Au Bar, Apollonia in YSL, Paris 1986, Haute Culture 1998
In spite of the fact that all of my fashion pictures are staged, they were never completely ‘designed’ in advance. They usually had to fit within a larger concept based on an image of time, an emotion, a character, a movie, a philosophy, etcetera. With that in mind I made sketches which were used as a starting point, never meant to be executed precisely. I always tried to stay open for things that could happen unexpectedly, things that I couldn’t foresee sitting at my desk; the reason why my ideas sometimes turned out totally different in reality than on paper. In my opinion one of the most intriguing sides of this profession.
The next thing was to take the whole crew of models, stylists, make-up artists and assistants to a location, where we joined ‘real life’, while I, just like a street photographer, only had to capture what I saw. During these shoots a ‘new reality’ arose with humanity as a context. A context that could be understood by anyone, including those who are not interested in fashion: Constructed Realism.
Excerpt from ‘Nothing is Real’, Chapter 4, Staging and Directing