Fashion book

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The

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4 Fairy Tale: Last year I saw your exhibition of artist’s portraits.

You have been taking photos of different artists since the late 1960s, incl uding personalities such as Sammy Davis Jr. or Tina Turner, both appearing on stage in the 1970s.

How did this come about?

Barbara Klemm: Already in the 1960s, all stars of the jazz, rock and pop scene performed in Frankfurt.

I photographed many of them, for example, Janis Joplin, out of personal interest and also for the Frankfurter Allgemeine Zeitung.

FT: The pictures appear very direct; they reveal a lot of the personalities of the persons depicted. What were the times like then?

Did persons like Tina Turner or Sammy Davis Jr. enjoy the same status as compar- able stars today, or was it easier to approach them?

MADONNA, HAUTE COUTURE,

Paris 1993

Interview with Barbara Klemm

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5 BK: Of course Sammy Davis Jr.

or Tina Turner also had a superstar and cult status in Germany. It wasn’t easier to approach them than today.

At the time this already had to do with the marketing of stars by concert promoters and agencies.

FT: Another picture that highly impressed me and moves me until today is your photograph of Madonna at a fashion show. When and where did you take this picture?

BK: The picture was taken in 1993. I was commissioned by the FAZ to photograph the haute couture in Paris.

It was the evening of the Versace show.

FT: On the one hand the picture is a portrait but on the other a fashion shot.

How did this picture come about? What’s the story behind it?

BK: The editor of the FAZ, Brigitte Scherer, was not that interested in the Versace collection at the time. That’s why I concentra- ted more on the audience and the atmosphere right from the start.

FT: Were you standing directly opposite Madonna?

What was your position?

BK: My position was on the other side of the catwalk.

FT: Madonna is the only one in the picture dressed in white, her eyes are directed upwards, her gaze appears concentrated, a bit trans- figured.

When looking at the picture it seems as if she were shining among all the others.

She’s sitting in an illuminated circle, while the others are grouped around her in the dark. As far as I know, you do not manipulate your photos.

How do you explain that?

Where does this shine come from?

BK: The shine comes from the catwalk which was lit by alternating light, from below as well. Her white dress and blond hair intensified this effect, as did the dark clothes of the people sitting apart from her, who were her “family”.

FT: Did she have a charisma that made her stand out of the crown, made her different, something one would call an “aura”?

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6 BK: Madonna’s charisma fascinated me from the moment she first appeared shortly before the show.

That’s why I mainly concen- trated on her throughout the show. At the same time it was important for me to make it clear that the photos were taken during a fashion show.

FT: Did you have the impression that Madonna was more important at that moment than the fashion show?

BK: For me she was.

FT: Did you recognise her right away?

BK: No, I didn’t know who she was when I shot the photo- graphs.

FT: How did the photo- graphers react to her?

BK: All the other photogra- phers at the end of the catwalk immediately “pounced on her” prior to the show.

FT: Did she enjoy the moment of attention?

BK: I think Madonna very much enjoyed the attention.

FT: You said Madonna reminded you of a silent movie star.

She indeed looks like one with her hairdo and pearl necklace.

Do you think her appearance was staged?

BK: It is known that Madonna always styles herself in a certain way, always diffe- rently depending on the occasion.

FT: Did you feel yourself as part of the scenery or did you maintain a distance?

How would you describe it?

BK: The relatively large distance was one of the reasons I was able to take this good picture.

FT: Do you regard yourself and your work in such moments as a medium between the subject and the viewer, whom you intend to convey the scene to, or rather like a mirror of the situation?

BK: I don’t know if that’s a contradiction. At any rate I always try to show with my photographs how the situ- ation and events present themselves to me.

FT: Another famous photo-

graph of yours depicts

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7 another superstar, Andy Warhol standing in front of the Goethe painting by Tischbein. How did this picture originate?

BK: I saw Andy Warhol by chance when visiting the Städelsche Kunstinstitut.

Dr. Klaus Gallwitz, the director of Städel, took Andy Warhol on a private tour through the museum.

Andy Warhol wanted to see the original Goethe picture by Tischbein for the first time. As is known, he had produced his screen prints of the Goethe pictures according to a setting copy.

FT: How did he behave?

BK: It surprised me that he appeared to be quite uninterested in all the excellent paintings of the great masters that the Städel possesses.

FT: Do you think he would have also stood out the way Madonna did at the fashion show?

Would his appearance have been an event?

BK: Yes, the museum was actually closed to the public during the guided tour.

FT: I’m familiar with your work especially from the field of press photography, the pictures of your travels, for example, in Cuba in the late 1990s.

Why did you shoot photos at a fashion show?

BK: Since I was empl oyed on a regular basis at the FAZ as a photo editor responsible for the politics and arts sections, my range was quite broad.

FT: Do you also deal with fashion photography, meaning the photography of fashion and the arranging and staging of fashion and models.

Or is your dealing with the field of fashion to be considered as documentation or reportage?

BK: No, my work is always to be seen as documentation and reportage.

FT: Would fashion photo- graphy interest you as a field of work?

BK: No, arranging and staging is not my strength.

The mises en scène of life that I encounter interest me more.

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Yes, I’m one of those crazy animal rights nuts. And as a card-carrying PeTA (People for the ethical Treatment of Animals) member, I’ve participated in numerous “actions”

for the cause of animals.

During the 25 years with my band, The B-52s, we have supported many causes, including: Aids, Sierra Club, Greenpeace, Planned Parent- hood, the Gay and Lesbian Alliance, to name just a few. But like most bands, we agree to do benefit concerts for causes we believe in.

That is usually the most effective way for musicians to “put their money where their mouths are”.

I strongly believe that caring about the world and making change involve the idea that we are all on this planet together—

this “spaceship earth”, and this includes standing up for those that don’t have a voice to express their oppression: namely, animals.

So, out of all the various causes, I have been most directly active in PeTA. I was arrested in a raid on Vogue magazine (they ran big fur ads, but refused to run a paid PeTA anti-fur campaign) then along with Chrissie Hynde of The Pretenders, a long standing PeTA activist, I protested products that were tested on animals. I’ve done a lot of other PeTA activities along with Dan Matthews, director of media relations for PeTA.

Working with Dan is always an adventure and a pleasure and

however dire the cause may be, he bubbles with a mad sense of humor and true spirit of optimism.

He is, however, always armed with the grim facts about how some animals are mistreated.

So, when in the spring of 1997, Dan invited me to join him in Rome on easter sunday for an “action”, I readily agreed. “The pope has just issued an edict for easter against killing our fellow human beings and our mission is to ask him to extend that to include all the animals”, Dan explained.

Dan told me we would join the small budding animal rights group

“Animalisti Italiani” by St. Peter’s square, just outside the Vatican (that’s where you can buy all the pope souvenirs, including the famous “pope–ener” bottle opener with pope’s picture on it.).

He explained that although the group was small, there would be plenty of media coverage.

But, the way things go with Dan and me, it soon turned into a divine comedy. After driving in circles around Rome, finally finding our hotel, we waited for the arrival of “the hairdresser”. Since this was a media event, we thought I should sport my traditional B-52s hairdo. When the hairdresser didn’t show, Dan, who speaks Italian and had even played a part in a

“spaghetti western”, ran up and down the street looking for a hairdresser.

He came back with Giovanni of Rome, tease comb in hand.

WHAT DO YOU DO AGAINST POVERTY?

Column by Kate Pierson

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My “do” firmly in place, we headed straight for the Vatican!

We were greeted by members of

“Animalisti Italiani”. They were all dressed as bunnies and lambs, in easter yellows and pinks, carrying placards pleading for the pope to include the animals. There was also a barrage of media that far outnumbered our small band:

international news stations, radio, magazines and press. We talked to the media and stated our cause, but the action started when we stepped into St. Peter’s square to try to meet with the pope to plead for the animals. The Swiss guards (with their cute hats) were there in force, and when the media followed us on our march near the Vatican all hell broke loose. A Swiss guard grabbed our man in the bunny suit by the arm and I quickly grabbed his other arm, crying: “Una pregiero per gli animali”—”A prayer for the animals”!

We nearly pulled that bunny apart.

And we never met the pope.

But there it was, all over the papers the next day—with major headlines: The giant bunny, with the police trying to arrest him, and me with my big hairdo, trying to save him.

All against the backdrop of the Vatican! You couldn’t ask for more drama.

That night we celebrated our success with a delicious Italian meal (by American standards, there’s no such thing as a bad

meal in Italy). Dan was savoring and loving his pasta sauce-until he asked what it was, only to find out it was made with mushrooms and… rabbit!

After taking the meal back to replace it with a veggie version, the waiter stared at us and said: “Hey! I saw you on the news today and now I’m going vegetarian too!”

The next morning the unbelievable happened. TV showed footage of us at the Vatican, but also showed animal rights documentation of the horrible cruelties inflicted on animals—including anal electro- cution of minks killed for their fur and animals being subjected to painful and inhumane lab tests.

This was footage they would never show on American TV and it was all over the news!

When we checked into our hotel in Sienna that afternoon, the young man who managed the hotel recognized us and said excitedly

“I saw the news report and now I am going to free my father’s chickens!” Bingo!

Another score in the fight for the animals!

And another step toward under- standing each other as fellow inhabitants of this beautiful planet. As we headed to the airport the next day, listening to a Claudine Longet CD, I felt a sense of peace. Working with PeTA has made me realize it is possible to change the world — or at least Rome — in one day!

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P

Paaggeess 44--77

Madonna, Haute Couture, Paris 1993 Interview with Barbara Klemm Photo (c) Barbara Klemm

Photo and Interview published in FT issue „Foto“.

Pages 10-17 S

Shhoooottiinngg 11

Location: Billingsbach/Germany Photos: Achim Reichert Styling: Marco Fiedler

Model: Tony for Indeed Model Management

Unpublished pictures for FT issue „Nature“

Pages 20-27 S

Shhoooottiinngg 22

Location: Paris/France Photos: Steeve Beckouet Styling: Marco Fiedler Make-Up: Susanne Schneider Model: Sikko

Published in FT issue „Architecture and Interieur“

Pages 30-39 S

Shhoooottiinngg 33

Location: Billingsbach/Germany Photos: Achim Reichert Styling: Marco Fiedler Models: Anont;

Tony for Indeed Model Management Published in FT issue „Architecture and Interieur“

Barbara Klemm is born in 1939 in Münster/Germany. She is a photographer and has several exhibitions. Her photos are published all over the world.

Pages 42-53 S

Shhoooottiinngg 44

Location: Paris/France Photos: Walter Pfeiffer Styling: Marco Fiedler

Models: Jonathan & Kevin for Ford;

Laurent for Bananas;

Julien for Nathalie

Published in FT issue „Fashion, Beauty & Style“

Pages 56-65 S

Shhoooottiinngg 55

Location: Föhr/Germany Photos: Achim Reichert Styling: Marco Fiedler

Model: Andreas for Indeed Model Management

Published in FT issue „Architecture and Interieur“

Pages 68-77 S

Shhoooottiinngg 66

Location: Föhr/Germany Photos: Achim Reichert Styling: Marco Fiedler

Model: Andreas for Indeed Model Management

Published inFT issue „Pure Fashion 2“

CREDITS

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Paaggeess 114400--114411

What do you do against poverty?

Column by Kate Pierson

Published in FT issue „New Fashion“.

The B-52s: www.theb52s.com PeTA: www.peta.org

Pages 80-91 S

Shhoooottiinngg 77

Location: Paris/France Photos: Achim Reichert Styling: Marco Fiedler Make-Up: Susanne Schneider Model: Olivier

Published in FT issue „Foto“

Pages 94-101 S

Shhoooottiinngg 88

Location: Paris/France Photos: Steeve Beckouet Styling: Marco Fiedler Assistant: Dana Schultheiss Make-Up: Susanne Schneider Model: Ariel

Pages 104-113 S

Shhoooottiinngg 99

Location: Paris/France Photos: Steeve Beckouet Styling: Marco Fiedler Assistant: Dana Schultheiss Make-Up: Susanne Schneider Model: Ariel

Kate Pierson is born in 1948 in Weehawken, New Jersey/USA. Since 1976 she is singer of the band The B-52s. She is also involved in animal protection activities.

Pages 116-123 S

Shhoooottiinngg 1100

Location: Vienna/Austria Photos: Achim Reichert Styling: Marco Fiedler Make-Up: Susanne Schneider Model: Andrian

for Indeed Model Management Published in FT issue

„Pure Fashion“

Pages 126-139 S

Shhoooottiinngg 1111

Location: Berlin/Germany Photos: Achim Reichert Styling: Marco Fiedler Make-Up: Susanne Schneider Models: Andrian & Tony for Indeed Model Management Published in FT issue: „Architecture and Interieur“

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First edition limited to 250 numbered copies.

In addition to this book a limited edition multiple by the artist is available from onestar press.

Assistants:

Karin Mihatsch Claudiu Hog Translation:

Karl Hoffmann Correction Franck Bourgeois www.vier5.de

Printed and bound in France

16, rue Trolley de Prévaux 75013 Paris France [email protected] www.onestarpress.com

/250

IMPRINT

THE VIER5 FASHIONBOOK

EDITOR:

VIER5

139, Rue du Faubourg St. Denis 75010 Paris/France

www.vier5.de FAIRY TALE

www.fairytale-magazine.com Assistants:

Karin Mihatsch Claudius Hog Translation:

Karl Hoffmann Correction:

Franck Bourgeois

PUBLISHER:

Onestar Press

16, rue Trolley de Prévaux 75013 Paris/France

[email protected] www.onestarpress.com

PRINTER:

Cassochrome, Waregem www.csc.be

Printed in Belgium ISBN 123456789

EDITION:

/250

144

LAYOUT/15.4.09 15.04.2009 18:08 Uhr Seite 144

IMPRINT

THE VIER5 FASHIONBOOK

EDITOR:

VIER5

139, Rue du Faubourg St. Denis 75010 Paris/France

www.vier5.de FAIRY TALE

www.fairytale-magazine.com Assistants:

Karin Mihatsch Claudius Hog Translation:

Karl Hoffmann Correction:

Franck Bourgeois

PUBLISHER:

Onestar Press

16, rue Trolley de Prévaux 75013 Paris/France

[email protected] www.onestarpress.com

PRINTER:

Cassochrome, Waregem www.csc.be

Printed in Belgium ISBN 123456789

EDITION:

/250

144

LAYOUT/15.4.09 15.04.2009 18:08 Uhr Seite 144

colophon_vier5_fashion_book.indd 1 16/04/09 23:50:54