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A new book depicts the photographer’s snapshot of malls and seniors mingling with the 90’s supermodels in obscure areas of London. The ‘Pit’
Nigel Shaffar has never considered himself a fashion photographer – or admitted to his recent book. The pit. Instead, he went on to say, “I think I can be a fashion photographer.”
If you doubt the difference, there is no need to look further The pit For the answer. In a report on the long-standing relationship with the world of commercial fashion photography – Shaffar said: .
A.D. After introducing his toe into the industry in the mid-1980s, Shaffar soon began firing on underground behemoths. Face And IDAnd he quickly became famous for his uncompromising and unpredictable approach to fashion photography – an unwavering style that he has maintained and developed for years. The pit – Edited by Linda van Darson and published by Lose Joints – Latest in Photo Books Collection, including Ruthbook (1995) Consumers in their teens (2013) and Dark rooms (2016) At this time, it is a deep love letter for the business trip so far.
Inside, planted under umbrellas ChanelIn offices VogueAnd between the face of porcelain Linda Evangelist., Kara Delvin.And Courtney Love They are the Creekwood seniors, teenagers who buy at the Elford campus and Oxford street consumers. If there are no certified fashion articles under each image – Vogue, ID, face – You can easily forget that you are in the ‘pit’ (the main image section of the magazine) of the most popular publications in the industry.
That is the point. Shaffar is known for his provocative photography, which captures his daily life. It was this idiomatic, anti-fashion art movement that led Shafra in the past. The pit“To see the business as a separate entity [his] Work ”- but it reflects,“ over time, they have come together, or they have merged, in fact ”.
Shafra is no more obvious than the work he has been doing, inviting the reader behind the veil of fashion, exposing his temporary collections, taking us behind the scenes and even bringing us to model work. The photographer shows the greed of the industry and the consumer by placing models in Paris luxury stores and making them “part of the business”.
This is a natural evolution of the Sharaffen-style street art from the late 80’s and early ’90s, when it was more fashion-oriented. Here, the studios and department stores have been transformed into local highways, supermarkets and states – and instead of rails, Shafra’s subjects are momentary travelers. Speaking about Levi’s shooting in 1990, Shafraran said: “We basically went and asked the people we were going to wear these clothes for money. “No one else was involved. I couldn’t do that now.
Like this story, every series throughout The pit Accompanied by Kathy Grand, Anna Cockburn and Phil Baker, he is accompanied by long-awaited memories of Shafra and his fashion friends. There is even a historical reprint of Kathy Acker. 1997 Guard Interview With Spicy girlsShaffar took a photo (and Acre also used the last shot to photograph him with the girls – fortunately, someone else was on hand to grab one).
Along with Shafra’s portrayal of the fashion world, the existence of such scary names is linked to his business acumen and, above all, his ability to show “duality of reality and fantasy.” Although he did not do so intentionally. When writing in The pit“I like the pictures to be temporary rather than professional. I don’t like them when they are very planned.
The well is sealed by Nigel Schaffer with lozenge joints and. It’s out now.
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