Vogue Italiaのインスタグラム(vogueitalia) - 10月4日 21時28分

Opinion 1 of 4. Vince Aletti.
“It’s impossible not to have mixed feelings about Helmut Newton. I don’t think he would have been satisfied with anything less. He may not have set out to upset people but he was unapologetic when he did. “Some people hate what I do,” he told one interviewer; controversy only emboldened him. He enjoyed being fashion photography’s wittiest and most reliable provocateur. His best work is still subversive, still shocking, and, for many, still repellent, still unforgivable. I understand. When I first saw Newton’s White Women, in 1976, the women’s movement had already made him something of a pariah, claiming he demeaned and objectified women. That was hard to argue with. The work could be vulgar, even cruel; the nudity, no matter how elegantly staged, felt gratuitous, punitive. Looking back, I wonder how I would have reacted if I had seen Newton’s work as it appeared month after month in the pages of French Vogue rather than all at once in a book with damning opinions attached. Catching up with it later, issue by issue, I could appreciate the photographs in context and better understand why they mattered. Newton and Guy Bourdin, who often shared Paris Vogue’s prime real estate, were agents of change. They came along at a time when fashion photography’s acknowledged masters–Horst, Beaton, Parkinson, Avedon, Penn–had become the Establishment, an Old Guard that, while far from moribund, needed some serious shaking up. Newton was hardly a radical, but his work often was, and he and Bourdin weren’t afraid to follow their erotic fantasies and fetishes wherever they might lead. Together, they changed the course of fashion photography–freeing it from old conventions, teasing it mercilessly, feeling it up, freaking it out.”
Read the full text by #VinceAletti in the October issue of Vogue Italia, out on October 6th.
“Tv Murder, Hotel on the Croisette” by Helmut Newton, Cannes 1975.

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