Peter Lindbergh – another vision to fashion photography

Classic Peter Lindbergh. He is one of the most influential fashion photographers nowadays. The unique vision of fashion photography has affected fashion history undoubtedly since the beginning of his career in the late 1980s. A distinctive eye for the women beauty, the birth of supermodels era and the cinematographic narrative stories have made an immense impact in fashion world indeed.

 

 

Shortly, Peter Lindbergh is a German photographer who was born in Poland but spent his childhood in Duisburg, Germany. He was affected by the industrial environment and Krupp steelworks of the Ruhrland city, seeing that he has been influenced for his work through the years.

A recent exhibition about Peter Lindbergh ‘Different Vision on Fashion Photography’ curated by Thierry-Maxime Loriot at Venaria Reale in Turin contains more than 220 photographs and the never seen before personal materials: polaroids, props, agendas which reveal his creativity path from 1978 to the present day. His photographic life are divided into thematic approach: Supermodels, Couturiers, Zeitgeist, Dance, The Darkroom, The Unknown, Silver Screen, Icons. Inside Couturiers section you can also find the fashion clothes, magazines and polaroids of Kate Moss.

 

 

He is noted as a pioneer of a different vision of fashion photography and new realism by redetermined norms of the beauty. When someone has the courage to be themselves, that is beautiful, said Lindbergh. He shot Naomi Campbell, Cindy Crawford, Linda Evangelista, Christy Turlington, and Tatjana Patitz for a remarkable Vogue UK cover in the 1990s which predicted the supermodel’s era. With this cover, he had completely changed an attitude for a woman beauty and style (girls were wearing Giorgio di Sant Angelo bodysuits and Levi’s jeans). After 80’s big hair and glossy makeup, he came up with almost no make the up-natural look and it was something unusual. Lindbergh recalls: I was rather uninspired with the way women were photographed in the 80s. I was trying to photograph them in a different way, but nobody seemed to care back then I wanted to move away from the rather formal, quite perfectly styled woman who was very artificial. I was more concerned about a more outspoken, adventurous woman in control of her life and not too concerned about her social status or emancipated by masculine protection. My ideal was always the young women I met in art school, very independent and who could speak for themselves. The supermodels represented this change.