Regards is the first book by this internationally renowned fashion photographer. He remains one of the last heavyweights in a fashion scene that has faded with the passing of its last icons, whether photographers or creators, including the likes of Peter Lindberg, Karl Lagerfeld, Guy Bourdin and Emanuel Ungaro. Such influencers had stamped their marks so powerfully on the fashion world that young generations have found it difficult to introduce renewal or transformation.
Regards is a confession of love for what women represent to him, They have always fascinated, astonished, subjugated and inspired him. This book is a testimonial to how womens move the photographer, who has never ceased to admire them with passion. All women are sublimated under his lens, whether they pose in all the quiet insolence of unvarnished beauty or whether this beauty is expressed in a setting in motion from which emanates determination and strength.
What makes André Carrara’s singularity lies in his ability to imagine scenographies of apparent simplicity and to bring to light the personality of women and their mystery through a photographic narrative and a unique eye to magnify the garment as well as the model.
“The strength and beauty of André Carrara’s challenges is to be found in this subtle encounter between instantaneity and the mastery of summoned chance. If photography is meticulously prepared and staged, it nevertheless seems to leave a great deal of room for the moment, for the natural. […] Sometimes in black and white, sometimes in color, in the four corners of the world, under all latitudes. André Carrara builds his subjects in love with the 7th art. There are many cinematographic references. Like Rossellini, Bergman or Buñuel who, in Stromboli, Persona or Belle de Jour have magnified their muses, to which he pays homage in magnificent shots directly inspired by scenes from these films, André Carrara delivers beautiful portraits of women, he invents a story that he unfolds in each of his reports, seeks a setting, poses a climate, chooses his wife, his heroine, designs his staging. The unity must be perfect, it is essential to make the atmosphere fleeting for a moment, the miracle of a single light. ”
Isabelle Cécile Le Mée.
To meet André Carrara is to step inside the backstage of a fascinating and mysterious world, and to (re) discover a photographic signature that sublimates the beauty of women. The book Regards shows his most iconic images, collected for the first time. They have accompanied fashion & our history, but remain astonishingly contemporary …
Dorothea Marciak. “Iconic images inhabiting the conscious or unconscious imaginary of women for more than forty years – and men who love women – those of André Carrara, photographer with elegance as timeless as it is discreet, also deserve to be better publicised and better known.
This is now done with the book Regards, the first monograph devoted to the photographic work of the man who, through a career of exceptional longevity in a fast-paced environment, has never ceased to offer women their most beautiful representations and their most sumptuous settings.
Famous or anonymous faces, big names in the making such as the very young Laetitia Casta, Mélanie Thierry or Natalia Vodianova, no woman becomes more herself than revealed by Carrara’s loving lens. And all of them offer the lens their own unique beauty.
Of the great ones, whose deep humility and sense of craftsmanship he has ingrained in him, André Carrara claims only work (“photography is a profession”), collective loyalty to all those who surround the photographer at the time of shooting, inspiration (“I have to tell myself a bit of a story to photograph a woman, I have to imagine her emotions, her life, I have to be a little bit in love with her”), and probably also the luck that never betrayed him (“the black and white series on Palermo was built from a small miracle, when this young kitchen assistant unexpectedly came out into the street just as the girl was passing. The whole story then unfolded from this starting point. “) Good Fortune is a woman, she has always favoured the one who loves them so much. ”
Photography historian Isabelle-Cécile Le Mée has to her credit, among other achievements, co-authorship of the work Comment regarder la photographie (How to Look at Photography), published by Hazan in May 2019. he’s also been appointed as a photography consultant with the Culture Ministry, working in the Directorate General of Heritage. Her deep sensitivity to the work of André Carrara and her long-standing collaboration with the photographer make her one of the finest connoisseurs of her work.
“The man is discreet and humble. However, his photographs have travelled the world, with thousands of copies published in the biggest fashion magazines in France and abroad. ”
Isabelle Cécile Le Mée.
Since 1963 and his initial photo shoot, André Carrarahas collaborated alongside fashion’s most notable art directors, starting with Antoine Kieffer at Vogue France, who commissioned his first foray into photojournalism, followed by Roman Cieslewicz at Elle. Working closely with a figure considered one of the greatest graphic artists of the second half of the 20th century proved to be decisive for André Carrara: he would perfect his style and coproduced with Cieslewitz a wide array of highly graphic layouts. He won praise for a clarity and simplicity of expression that successfully met the demands of the magazine’s new artistic vision. his collaboration was suspended for a three-year period spent traveling in the U.S., where he completed spreads for publications like Mademoiselle and Glamour
pon returning to France at the beginning of the 1970’s, he reengaged with Elle and published in a large number of magazines as well as in British, German and Italian releases of Vogue, while at the same time becoming one of the leading photographers with the MAFIA advertising agency.
hough André Carrara spent the 1990’s as a regular contributor to the American magazine Allure and other renowned publications, at the behest of Anna Wintour, his output during the years 1980-2000 will be especially remembered for layouts in Marie Claire and Marie Claire bis. These magazines provided him the opportunity, under the wing of Art Director Walter Rospert at first then Fred Rawyler, to produce his most beautiful work and remarkable photos.
About Marie Claire
“I always say that Marie-Claire is the magazine of truth. The fashion images were right because they were driven by the faith of the editors who believed in the designers and defended them to the point of imposing them, in tandem with partisan photographers who doubled the power of this look. […] The Marie Claire woman is chic as a result, she is free, inspired and reflective. She is a woman more than an image, and you can see it in her straight, frontal gaze. ” Translated with http://www.DeepL.com/Translator (free version)
Marianne Mairesse, editor in chief, in 60 ans de mode, éditions marie claire, 2014.
Format 24,5 x 33 cm, portrait
Case bound book, hard cover
Stitched square back
Full film cover
120 photos (black & white and colors)
André Carrara (photographer)
Isabelle-Cécile Le Mée (author)
Dorothea Marciak (foreword)
Artistic Direction : Fred Rawyler
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