|What triggered your interest in photography in the
Well my father was an amateur
photographer, and every so often the wash room would get changed into a
temporary dark room. Later on as a teenager this curiosity was fueled by
artists such as Mario Giacomelli, who lived locally, and Francesca
Woodman's work. Me and my friends would jump in a car, dress up, and
take photos in abandoned local
Your pictures capture a romantic,
yet very strong and dynamic, essence of the women you photograph.
Is that a quality you aim for, does it have to do with your
idea about femininity, or is it a trait of those women themselves,
There is a combination of answers. I represent
myself, what I feel to be and aspire to be, and my idea of femininity
which is expressed in all my works. Whilst on another more primal level
as a woman myself I have something in common with the women I shoot.
Normally models are strong and dynamic people, traveling the world at a
young age. Before and during the shoot, I explain to them how they
should be and act but obviously the individual nature of the women that
appear in front of my lens shines through.
When starting out to plan a new project, what are
the first things you plan and the first questions you ask
Well the idea is the starting point of
everything, something that I myself I have to find visually interesting,
and would enjoy developing. Then I work through the different scenes
and sketch down ideas. All my editorials are themed so most of the time I
am looking for a specific type of woman to interpret a certain role.
Then I try to get an idea on how to shoot the different scenes, from the
type of lighting and colours involved to sourcing and creating the
scenery, location and props. The theme would dictate the choice of
clothes the stylist selects. Additionally, if I have to use
post-production techniques to realize certain shots I usually have to
work these out quite early
Does the mood you are influence the result of a
project? If so, in what way?
Not in the slightest,
since the projects are planned sometimes months beforehand. I normally
assign a project a certain mood. Whilst I might be tired, or happy
during the day of the shoot, it doesn't really matter. What people might
not realise is that there is a lot of work to be done before and after
the day of shooting so generally mood swings tend to get ironed out by
the production and creative process. What comes through is more to do
with personality rather than mood.
you enjoy most in your work?
Opening the magazine to
see the finished article or getting the print back for my
book.In your opinion, is a photographer always in search
of the perfect angle, the perfect perspective?
well I'm not. I am very static in my anglelations. When I have a scene
in my head it is usually from a point of view of a theatre-goer, very
rectangular, straight on. It is unconscious and has developed into a
style. That said I do work with angles a lot, I change angles to make
the pictorial balance work in every photo. How the objects become
aligned with the model, her pose and how the angles of light fall on
every element in the
Fashion magazines, in their
fashion editiorials, have been producing and presenting pictures of
outworldly, almost beauty that have very little to do with reality. It
seems that the photographs themselves take precedence over the clothes.
Do you feel that this only natural? How do picture the evolution of
fashion photography? Do you think that we will eventually see it only
I think that there is an appetite from the
editors and the readers for interesting imagery and there always will
be. What is interesting is finding new ways to arrest the viewer, to
make them stop, if only for a few seconds, to read the image. Obviously
this is entering also into the field of advertising. If you want reality
then there are magazines that have this as their fundamental stylistic,
there are also trend spotters and wardrobe remixers 24/7 around the
globe. If you want to see the clothes better you can go to the labels
website, see the catwalk, look at the catalogue and then buy the
product. This is the future of fashion photography in it's commercial
sense to act as an initial interlocutor. Whilst to fulfil this role it
has to be interesting, stylish, well produced and creative... there is
and always will be an art to
it.Do you think that there is any chance that fashion
videos will eventually take the place of fashion
Probably. I have seen a lot of
photographers moving into the field of fashion videos. But most of them
are quite mundane and without much creativity, alot of playing around.
Most of them seem to be doing it for the sake of doing it. Most people
think that is a new field. What I like about fashion photography is the
creation of an illusion, working with video can shatter this illusion
and things tend to seem cheaper, but having a big budget and production
team will help.
Then there are the arguments of 3D, digital
retouching, shooting editorials on video... the list goes on,
photography is a technical discipline that is changing all the time, but
then again it always has
been.How important are clothes and fashion in your
Clothes are important to me but a lot of things
beforehand.Has your work affected the way you dress? Do you
enjoy experimenting with your personal style?
live in Milan, in city of style, where in a fashion sense you can't let
your hair down. Yet there are plenty of opportunities to dress up.
Working is always hard to judge, to look stylish yet comfortable usually
involves trousers and flat