26/02/2014

Age and Style in Tim Walker’s The Granny Alphabet

They way people dress, usually influences the way they are perceived. In fact, even the perception of our age can to some extent be influenced by the clothes we put on in the morning. While wearing something drab and unflattering might hide one’s personality and create the illusion of an older appearance, we are less and less restricted by the age-appropriateness of the clothes we wear. The rules of who can wear what are becoming more and more unclear, just as the notion that there is an age limit to fashion.

Finally, the fashion world seems to have grabbed this trend and is being influenced by older generations, both in their search for timeless lines, quality materials and impeccable finishings, as well as by their “granny-chic” flair. Even though it would be naïve to think that fashion has left its search for novelty and eternal youth, the recent trends as well as the use of older women for ad campaigns by fashion houses such as Lanvin, can be interpreted as a positive change of course. It might just demonstrate the effect a bold personal style, regardless of one’s age, has on the development of today’s fashion zeitgeist: it isn’t about what you wear, but how you wear it.

On the other hand, this recent reevaluation of “granny-style” showcases the complexity of fashion industry, adding yet another layer to its already articulated dynamics. It might show that fashion is about having a sense of self, a stronger relationship with one’s personality, which translates into an inimitable style.

In fact, even the renowned photographer Tim Walker appears to be fascinated by the older age, and speaks about the way it brings back a childlike lucidity which allows for a clearer, more focused view on reality in his recently released book: “To retain a child’s eye when peering through the camera’s viewfinder is to see the world as half magic, half horror”. “The Granny Alphabet”, developed together with Kit Hesketh-Harvey, who wrote a series of gently humorous verses, and Lawrence Mynott, who created an illustrated dictionary of granny-style, is a “part photographic love letter to the elderly and part documentation of the dying breed of little old ladies who live down the lane”. “The Granny Alphabet”, published by Thames and Hudson, is a stylish and fashionable study on everyday life, which reaffirms the saying that style is eternal.

Victoria Edman – Images © Tim Walker and © Lawrence Mynott  
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20/02/2014

Steichen: A Recent Acquisition at the Whitney Museum

If the greatness of an artist is measured with qualities such as wit mixed with a bit of extravaganza, personal taste and innovation, Edward Steichen must be deemed a great one. By working for Vanity Fair and Vogue during 1900s he brought a change into fashion photography. While the previous chief photographer – Baron Adolph de Meyer – worked with soft focus and painted backdrops to recreate a mood as similar as possible to paintings, the standard goal of the photography of the time, Mr. Steichen brought all the props away and made a dramatic use of lighting. An elegant yet honest way to portrait both celebrities and fashion stories that has definitely helped a new movement to emerge.

After working for the US Army during World War I, his photographic style has changed significantly. He started to focus on volumes and scale that gave his work a more abstract approach, leading him to become one of the most significant authorities in photography, crowned by his appointment as curator of photography at the Museum of Modern Art in New York.

Edward Steichen in the 1920s and 1930s: A Recent Acquisition is an exhibition curated by Carrie Springer for the Whitney Museum in New York, which celebrate the extraordinary donation by Richard and Jackie Hollander, a couple of art collectors. By including some of the most celebrated portraits and fashion photos taken during the time he worked for Condé Nast, images of nature as well as advertising campaigns, the show succeeds in demonstrating the role of Steichen as a leading proponent of photography, both for his research on the aesthetics and language of photography, as well as his uncompromising approach to commercial photography

The show runs through February 23th at the Whitney Museum in New York.

Francesca Crippa – Images courtesy of Whitney Museum of American Art 
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15/03/2012

Luigi Ghirri – An adventure in thinking and looking

Luigi Ghirri – An adventure in thinking and looking

Thoughts, deeds, actions, visions, sounds, words, objects, ethic groups and echoes that come from everywhere in an evident and overwhelming fashion, transform and mark modernity. In our existence, this sense of alienation, this having continuously to relocate the common denominator, to unravel the billions of little physical and mental junctions and crossroads, a continuous re-finding ourselves only to get lost once again becomes the dominant feature of our era.

Luigi Ghirri, Lo sguardo inquieto, un’antologia di sentimenti (The restless daze, an anthology of feelings), 1988



What is photography? Luigi Ghirri – one of the most influencing photographers ever, and a milestone of contemporary history of the medium – answered to this question defining it as an adventure in thinking and looking. Ghirri’s adventure lasted 20 years, from 1970 to 1992, when he died prematurely, and left us an amazing collection of images, which reflects his personal and intimate dimension in a sort of anthropological research.

An important exhibition dedicated to this master of photography has just closed at Castello di Rivoli, and we couldn’t have avoid visiting the show – just in time before the finissage – to report our impressions and share them with our readers, giving inputs to all the photography lovers that unfortunately didn’t have the opportunity to live this experience. It’s no accident that in a time when sensationalism and ostentation seem to be inapt, places and people devoted to art re-discover the work of Luigi Ghirri, sunk into the oblivion for many years.



Ghirri’s approach to the act of taking pictures is comparable to an exercise of memory and soul. His pictures, depicting landscapes, working activities, diverse apparently meaningless objects or normal people – photographed from the back or afar, during their everyday life –, underline the photographer’s will of experimenting and probing all the possibilities and specificities of the medium. But the camera is much more than this for Luigi Ghirri, who used it to create his unique journal made of places and individuals interpreted without harking back to any previous model. The Artist’s project prints – the first contact prints, produced to visualize his work – shows that he rarely made changes in the framing in the darkroom, while his interventions were mainly related to chromatic control.

Through the research of the perfect colour intensity – unsaturated and delicate colours, a quality that allows to make the shots lighter – Ghirri was able to create his typical chromatic effect, which gives to the observers the feeling of going outside the images, beyond the appearance. Thanks to photography the artist introduced the possibility of representing the landscape as an anthropized environments dominated by an almost metaphysical silence that allow people to see the obvious from another point of view, measuring it slowly to reveal its details.


Monica Lombardi – Images from the archives of Luigi Ghirri

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21/02/2012

Kristina Gill: Oatmeal

Kristina Gill: Oatmeal

Today we welcome The Blogazine’s newest columnist, photographer and food stylist Kristina Gill. Based in Rome and a native of Nashville in Tennessee, Kristina is the editor of In The Kitchen on Grace Bonney’s must-read megablog DesignSponge, and will be bringing her cozy, welcoming style for taste to our pages. She’s a master of beauty in the everyday and explores the world through the true-to-sight 35mm lens of her camera. Hello, Kristina! Let’s eat! 

“Oatmeal is one of the staples in my cupboard.  I love it for breakfast, especially when it is cold out.  Usually I add a couple of tablespoons of finely ground flaxseed meal and a bit of butter when I want to add richness.  This winter, though, I did something I never do, and I ordered a bowl of oatmeal in a restaurant.  It was served with hot buttered currants, bananas, and walnuts.  Who knew it could taste so good?  Now, when I want an extra special weekend treat and something that will carry me through to late afternoon, I make my oatmeal with golden raisins and bananas heated in a bit of butter, pecans, and a splash of cream.”

Introduction Tag Christof – Text and Images Kristina Gill

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20/07/2011

Northern Women in Chanel

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Northern Women in Chanel

“From Femme Parisienne to Swedish Dalkulla”

The Swedish stylist Ingela Klementz-Farago and her husband, the Hungarian-born photographer Peter Farago is the couple behind the epic project Northern Women In Chanel.

The couple has since 2010 lead a unique collaboration with Chanel. The result is an exhibition, which was inaugurated in early July at the photographic museum Fotografiska in Stockholm, and a massive pavé coffee table book. The photo series features 45 internationally known models of Scandinavian and Baltic descent, and about 500 couture pieces from Chanel, and will during the fall and winter travel through Europe.

The project is one of a kind in more than one way. First off, the usual puppet master Uncle Karl is not in leading position. And the usual contemporary Northern beauty has been placed in a greater historical perspective, and invites the viewer for a journey through time, with many easily discernible Scandinavian cultural phenomena.

In one photo, the surrealistic innocence and beauty of Linnea Regnander and her fellow elven-like colleague is portrayed as noble women in a middle age church-environment. Whether they were in collusion with King Gustav Vasa, or simply belonged to the court, the history does not convey. In the black and white photo, featuring a giant cross, Vicky Andrén steps in to the World of Ingmar Bergman and vintage Swedish melancholia, and becomes a still frame from the director’s chef-d’oeuvre ”The 7th Seal”. An intriguing dark scenery which one rarely associates with Chanel.

That’s the true genius of this project. To bag, borrow and steal something so connected with the French national spirit and heritage, and put it into such a different context. The terms cultural exchange comes to mind. From Femme Parisienne to Swedish Dalkulla.

However, such strong historical aspects also requires a lot from the mannequins fronting the project. Except for the 42-year-old Helena Christensen, the greater lot of the models are fresh from the Runway Foetus Factory, and there is simply something about classic Chanel couture, to which a 17-year old blushing beauty cannot always do justice.

Indeed, some pieces demands the Garboesque stern superiority of Kristen McMenamy. And where is the majestic poise exuded by Ingmari Lamy when you need it the most?


Something that is easily forgotten when talking Chanel, and something that in many ways has been buried in time is that, if you are to believe Axel Madsen, author of Chanel; A Woman of her Own, the Madame herself was a lot more than cute cupcakes from Ladurée. Coco Chanel was the raging riotgrrrl of couture, decades before Kat Bjelland got her first guitar.

So, when working with this very brand, it’s crucial to always add a hint of corsage-crushing avant-garde edge, to the timeless elegance and class that is Chanel. Where many others fail (read fashion magazine’s editorials), and simply end up cooking beautiful, slightly mediocre Chanel soup, the Faragos turn out to have many bright fashion photography moments worthy of Madame Coco herself.

Petsy Von Kohler – Images courtesy Chanel

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23/06/2011

The Adam & Eve Projects

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The Adam & Eve Projects

The Adam & Eve Projects takes the hazy idea of the “creative collective” to fantastic new heights. At once a sort of borderless community for our generation’s most influential creatives and a display case for their work and ideas, the initiative includes “the most exciting and important shapers and definers of our cultural landscape” In the collaborative spirit of Wonder-Room, the project draws on particularly relevant talents to produce a body of projects, and in the process becomes a fantastic cross-section of the creative landscape as a whole. It’s like a 21st century salon, with big ideas and lots of rule-breaking. Except cooler.

No medium is off limits, and contributors span the entire creative spectrum, from musicians to architects, to filmmakers, artists, fashion and industrial designers, and illustrators. Both individuals and organisations take part. New talents join regularly as the project’s influence grows, and the discourse and scope only makes it more interesting. In some cases the work created is even for sale (especially from the fashion designers), and the site is also a great place to score some seriously distinctive bespoke fashion.



Three of 2DM’s photographers are actively participating in the project. Skye Parrott, well known for her emotional snapshot photography, has contributed quite a bit (see her stream here), and her magazine Dossier Journal also contributes regularly. Roger Deckker, in his project billed West End Artisans, shot badass Jesse Hughes from The Eagles of Death Metal in grainy, tactile film. Roberta Ridolfi is also slated to contribute, and after her recent and fruitful stay over in New York she certainly has something good in the works. Other photographer participants in the project include our recent acquaintance, the very talented Kuba Dabrowski, as well as Ari Marcopolous, Nick Night, Cass Bird, and others.


Beyond photography, other contributors include lovely British design duo Jamesplumb, who we met at Spazio Rossana Orlandi for their solo exhibition there late last year, architect extraordinaire Bjarke Ingels, designer Sarah Applebaum, A.P.C. creator Jean Toitou, and way too many others to mention.

We’ll be watching closely!

Tag Christof – Images Skye Parrott & Roger Deckker courtesy Adam & Even – Special thanks to Scott Woods

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16/06/2011

Citofonare Trombetta / Wonder-Room

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Citofonare Trombetta / Wonder-Room

After a seasonal hibernation, Wonder-Room is back with a vengeance, in a new space with another not-to-be-missed artist / art director mashup. This time around, photographer Vicky Trombetta teams up with duo Studio Blanco for an event to showcase the heart of his work and his particular creative process.

An intimate glimpse into the artist’s personal space, the exhibition will be set up to recall his real-life workspace. It is his toolbox of inspirations, so to speak, and a window onto his creative process. On display will be selections from his body of work and his personal archive spanning two decades, all seen through the prism of the inspirations behind them. Citofonare Trombetta (“Ring Trombetta’s Doorbell”) invites you in for a look into the life of an artist who has lived through photos. It is a private piece of him on display.

The exhibition’s other filo conduttore – and an important sticking point in Vicky’s work in general – is analogue. Together with the personal research, memories, and experiences that have gone into the making of his photos, his images are heavily influenced by the space he exists in. Appropriately, the images will be displayed together with objects from everyday life, creating a real sense of their context and story.

Not to be missed is the event’s gift for the first to arrive at the opening. On a table constructed by the photographer will be boxes – from his archive – which will contain fifteen, very limited-edition silver prints in editions of nine.

Opening June 21 in a new venue on Via Arena 19 at February.

Tag Christof & Daniel Franklin

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