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cheap louis vuitton bags from china Kim Jones marks first year with 100 portraits of famous friends taken
In the midsummer of 2018, the photographer Nikolai von Bismarck and Kim Jones, the artistic director of Dior Men, came together to create a sweeping portrait of Jones's first year at the illustrious French fashion house.
Through nearly 100 portraits of creative luminaries and celebrities wearing pieces from Jones's last three collections, shot between Paris, London, New York and Tokyo, their new book,The Dior Sessions, is a nod to both the house's design heritage and Jones's reinvention of its signatures.
Kim Jones:It was high quality designer replica handbags wholesale very organic. Nikolai and I have been friends for a long time: we've travelled together, we've sat on sand dunes in the Kalahari. I like authenticity in everything I do, so things usually come through conversations with people I respect and who are friends.
I asked him if he would do it just before I moved to Dior replica louis vuitton bags [from Louis Vuitton], while we were on a walk around Hyde Park Fake Louis Vuitton Replica Bags on a really cold winter's day. I high quality replica handbags china knew I wanted the pictures to be timeless; to have the feel of a classic document very different from the photography you'd want for a campaign and I knew that Nikolai could do that.
Nikolai von Bismarck:Just before that walk, I had been to see [the celebrated war photographer] Don McCullin. I'd taken some of my travel photography to show him, from Ethiopia and Mozambique, and he'd said, "They're great, but you're a little bit all over the place. Stay in London; do some short projects.
That will teach you discipline and patience."It was replica designer handbags while I was mulling this over that Kim suggested the Dior project to me, and it seemed like fate.
How did you come up with your hit list of muses?
KJ:There were some people we knew we wanted right away that I wanted or Nick wanted, and Dior had a list aaa replica designer handbags as well.
NvB:I think we both wanted it creative heavy. Lots of fake designer bags artists you'd done that collection with [the artist] Raymond Pettibon, so he was important, and likewise I was keen on having [the painter and film maker] Julian Schnabel.
KJ:Nikolai and I have a lot in common. We have a very similar outlook on life.
That must have made coming up with a feel for the photographs much easier?
KJ:Yeah, I'd been looking at what Dior was like historically, when people like [the legendary fashion photographer] Richard Avedon were shooting the clothes, and the way that Nikolai photographs is the same. His images could go into the Dior archive and fit perfectly. I like the fact that he blends the modern with that timelessness.
NvB:There's definitely some Avedon influence here, and some [Irving] Penn. I also drew on [the photographers] Peter Lindbergh, Joel Peter Witkin, Diane Arbus and Malick Sidib. And some of the pictures are quite Bowie esque, quite louche.
I can definitely see Penn there, in the poses.
NvB:The posing was really interesting. When I was taking people's pictures in Africa, I'd always leave them in their natural stance. They'd stand very straight, with this wonderful elegance.
But when I started work onThe Dior Sessions, I realised that I had to teach myself to actually be able to place people in a pose, in case they weren't comfortable in front of the camera. I ended up with a huge reference wall in my office, where I pinned up hundreds of pictures.
So when people came to sit for you, did you show them that wall? Did they tend to want to be told what to do?
NvB:Some people would know exactly what they wanted. They would bring a picture with them, or say as Raymond Pettibon did "I want to be like Dillinger, the gangster."
KJ:Yes! He's obsessed! I did the portrait with him, and he was like, "I'm going to lean on you like this."I loved that.
NvB:Mick Jones, he really wanted something like [an Edward] Steichen, but I showed him the wall and he ended up loving this one that Avedon took of [the sculptor] Giacometti with his arm behind his back. And David Beckham he was really taken with a portrait of Robert De Niro that I showed him.
And David Bailey he doesn't work in that way, does he? Did you make suggestions to him?
NvB:Shooting Bailey was pretty nerve racking! I had to go for a little walk beforehand. And I made Perfect Quality Louis Vuitton Replica sure I was very planned out he's famous for having little patience.
But I did show him some pictures: one he had taken of [the photographer] Horst P Horst, and some of Winston Churchill and Frank Zappa, that I thought might work. I think he was interested he looked at them anyway. I didn't high quality designer replica handbags want to seem too cocky.
NvB:I don't talk when I'm taking the picture, but I replica louis vuitton bags from china like to take breaks and have a conversation, yes. I play some blues or jazz a lot of Al Bowlly. And I try to empty the room. Once you've got stylists and make up and then your subject arrives with their team, you can have 20 to 30 people and that's quite intense.
How about the clothes: how collaborative was that?
KJ:I focused on tailoring, because that's what Dior is famous for, but after that, it was about what each person felt comfortable with. I hate it when people get put into clothes and feel uncomfortable. And I like to see how aaa replica designer handbags people make clothes their own, so each person's character is reflected a little bit in what they are wearing.
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