GoSee CREATIVES TO WATCH : Nathalie Herschdorfer, Director of Photo Elysée in Lausanne, talks about the exhibition ‘Beyond Fashion’ curated by her at Saatchi Gallery London
On display now at Saatchi Gallery in London is the exhibition ‘Beyond Fashion’, which tells the story of how fashion photography has not only become more than a mere commercial device, but has evolved into an art form in its own right. On show are more than 100 photographs from artists including Peter Lindbergh, Ellen von Unwerth, and Paolo Roversi, as well as up-and-coming talent such as Feng Li and Kiki Xue.
The exhibition curated by Nathalie Herschdorfer is divided into four sections: Allure, Fantasy, Realism, and Surrealism. Thematic categories reflecting the various approaches of fashion photography. An additional section of the exhibition is dedicated to moving images – underscoring the importance of film in today’s fashion imagery. It will feature the works of SHOWstudio, the website of Nick Knight. Of course, we had plenty of questions for the curator of the exhibition.
How did you manage to bring together such a prestigious group of photographers for this exhibition? Did you face challenges coordinating with artists of this caliber?
Nathalie Herschdorfer: This exhibition is a museum show. Fashion photographers are usually very interested in showing their work in museums, and it’s true that this is a good group of people, mixing generations. ‘Beyond Fashion’ was born from another exhibition I have curated: ‘Coming into Fashion, 100 Years of Photography from the Condé Nast Archives’. A show produced in 2012 by the American foundation FEP (the same producer as ‘Beyond Fashion’) which traveled to 15 countries around the world. So when we approached the photographers, we told them that we were planning to take the ‘Beyond Fashion’ show on tour as well. So far, it has been shown in Hong Kong, Shanghai, Changsha (China), Korea, and Switzerland. Bringing the show to London is very important as we reach a new audience here. Everyone is very happy about it.
What were your main criteria when selecting photographers and works for ‘Beyond Fashion’? Were you focused particularly on specific themes or styles?
NH : When I curate shows, I always start with images. Of course, I think of names, but it is quite an organic process when I bring together works. In a group show, it is possible to showcase one very good image next to a group of other images – and mixing them is also quite interesting. The four themes I have developed for the exhibition were introduced in the later stages when I was starting to organize the works I had selected. Also, when I approach a photographer and explain the exhibition and the concept behind it, I always ask if the photographer has suggestions. This is a great way to discover other images.
The exhibition features the work of both iconic photographers and a new generation of talent. How did you decide which emerging artists to include, and what do you believe they contribute to fashion photography as an art form?
NH : My point with this exhibition (and the title is very clear about it) is that these images are ‘beyond fashion’. It means that they can be seen outside the fashion context. They are interesting as images. Some are very iconic and are part of the history of photography, while others have an energy that caught my eye. They were created in the context of the fashion industry (usually commissioned for a magazine or a brand), but all these images are relevant outside this context, and this is what interests me. I am not a fashion specialist; I am a curator and art historian specializing in photography. I am interested in what these images communicate.
The exhibition is divided into four sections: Allure, Fantasy, Realism, and Surrealism. How were they chosen, and how do they reflect the evolution of fashion photography?
NH : Fashion photography is always a fiction but plays with reality. We want to believe in these fictions, to dream about them, and to think these people and scenes are true. Fashion photography is never something captured unintentionally or by accident. When I started to organize the works, I began grouping the images and noticed similarities. The themes came quite naturally – I didn’t start with them. Also, some works might be moved from one section to another. This is what makes them so interesting.
With so many iconic images and personalities represented, how did you balance showcasing these famous works with introducing lesser-known pieces or emerging trends?
NH : I never think about the models or the brands when I look at a fashion photograph. I first look at the image, the strength, the composition, the colors, and the story. Some iconic images are part of the show not because I wanted them (or needed them), but because they add something interesting to my narrative. An exhibition is always a proposition.
What inspired you to include a fifth section dedicated to moving images, and how do you see the role of film evolving in the area of fashion photography?
NH : Nick Knight’s work was crucial for me in this show, and I have always been very impressed by the work he has done with SHOWstudio. Today, we see fashion photographers create both stills and moving images – the two are now coming together. It wasn’t the case before, but in the digital age, moving images play an important role. SHOWstudio was started in 2000, and the website has built such an interesting archive. Paying homage to the platform was so important because it features big names and newcomers alike. The creativity that SHOWstudio demonstrates is quite inspiring.
What were the most challenging parts of installing this exhibition? Were there specific works or sections that required special attention or creative solutions?
NH : The show existed before it came to the Saatchi Gallery, so there is always an adaptation process. We collaborated with the team at the Saatchi Gallery to tailor the show to their space. They contributed the colors – which, by the way, are brilliant. We aimed to give each photograph its own space, ensuring it is displayed in the best possible way. The wall colors create an environment, and then there’s the sequence on the wall. All of these things are an important part of putting together a show.
Can you tell us more about the ‘Under Your Smell’ installation by ECAL students? What was the process behind developing this concept, and how do you think it enhances the overall exhibition experience?
NH : This is a new generation. The photographers are in their twenties, and this project was born in a workshop at ECAL, the art and design university in Lausanne, Switzerland. Florence Tétier (from Jean-Paul Gaultier) and Nicolas Coulomb (Artistic Director) worked closely with Milo Keller (Head of Photography at ECAL) to create this workshop. The starting point was to create images (still and moving) inspired by Jean-Paul Gaultier perfumes. This is school work, and it was not initially intended to be shown outside of ECAL.
I had the opportunity to discover the work at ECAL (where I teach photography theory). I was fascinated by the result and invited the school to create an exhibition for the museum I was directing at the time. The result was great. The workshop then continued at the school, and the team worked with new students. A new show was created for the headquarters of Jean-Paul Gaultier in Paris. I saw the installation, and it was brilliant – quite different from the first show we did in my museum. I then invited the school to put together a new installation for Photo Elysée (the museum I’m the director of in Switzerland). Yet another new installation. ‘Under Your Smell’ has also been on display in Tokyo and Miami, and each time, the installation was different.
This is a joint effort: the students, the assistants, and the professors are all part of it, and together they invent new ways of showing their work. Which is why it was so important to me to offer them space at the Saatchi Gallery. I was convinced that the installation would be just as different and relevant this time too. What better way to end the show than with the latest generation.
Which part of curating and installing ‘Beyond Fashion’ did you enjoy most? Were there any unexpected surprises or memorable moments during preparation?
NH : It’s hard to say. When I meet with artists and discuss their works with them, I am excited. When I install the works in the galleries and play with how they appear on the wall, I am excited. And when I watch as visitors see the show, I am just as thrilled.
As someone deeply involved in fashion photography, how do you see its role evolving in the future? What trends or developments do you find most fascinating?
NH : For the last 180 years, photography has gone in many different directions, undergone transformation processes, and seen the rise of new sizes and formats. Fashion photography experienced a golden age of sorts from the 1930s to the 1960s, during the era of fashion magazines. Today, with digital tools and new technologies, there are new ways to create images. I am always curious to see what new things photographers are doing, but I am also always fascinated by the beauty of photographs made 80 years ago… fashion photography by Edwin Blumenfeld, Irving Penn, or Richard Avedon fascinates me. And I am happy to see works today by artists such as Viviane Sassen – she is so creative. It’s not easy to match that level of creativity, right?
How does this exhibition reflect your personal vision as a curator? Are there any particular messages or emotions you hope to convey to the audience?
NH : My fascination with photography. I think images can create joy and give us energy. We see a lot of suffering, sad moments, and people in difficult situations in images. They are important to see, and we need to see them. We need to know what is happening in Gaza, Ukraine, Afghanistan, or Sudan. We need images… we need to send photographers to these places. I truly believe this. But we also need to recognize that photography can create joy. Not only glamour photography – family pictures also bring joy.
Are there upcoming projects or exhibitions you are particularly looking forward to? How does ‘Beyond Fashion’ fit into your broader schedule?
Yes, there are plenty of exhibitions coming up at Photo Elysée. The next show, opening on 5 September, is with incredible Japanese photographer Daido Moriyama. We will also have an installation by Lee Shulman, the Anonymous Project. I’m very excited about these two shows.
Nathalie Herschdorfer is a renowned art historian and curator specializing in the history of photography. Since 2020, she has been the director of Photo Elysée in Lausanne, one of the world’s leading museums for photography. Before working at Photo Elysée, she directed the Museum of Fine Arts Le Locle (MBAL) and was the curator for the famous Henri Cartier-Bresson Foundation. She has curated numerous exhibitions and is the author of several internationally acclaimed photography publications. Her work is characterized by an in-depth examination of the history and contemporary developments of photography.
Want to find out more about Nathalie and her work? We can highly recommend her books: Body: The Photography Book (2019); Mountains by Magnum Photographers (2019); The Thames & Hudson Dictionary of Photography (2018); Coming into Fashion: A Century of Photography at Condé Nast (2012); and Afterwards: Contemporary Photography Confronting the Past (2011).
GoSee : saatchigallery.com & elysee.ch
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