Lampoon/ Transition – an attempt to make daily life interesting again
«The series was shot exactly one year after the first lockdown in the same flat I lived it in» reflections on Alexandre Haefeli’s photoshoot
Man Ray’s photograms of the Twenties were a technical study in the materiality of photo paper. I built a basic darkroom in my bathroom with cheap construction material. Along with fashion items, I incorporated found objects from my home, limiting myself to my confinement. The whole process felt very scientific like I was a chemist. This impacted my sense of composition which became more calculated and rigid. I studied how we experience incandescent light through its interaction with objects. A photogram is a recording of the physical nature of light. Although we can’t touch it, it has a direct, chemical response on photo paper.
Photographer: Alex Black
Stylist: Sharifa Morris
Man Ray’s photograms of the Twenties were a technical study in the materiality of photo paper. I built a basic darkroom in my bathroom with cheap construction material. Along with fashion items, I incorporated found objects from my home, limiting myself to my confinement. The whole process felt very scientific like I was a chemist. This impacted my sense of composition which became more calculated and rigid. I studied how we experience incandescent light through its interaction with objects. A photogram is a recording of the physical nature of light. Although we can’t touch it, it has a direct, chemical response on photo paper.
Photographer: Alex Black
Stylist: Sharifa Morris
«The series was shot exactly one year after the first lockdown in the same flat I lived it in» reflections on Alexandre Haefeli’s photoshoot
«Chinoiserie possesses a sense of wonder, even if tinged by some sadness. I start from this, to express the amazement it communicates to me» – Richard Saja made the toile of joy from the toile de Jouy
An attempt to demystify fashion’s invisible man: «He could have all the glory and fame – instead he decided to step away to let the garments and the Maison speak for him»
WE DON’T KNOW WHAT WE’RE BECOMING YET
BUT WE KNOW WHAT WE’RE LOOKING FOR
458 PAGES
RECYCLED PAPER, NO COATED
COVER IMAGE MARIE TOMANOVA
IN CONVERSATION WITH
HERON PRESTON
GIORGIO ARMANIHAKAN KARAOSMAN
DAN COLEN
REINER HOLZEMER
CYRILL GUTSCH
IAN MASSEY
LAMPOON PUBLISHING HOUSE SRL | R.E.A. DI MILANO N. 2057081
I.V. TRATTAMENTO DEI DATI © LAMPOON 2019
WE DON’T KNOW WHAT WE’RE BECOMING YET
BUT WE KNOW WHAT WE’RE LOOKING FOR
IN CONVERSATION WITH
HERON PRESTON
GIORGIO ARMANI
HAKAN KARAOSMAN
DAN COLEN
REINER HOLZEMER
CYRILL GUTSCH
IAN MASSEY
LAMPOON PUBLISHING HOUSE SRL | R.E.A. DI MILANO N. 2057081
I.V. TRATTAMENTO DEI DATI © LAMPOON 2019