From April the 7th to June 17th the Musei di Palazzo dei Pio will be the set for Fashion, Portraits & Landscapes, an exhibition that counts over one hundred prints, both in black and white and colors, lookbook celebrating the artistic parternship between Blumarine and Albert Watson.
The exhibition tells the story of twelve fashion campaigns that the photographer realized between 1987 and 1992 for the maison. Most of the prints are originals that Watson printed himself, and bring the visitors back in time, during those magic and glorious years when fashion loved to play with creativity all around.
Watson builds a consistent thread involving clothes, models and the surroundings. Not just fashion photography, but a complete new universe, that even those who don’t know fashion can find attractive and fascinating. The exhibition take place two year after the one that celebrated the association between Blumarine and Helmut Newton, between 1993 and 1999.
«It was a pleasure to work with Newton», said Molinari, «but, among all, Albert was the one who better portrayed the soul of our brand, made of romanticism, sensuality and femininity. The idea of a show, with our archive images, came from my daughter Rossella Tarabini. Taking back all these prints and see them again, all together, was really exciting for all of us».
The designer remembered some peculiar moments on set. « We shot in Los Angeles, in Scotland, Las Vegas, London, New Mexico, San Francisco, Naples, Miami, New Orleans and Watson always menaged to create a relationship between those places and our fashion. We had the chance to work with some of the most spectacular women of that time, from Cindy Crawford to Nadja Auermann, Helena Christensen, Michaela Bercu, Naomi Campbell e Carré Otis.».
Watson underlined the freedoom that the brand gave him. «None of these pictures went in post-production. There was no photo editing at the time, you hhad to work just on set and Anna trusted me completely, and never gave me limits of any sort. Of course, some of them may be strong, less common in contemporary photography, but I made them always paying attention and respect to models and clothes. I remember some shots in which the model had open legs: I didn’t make them to be provocative, but that was a way to create lines in the picture. Most of all, I never forced a model into a pose. I’ve always explained my idea, trying to understand if she was comfortable with it».
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