The photography of Viviane Sassen (Amsterdam, 1972) is in a class of its own. The intuitive way in which Sasses approaches her subjects is entirely personal, independent of other examples or reference frameworks. She often seeds the body as a sculpture, and concepts of revelations and concealment help to create the riddles in her images. Sassen makes effective use of the mystery of shadow and the flamboyant expressivity of colour. She has also achieved a special intimacy with certain models, so that her photos can sometimes be erotic, but at the same time they can be open, rich in contrast, or explosive. Her images are invariably intriguing and remarkable, and they are, occassionally, somewhat surreal. Over the course of her career Viviane Sassen has produced a flood of marvellous images, many of which are of Africa, the continent in which she spent part of her youth.
A portrait of the urban man on the move, today’s film Weavers, was conceived by the designer as a follow-up to his fall 3.1 Phillip Lim menswear show. “It’s just three strangers going about their day,” he says. “They cross paths, and feel a kindred spirit because of the way they dress.” The short was shot in Palm Springs by San Francisco-based photographer and filmmaker Andrew Paynter, and its title is a nod both to the artisanal tapestry and rug-making techniques Lim drew upon for his collection, as well as the elusive nature of the models pictured threading in and out of shadows. “We’re always trying to get a mental picture of the man we’re designing for,” he says. “But he’s a little bit of a mystery; we only get glances. This film is our attempt to capture that experience of seeing someone in snatches.” We asked New York-based Lim to demystify his urban summer essentials. via NOWNESS
Twenty-seven-year-old Quentin Jones is regarded as something of a Renaissance woman. She’s a model, a philosophy graduate and one of fashion’s brightest young film-makers, specialising in a cartoonish style of surreal photo-montaged animation.
“When I was at art school, anything ‘fashionable’ was frowned upon,” says Jones, who studied her craft at London’s Central Saint Martins. “I jumped straight into this from a BA at Cambridge, so spent a lot of time playing catch-up and making up my own way of doing things. Maybe this is why my style is so slap-dash.”
But there is a precision present in much of Jones’s work, in her films created for brands like Chanel and designer Holly Fulton, where montaged images are overlaid with graffiti-style collaging, everything building to an almost-kaleidoscopic vision of femininity, fashion and modern-day beauty. Read more