POSTED BY HDFASHION / April 4TH 2024

Paolo roversi in galliera musée de la mode de la ville de paris

dis nɔto jɔs wan big wan – di big wan, fɔ tru – ɛgzibishin fɔ Paolo Roversi in wok, i de bak in fɔs wan na Paris, di siti usay in kariɔ as fashin bin bigin na di Parisian fashɔn. Di ɔganayza dɛn bin gɛda 140 foto wok dɛn, inklud sɔm we di pipul dɛn nɔ ɛva si bifo, ad tin dɛn lɛk magazin, lukbuk, inviteshɔn wit Roversi in futej, ɛn di fotografa in palaroyd dɛn. Ɔl dis na Sylvie Lécallier, we na di edman fɔ di myuziɔm in foto kɔllɛkshɔn, bin gɛda. Prɛzɛnt togɛda fɔ di fɔs tɛm as di sɛlibreshɔn fɔ Roversi in 50 ia fɔ fotograf, dɛn sho di visitɔ dɛn wetin go insay in art ɛn aw i de wok.

di big big pat pan Roversi in wok dɛn in jɔnal, ɛn na dis ɛgzibishin in patikyula, na pɔtrɛt (pan ɔl we dɛn gɛt bak foto dɛn fɔ in fav kamɛra ɛn wan dɔg maybe bak in favrit, bɔt dɛnsɛf, na pɔtrɛt ɔf sɔrt). Ɛn bikɔs ɔf di patikyula we aw in wok de, di bɔku bɔku pipul dɛn we de pikchɔ di pikchɔ dɛn na mɔdel dɛn; I dɔn wok wit ɔl di fambul fashɔn mɔdel dɛn fɔ di las 30 ia, bɔt i nɔ kin shot pikchɔ dɛn bɔt pipul dɛn we bɔku pipul dɛn sabi. Bɔt ivin we i de shot di fambul mɔdel dɛn, i nɔ de ɛva riprodyuz di klishes we di pipul dɛn sabi: i nɔ de tayp in sɔbjɛkt dɛn as sɛxy gɔd uman dɛn, flirti gyal dɛn, androgynous android dɛn, ɔ ɔda pɔpul stereotypes. Insay wan pan in intavyu, Roversi se di wan dɛn we de kam biɛn bɔt in art, pan ɔl we i kɔl am “tɛknik”, nɔto “at”: “Wi ɔl gɛt wan kayn mask fɔ ɛksprɛshɔn. Yu de se gudbai, yu de smayl, yu de fred.A de tray fɔ tek ɔl dɛn mask ya go ɛn smɔl smɔl pult te yu gɛt sɔntin we klin, wan kayn we de kɔmɔt na do. teknik."

Kate Moss nɔ tan lɛk di Kwin fɔ Heroin Chic, Natalia Vodiovanova nɔ tan lɛk fawn we de mek pɔsin fred, ɛn Stella Tennant nɔ tan lɛk Virginia Woolf in Orlando. Wetin kin apin to dɛn ɔl na di sem tin we Roversi se: i kin tek ɔl dɛn mask ya te na sɔntin we klin nɔmɔ lɛf. Paradoksal wan, dis disengagement we in kamera mek nɔ de amplify di distans bitwin di pɔsin we de wach ɛn di mɔdel dɛn, bɔt i de ridyus am, we de briŋ dɛn nia wi insay dɛn mɔtalman, wit ɔl dɛn pasɔnal idiosyncrasies. Dis na spɛshal tin we dɛn notis mɔ na di NUDI siriɔs, we bigin insay 1983 wit wan nyud pikchɔ we de sho Inès de la fressange fɔ Vogue Homme, we dɛn shot na di ayt fɔ in wok, ɛn afta dat i kɔntinyu fɔ bi in prayvet prɔjek, usay i bin tek foto fɔ fambul ɛn nɔto so fambul mɔdel dɛn. Ɔltɛm na di sem we – nekɛd, ful-sayz pɔtrɛt, luk dairekt insay di kamɛra, ɔnda dairekt ful layt we nɔ gɛt shado, shot insay blak ɛn wayt, ɛn afta dat ri-shɔt pan wan 20x30 Polaroid – ɛn dis we i tan lɛk se i de distans ɛn wanwɔd ifɛkt dɔn mek wan spɛshal dip ɛn ɛksprɛsivnɛs. Dɛn kin gɛda dɛn na di ɛgzibishin na wan sɛpret rum – ɛn sɔntɛm dis na in pat we tɔch pas ɔl, bikɔs dɛn nekɛd bɔdi ya nɔ gɛt ɛni sɛkshɔnalizashɔn.

In jenɛral, Roversi lɛk fɔ wok wit di 8x10 polaroid kamera, di fim fɔ we nɔ mek igen, ɛn di fotografa as i se dɔn bay ɔl wetin i go ebul fɔ fɛn. Dis kamera dɔn kam fɔ gɛt sɔntin fɔ du wit in difrɛn ɛn rili rɛkɔgnayz stayl we de yuz kɔlɔ ɛn layt fɔ mek ifɛkt pan wan peint. Ɛn ivin we i yuz ɔda kamɛra dɛn, di ifɛkt de de. Bɔku pipul dɛn dɔn tray ɛn dɛn de tray fɔ kɔpi dis ɛfɛkt, bɔt di rizɔlt kin bi sɔntin we kin mɛmba di wok we AI de du. Roversi in ɔrijinal majik rialism yu kin si ditayli na di ɛgzibishin – insay in shot fɔ Vogue Frans, Vogue Italia, Egoïste, ɛn Luncheon, insay in kampen dɛn fɔ Yohji Yamamoto, Comme des Garcons, ɛn Romeo Gigli. Di wok we di ɛgzibishin in scenografa Ania Martchenko bin du, we mek sɔm pan in signɛshɔn trompe-l’œil insay di fɔm fɔ wan winda ɔ wan domɔt we opin smɔl we de pul layt, de ɛksplen di masta in yus fɔ layt ɔl tu di mɛtafɔrik ɛn literally.

bɔt Paolo Roversi in rili intarakshɔn wit fashɔn, wit fashɔn kɔllɛkshɔn, na kwik yunik – i de shot insay wan we we de mek i bi sɛkɔndari sɔbjɛkt fɔ di pikchɔ, bɔt di foto dɛn nɔ de stɔp fɔ bi fashɔn. As im se imsef: “Di klos na big pat fo fashon piksho. Na big pat fo di sobjek. Ivun if, fo mi, evri fashon piksho na laik portreit – a de si and trit evri piksho laik portreit, of uman o man o boi – bot di klos de olwes de and dem fit mek di intapreteshon of di piksho plenti moch.”