More than a decade ago, I published the work of Cindy Sherman, Nan Goldin and Robert Mapplethorpe in an art book.
My intention was to show how artistic talent had been used by the « chic world » to promote the contemporary design of fashion. In my opinion, this did not result in diluting their visions. I didn’t dare to predict the future, but if I had expected this practice to continue, I would have been wrong. Instead, a new generation emerged in the mid-90s, fully aware of this expanded sphere of innovative photography, and trained to approach fashion photography as a research medium.
Some of these young photographers, and Sophie Delaporte is the most brilliant example, obviously retain some ambivalence between the cultural and creative restrictions that prevail in the genre they have chosen.
Sophie Delaporte shows us that there are still ways of negotiating in the troubled waters of fashion to forge a personal style, and helps us push the boundaries of the perception we have of ourselves in this strange post modern climate
Martin Harrisson, introductory text for the exhibition « Early Fashion Work » by Sophie Delaporte at the Marion Meyer Gallery, Mois de La Photo 2002.
More than a decade ago, I published the work of Cindy Sherman, Nan Goldin and Robert Mapplethorpe in an art book.
My intention was to show how artistic talent had been used by the « chic world » to promote the contemporary design of fashion. In my opinion, this did not result in diluting their visions. I didn’t dare to predict the future, but if I had expected this practice to continue, I would have been wrong. Instead, a new generation emerged in the mid-90s, fully aware of this expanded sphere of innovative photography, and trained to approach fashion photography as a research medium.
Some of these young photographers, and Sophie Delaporte is the most brilliant example, obviously retain some ambivalence between the cultural and creative restrictions that prevail in the genre they have chosen.
Sophie Delaporte shows us that there are still ways of negotiating in the troubled waters of fashion to forge a personal style, and helps us push the boundaries of the perception we have of ourselves in this strange post modern climate
Martin Harrisson, introductory text for the exhibition « Early Fashion Work » by Sophie Delaporte at the Marion Meyer Gallery, Mois de La Photo 2002.
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