Me Kissing Vinoodh (Lovingly) 1999
Inez van Lansweerde and Vinoodh Matadin guest edited the fashion issue of Aperture Gallery's newly revived magazine, and what the Dutch photography duo and fashion/art/advertising crossovers curated is a beautiful Ode to Mode that is as multi-tasking as they are.
Inside the pepto pink cover, featuring Richard Hamilton's "Fashion-plate", the prolific duo showcases their own work, including some never-before-seen images, as well as that of other artists, photographers, film makers, and editors that influenced their work and the industry at large.
Images and interviews run the gamut from Sixties Ed van der Elsken nudes to Shisheido ads from the 1970's to a portrait of rising star and all-around outlier Iggy Azalea accompanying an article about the forces shaping post-9/11 fashion. A healthy dose of current and mainstream imagery, like the editors' own iconic shots of Lady Gaga, Anya Rubik, and the ubiquitous Kate Moss are dotted throughout, providing the connective tissue for an issue that in just 131 pages gamely covers generations and genres of fashion, photography, and art.
HIGHLIGHTS OF "FASHION":
1.) "Uneasy Bedfellows", a referential article by Alistair O'Neill detailing the tricky relationships between documentary photography and fashion photography is especially pertinent given the glaring presence of the guest editors' blazing, delicious self portrait "Me Kissing Vinoodh (Lovingly)".
2.) Immediately after followed another article, "Fashion Film & the Photographic", a thoughtful reflection by Marketa Uhlirova that examined the similarities between the two titular mediums.
Fashion film, like fashion itself, is particularly fascinating in that it dances the fine line between art form and commercial, and is more often than not a little of both. One question posed by Uhlirova that even the casual fashion film buff can appreciate is the ever-present notion of "stillness" and "restricted expression". She offers two schools of thought, the first being that photographs are more memorable, and the second that consumers and buyers alike need stillness to be able to appreciate the fine details of the featured pieces. Whatever the reason, it definitely warrants further reflection, especially given the ever-increasing use of fashion filmography to express a designer's mood-du-jour and indeed inspire a tinge of desire dreamed up with the end goal of loosening purse strings.
3.) As an overall fashion-busybody, I relished Penny Martin's interview with Emmanuelle Alt. Reading more like a conversation, with Martin frequently interjecting her own experiences in the industry to coax out admissions from Alt, the piece painted a gorgeous portrait of one of the industry's Anti-Editor Editors. I plan to frequently refer back to Alt's responses, like these below, which you can find heavily earmarked and underlined in my copy of the magazine:
We're offered nearly 30 stunning photographs accompanying the article, among them these:
A two-tone stretch satin and lace pantsuit by Bertrand Marechal, The Face 1994
Lamb, Agnona Campaign
Maggie's Box, Yohji Yamamoto campaign 1998
Eniko for Peace, Self Service Magazine
Pick up a copy of Inez and Vinoodh's "Fashion" issue at Aperture (547 West 27th Street, 4th Floor, NYC) or online - it's disguised as a magazine but will certainly become a trusted source of inspiration and reference, and a coffee table mainstay for years.