato alla moda, credo che avrei continuato la strada del teatro.
Ci sono designer fuori oggi che misura il vostro stile fotografico?
Mi piacciono i designer che interpretano la moda nello stesso modo in cui io interpreto la fotografia, che si lasciano ispirare dal cinema e che realizzano vestiti che assomigliano ad abiti di scena.
La stylist con cui collaboro, si ispira alle linee di Balmain e di Givenchy per realizzare gli outfit; sarebbe la nostra massima aspirazione poter collaborare un giorno, con nomi di così tanta valenza.
Cosa ti spinge ogni giorno a sparare?
Sono spinto dalla voglia di poter vivere un giorno di questa mia passione.
Scattare mi fa sentire vivo, realizzare i miei progetti o trovare le soluzioni alle difficoltà tecniche che incontro, riempiono la mia testa durante il giorno, e spesso anche di notte.
C’è stata una guerra di parole tra i fotografi digitali e fotografi che ancora preferiscono pellicola che parte non si cade su?
Ho iniziato il mio percorso fotografico ormai 10 anni fa, e l’ho fatto attraverso l’uso di una macchina digitale.
Ho ricercato sempre un linguaggio dal sapore retrò, l’immagine sporca, un certo tipo di grana.
Non sono mai stato colpito da immagini pulite e ben delineate.
Però con il digitale, non sono mai riuscito ad esprimere esattamente quello che volevo .
6 mesi fa mi ho acquistato una vecchia Canon AE-1 program, ed ho capito subito di aver trovato quello che ricercavo da anni.
Per il mio gusto, la pellicola è il mezzo più adatto a raggiungere i risultati che ho in mente.
Tra 10 anni che lavoro non hai creato pensi sarà la tua migliore?
Il mio miglior lavoro di sicuro sarà il lavoro che rappresenterà al meglio la strada che ho iniziato a percorrere da tempo, ovvero una fotografia influenzata dalla moda, dal cinema, dal teatro, dalla letteratura, dalla pittura e dall’arte in generale.
Sono sicuro che il lavoro in questione sia su pellicola e che sia il frutto di una sperimentazione di macchine fotografiche analogiche, compresa la fotografia stenopeica.
Ti Sosteniamo un sacco di post-produzione per la fotografia (photoshop, ecc) o pensi che naturale è la strada da percorrere?
Penso che nel digitale la postproduzione sia fondamentale e che il risultato migliore è l’apparente assenza di fotoritocco, che invece significa saper essere molto abili nell’intervenire lasciando all’immagine un aspetto naturale.
C’è stato un dibattito per quanto riguarda i modelli di dimensioni più di moda, qual è la prospettiva del fotografo nei modelli più dimensioni?
La fotografia di moda, nella sua essenza, non è altro che un messaggio commerciale finalizzato alla vendita dei capi.
La mia strada è diversa, infatti in molti casi le mie foto non vengono pubblicate dai magazine del settore, e soprattutto qui in italia, la mia non è definita fotografia di moda.
Per quanto mi riguarda, se la modella veicola bene il messaggio che voglio trasmettere, allora è la modella giusta per il mio shooting, anche se è over size.
In generale credo che nella moda coesistano più mondi, e che quello delle modelle over size emergerà molto presto.
Quando qualcuno guarda la tua fotografia, che cosa vuoi che sappiano di te?
Parlo di me nelle mie foto più di quando non ne parli nella vita di tutti i giorni. Vorrei far vedere nelle mie foto, attraverso il mio sguardo, le mie visioni, le luci riflesse sui vetri di un auto, gli sguardi persi di un passante, gli attimi che sfuggono.Merelda Mckinnon
Reem Acra, BCBG Max Azria, Jenny Packham #NYFW Spring/Summer 2014September 10, 2013
What is there to say about Reem Acra besides showing a remarkably sexy, sophisticated collection? The designer in the past has been guilty of letting the wedding collection overshadow her ready to wear offerings, but not this time. Acra took her collection back to the seventies with single strap polka dot floor numbers that was open on the side seductively being held together with straps going up the thigh horizontally. Oh yes. She went there. The next stunner was a long full length dress conservatively closed at the neck, but what’s this, entirely open diagonally from the thigh in asymmetric fashion. Ms. Acra, is this your eye popping welcome to dangerous and daring party? What was just wonderful about the long dresses in this collection is that they played on the conservative with just enough to be seductive. It was almost as if the designer was challenging the conventions of sexiness itself. Some pieces detracted a bit from the collection, immediately the metallic strapless bra paired with a single broad strapped shimmery full length dress with green shape print comes to mind. Acra’s collection for Spring Summer 2014 is beautiful and skews a set of ages, which is another first it seems as the mid twenty set had options as well as the 30 and 40 set. It wasn’t just for the grown, it was for the sexy as well.
BCBG Max Azria is a fashion week favorite for many at Papierdoll. The designer went in a decidedly different direction than previous collections. There was a lot of play with shapes and small touches with patterns prints that made it a winner on several levels. An example is a skim waisted crème pant that was wide through the legs paired with a mid-riff baring layered white crop sleeve blouse. It was more upmarket and spoke to an audience outside of what one would consider the target younger BCBG audience. We saw a lot whites, cremes, plays with prints (especially when darker colors came out). That’s what was interesting to an extent. The lighter color pieces stood on their own without the need for prints for this BCBG collection. The darker color items popped because of the prints. Is BCBG Max Azria widening its audience? The jury is out.
We’ve followed Jenny Packham from her rocking collections in London to her arrival in New York. Her Spring/Summer 2014 collection is a sophisticated treat for all of the things that it is and her history. Packham in the past has shown at times an unsteady hand, with past collections having an equally amount of good and not so parts. This one was for the most part was outstanding minus just a small smattering that we could do without. Stand out pieces from the collection included a long flowing citrus halter dress that so far is one of the best of fashion week in New York. Another simply must have is an accordion style layered red dress with a flowy hem that falls right above the knee. A southern embellished ribbon tie halter dress was simply breathtakingly beautiful. I could go on and on, but this was just an example of how feminine and well-constructed Packham’s Spring/Summer 2014 collection is. At the risk of sounding like a used car salesman, I have to say, run don’t walk to get at least one piece from Jenny Packham’s Spring/Summer 2014 collection.
Venexiana, Czar by Cesar Galindo, Falguni and Shane Peacock #NYFW SS 2014September 10, 2013
Kati Stern knows her clientele very well. She deviates ever so slightly, but you know what you’re getting when you attend the Venexiana Runway collection. Her Spring/Summer 2014 collection consisted of a cavalcade of single strap dresses and strapless dresses and gowns in a myriad of shimmery quasi fluorescent colors and in some instances sheer fabric. There’s a marked evolution in her design for the season. There’s been previous seasons where the Venexiana collection was somewhat over the top, but this time she muted the colors (as much as one would expect from Stern) and gave more coherence and flow. There was more of a trademarked look. You could see that Stern’s Venexiana collection was fit for a variety of occasions. There were some less than stellar pieces in the collection, but not enough to detract from the body of work as a whole. Formalwear, Eveningwear has a legitimate contender for your attention as well as your dollars.
Czar by Cesar Galindo combined the futuristic surreal with an extended flair for Spring Summer 2014. You could imagine seeing these pieces in Dune or some other futuristic sci-fi series. Highlights include an accordion styles colorblock halter dress, a jewelry-inspired strapless print dress, a diamond-butterfly monochrome patterned print dress that is one of the stronger pieces I’ve seen during fashion week in New York and an aquamarine/blue satin hooded jumper with a loose banded elastic waist. Have I seen in totality stronger collections from Galindo’s shop? Yes. Taken individually, each piece was stronger than the sum total collection, which is somewhat counterintuitive. But that’s more of an academic argument rather than an indictment on Galindo as a designer. Any of the pieces on its own will wow when worn because individually, Czar spring/summer 2014 is a wonderful collection.
For some reason New York Fashion Week designers must have colluded to go in the Sci-fi fantasy motif direction as the Falguni and Shane Peacock collection was quite a feast for the eyes for all things future lovers.. The designers provided a daring collection of sheer mini-dresses with blurred barcode-like prints, floral gowns in violet that covered breasts and little else. The models hair styles and makeup consisted of a Leeloo/Fifth Element motif which served the presentation very well. Dresses were accompanied with garter-like accessories that strapped at the knee and right below the calf. A particularly eye-catching number was a shimmery multi-colored striped dress. The designers broke up the monotony of the futuristic look with fur accents on the mini dresses and elaborate black, white and pink colored prints. It harkened back to the days of the outlandishly big Versace emblems only done with more purpose and effect. It’s a daring collection for those that want less sci-fi and more down-to-earth.Merelda Mckinnon
5:31 JÉRÔME, PRAE #NWFW Spring Summer 2014September 7, 2013
Carol Fung and Michelle Du have collaborated on a Gattaca meets Bladerunner futuristic lounge collection for their debut Spring Summer line. Nothing is taken for granted when it comes to structure, fabric or aesthetic. The Canadian and Australian duo make comfort look ever so sleek and modern. The models in their collection have well coiffed slick hairstyles and metallic near fluorescent fabrics are in use throughout the collection. Of particular note were the Kari Peel Slip Dress in Lilac that harkens back to Marc Jacobs styling several Spring seasons ago but definitely original and fresh. There’s also the combination of the Helene Square Front Bra and Hydra Surf Lead Pant that shows the designers are not afraid of getting very close and tight to the skin, while not being over the top with overt sexual messages. It’s subtle yet sexy.
Don’t let the new label fool you. Jerome LaMaar has been at this for over 10 years designing for the likes of Baby Phat and working under Ralph Rucci. His 5:31 JÉRÔME collection (named after his May 31st birthday) was a mix of his signature sandals (which were a show stopper because they had leafy green designs) and a plethora of wide-flared skirts, a tailored pleated jumper in creme and a floral dotted pattern shift skirt. You could see that Lamaar’s experience with design could take him in several different directions. He puts together a youthful collection that’s not necessarily whimsical but more with it and fun.
Whit Spring Summer 2014 CollectionSeptember 5, 2013
The collection description for Whitney Pozgay’s Spring Summer 2014 collection states:
In WHIT’s collaborative tradition, many of the prints and motifs were pulled from photographer Greg Vore’s imagery, translated by artist friends Jemme Aldridge and Ali Landorf, and in the case of the rooster print, painted by Whitney’s husband and creative partner. The resulting collection features hanging florals, black and white checks taken from Balinese ceremonial cloth, batiks and a colorful bird print on washed silk.
What I found when viewing the collection was a marked departure from what’s being shown during New York fashion week. Pozgay shows that she’s not afraid of mixing black and white in a variety checkered prints Her liberal use of silk gives a holiday/resort feel that’s light, airy but playfully sophisticated. This is one of the very few times during fashion week where I can honestly say that the models looked entirely comfortable and genuinely happy when wearing the pieces. That’s saying something simply because when you think of fashion shows the thought process is uncomfortable heels and awkward models attempting to look graceful wearing long gowns. The Whit collection contained none of that. It may be a testament to the “Balinese ceremonial” styled fabric, but this to me says at least one of Whit’s pieces is worthy of your own collection.
Erin Fetherston Wows in New York / Ann Yee Lays Down the Gauntlet for DetroitSeptember 5, 2013
Someone needed to tell the fashion intelligentsia that missed Ann Yee’s New York debut that this is a designer that’s going to be here for a good long while. There’s no reservations when making a statement like that because Yee displayed a familiarity with form that you rarely see especially for a full on debut. Her collection, entitled Resurgence was something of a statement for her hometown, Detroit, but it speaks more to the line. Buffeted by a background of shapes, colors and photographs that speak specifically of Detroit, Yee wowed the audience with an installation show that featured separates, metallic colors on lightweight signature knits and a colorblock print separate. This collection gives reason to attend fashion week apart from the normalcy of the big names. Continuing in this direction and Yee may end up being a part of those names.
Across town, Erin Fetherston displayed mastery all on her own again with a feminine Spring 2014 collection. Her affinity for floor length dresses and floral touches with strict attention to the feminine form belied the reasons why the celebrity set are all a twitter about her collection. You name them, she’s dressed them. The hems on the dresses wispy and light and that accentuated the effortless motion of the pieces. She paid extensive attention to detail this season when it came to the embroidery using floral patterns that up close you could see the meticulous crafting. Fetherston is in the running for one of the wholly complete collections for the season. Merelda Mckinnon
Summer StretchtasyJune 6, 2013
photography Reka NYARI
There’s nothing like lounging around during the summer in a Swarovski crystal bra hair fully done and makeup entirely flawless. That’s what photographer Reka Nyari captured in this photoseries for us and we couldn’t be happier. Contrary to the vibrancy of summer makeup, the makeup artist used earthy colors and was a bit subdued in her representation of Spring and Summer. When asked why the muted tones for a season known for sun and fun, she stated, that the colors are representative of two things: the individual models and the feeling. She stated that trends trap women into making makeup choices that are not always flattering for specific types of skin. It’s best to use personal judgement and sometimes the lightest makeup possible is the best (especially in a season of heat and humidity).Merelda Mckinnon
Custo Barcelona Fall 2013February 11, 2013
Custo Dalmau toned it down for Fall 2013. That in and of itself is saying something. Known for his vibrant colors and rejection of establishment, Dalmau continued with the latter and dropped the former. You could still see hints of his leaning on unique color combinations, but this wasn’t Custo Barcelona Fall 2012. What Custo wearers will see for Fall 2013 is a darker, richer collection consisting of a mix of furs, complex prints, simple denim and pants with multiple angular prints and designs. It’s as if Dalmau is toying with his audience. You know he can create the outlandish, fun completely off the rails collection, but not this time. This time it’s sophisticated, it’s smart and it’s a force to be reckoned with for good or bad. And that’s what really gets to the heart of the matter of the collection. Has Custo Barcelona turned a proverbial corner and gone from Euro clubwear to complex sophistication? Custo Dalmau will keep fans guessing but I’d say tune in for Spring 2014 for further judgement.Merelda Mckinnon
Nicholas K Fall 2013 CollectionFebruary 8, 2013
It’s always a treat to go to a Nicholas K show. The designer makes it hard to call the game as an umpire especially when the feeling is it’s going to be a good show. K’s collection this season first brought to mind a post apocalyptic wasteland filled with highly fashionable models and accessories to boot. Think more along the lines of Book of Eli set off somewhere in the desert. His strong urban inspired themes came through with a hooded eggshell colored sleveless pieces that draped in many folds on the female model. This set off the collection because I knew personally I wouldn’t see anything like it again for the remainder of fashion week (this includes Milan, Paris and London). He followed up with a fur lined neck and patterned shawl/throw that is a luxuriously indulgent must have. His skinny leather pants with fur lined hooded coat won’t make any friends at PETA but again was another winner. K went with the much darker hues that we’ve been seeing for the season. It’s as if the New York uniformed color of black is being sung from the mountaintops at fashion week. We’re not letting it go.
A very worthy effort from Nicholas K.Merelda Mckinnon
Max Azria Fall 2013 Collection – New York Fashion WeekFebruary 8, 2013
I couldn’t quite place my finger on it, but this was not the typical Max Azria collection you see during fashion week. I can think back maybe 5 fashion weeks and know that this was a different Fall collection. Typically that’s stating the obvious, but you can see similar design hues and at the very least some sort of evolution. Azria’s Fall 2013 collection wasn’t so much an evolution but more a departure from previous seasonal forays. For example, Azria mixed vibrant prints with darker colors. He had embroidered leather work in a color block, a beautiful sheer black full length short sleeve piece draped over sexy leather pants. He also had a strapless puffed cocktail dress that fell just at the knee that was simply stunning.
Azria started Fall 2013 with the right notes and chances are it will carry on with the Herve’ Leger and BCBG showings later this week.Merelda Mckinnon