Editor’s Letter
Fasten your seatbelts for Volume I of Musee No. 5: FASHION — our first-ever
double issue! This issue took me back to where I started, where I’ve been, and
where I want to go. It was exhilarating getting reacquainted with so many old
friends and, of course, making new ones.
We talked to amazing artists and industry greats — people like Bob Recine, Sam
Shahid, Rachel Perry Welty, Mickalene Thomas, Stefano Tonchi, John Demsey,
Tina Barney, Matthew Stone, Michael Hoppen on Tim Walker, and Tomas Maier
— and that’s just in Volume I! This is our “September Issue”.
I chose fashion photography as a topic — not only because it was a huge part of
my career — but because I wanted to bring attention to the fact that fashion photography
is a collaborative process. It is also a multi-billion dollar global industry.
In addition to the artists and photographers, Issue #5 is giving voice to some of
the most important people behind the scenes: stylists, makeup artists, creative
directors, and editors. These are the image-makers, silently integral to the creation
of a fashion photograph.
Since our mission is to give emerging photographers a venue to showcase their
work, I wanted this double-issue to offer a clearer understanding of what a good
fashion photograph is all about.
With this in mind, you might notice that there are more industry heavyweights
than emerging photographers in this issue. I feel it is very important to learn from
the professionals; if you don’t, in the words of Dennis Freedman, Creative Director
of Barney’s, “you’re just going to keep taking the same meaningless photo
over and over again.”
I once asked Paul Cavaco, Creative Director of Allure, what makes a good fashion
photographer. He said: “good taste.”
In my own opinion: all good fashion photographers have a vision. To be a great
fashion photographer, however, you need a unique vision. It’s so easy to be a
bad fashion photographer, and oh-so hard to be a good one!
We’ve dedicated this issue to the supreme fashion photographer, the greatest of
all time — Richard Avedon. Avedon revolutionized the industry, and I feel incredibly
grateful to have begun my own photographic journey as his trainee.
The photographers and artists we interviewed for Issue No. 5 have all made the
transition from fine art to fashion photography, or vice-versa. To be able to do
both is the ideal.
“People who want to be fashion photographers, many of them don’t even understand
what that is . . .” said Dennis Freedman, “They want the life, but they don’t
really understand the craft.”
I’m so grateful to these fashion insiders — these giants and legends — who
agreed to share their insights, experience and advice, and act as mentors to the
next generation.
Fashion photography isn’t just a career — it’s a passion. And great fashion photography
is excellence.