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Born in Paris in 1939, André Carrara was a teenager when he came into contact with photography for the first time. As he accompanied his sister to the photographic laboratory where she was employed, he was given a camera and made his first shots in Paris. These first experiences fascinated him and decided on his future: he would be a photographer. At first an apprentice in different laboratories where he learned about development and printing while attending evening classes at the Louis Lumière School, he was hired as an assistant at the age of 20 by the advertising agency SNIP, a true hive of activity where photographers, designers and graphic designers worked in close collaboration. That was when he really discovered photography, frequenting Willy Rizzo, Fouli Elia, Guy Bourdin or Jean-Bernard Naudin. He learned the trade and rounded off his training with the latter. In 1963, he made his first photo session for the agency, a very recognized advertising campaign for Lacoste. André Carraras career as a photographer was launched. Antoine Kieffer, who was then Vogue Frances art director, amazed by the quality of his black and white photos, gave him his chance and commissioned his first photo reports. Things went faster when Hélène Lazareff, at the head of Elle, the magazine she had founded in 1945, called upon him. So he joined other prestigious photographers who used to collaborate regularly, like Helmut Newton or Hans Feurer. Roman Cieslewitz had just joined the magazine as the art director. His arrival marked the renewal of the magazine layout, which he transformed according to his own graphic vision, characterized by the clarity and simplicity of the plastic expression. His collaboration with the one considered amongst the greatest graphic designers of the second half of the XXth century was decisive for André Carrara: he perfected his style and then made a lot of very graphic reports with Cieslewitz. Their collaboration was interrupted by a three-year trip to the US where he made reports for Mademoiselle, Glamour Back in France in the early 1970s, he resumed his collaboration to Elle and published his photos in many magazines like the British, German or Italian editions of Vogue, while becoming one of the main collaborators of the advertising agency MAFIA. In the 1990s, on the request of Anna Wintour, André Carrara worked regularly for the American magazine Allure and other great reviews. However, the years 1980-2000 were above all the days of Marie-Claire and Marie-Claire bis for which he made, in collaboration with Walter Rospert and then Fred Rawiler as art directors, his most beautiful subjects and most beautiful photos. |
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As the velocity and size of our data swell to inhuman proportions, it has become increasingly unrealistic to know and increasingly essential to believe. The WHAT WE BELIEVE cover dossier is a fluid guide to doing business in The Age of Uncertainty. It is provocative of the present-tense tensions that contribute to the new, embracing doubt as a starting point towards decision-making. If you cant touch it, its not real. Following her ascension as a new type of diva, FKA TWIGS dresses up as Willi Ninja for a cover shoot with JUERGEN TELLER. She speaks with HANS ULRICH OBRIST about embracing anxiety and how voguing helped her get in touch with her feminine side. Master dancer STEPHEN GALLOWAY appears alongside ANJA RUBIK for a surreal cover shoot by INEZ & VINOODH. After a legendary run as the principle dancer for Ballet Frankfurt, Galloway brought his knowledge and talent to the world of fashion, inventing the now-growing profession of creative movement director. Dubbed The Model Whisperer by the Wall Street Journal, Galloways innate physically allows him to connect and communicate with subjects in a way that even the best photographer would find difficult to achieve. Having invented an app that disrupts every creative industry, Instagram co-founder MIKE KRIEGER has become an unlikely prime-mover in fashion and art. He explains to HANS ULRICH OBRIST that he envisions Instgram as version 0.1 of the teleporter, also discussing his growing art collection and why selfie sticks should not be allowed in museums. I like to take these solutions to problems and let that become their aesthetic. Streetwear guru GARY WARNETT unpacks how NIKE and Berlin-based designer ERROLSON HUGH turned Hip Hops favorite outdoor label into the future of urban tech wear, heralding the re-launch of ACG. Artist and former Hollywood director MARCO BRAMBILLA has developed a polished form of maximalism that has become the envy of marketing departments. Bouncing between gallery exhibitions, fashion films, and public installations, Brambilla describes the tightrope walk of operating in the new context of brand patronage. Were paranoid and were cousins. Tate Modern director CHRIS DERCON speaks with artist duo OLIVER CHANARIN and ADAM BROOMBERG about the sprawling and, and, and, and logic of their practice. NIKLAS MAAK takes us on a tour of the ANTI-VILLA, a former GDR underwear factory that architect ARNO BRANDLHUBER has transformed into a thinking model for 21st Century living. People protect what they love, and love what they know. As the worlds oceanic landscape faces cataclysmic changes over the next fifty years, ALEXANDRA COUSTEAU is using the infrastructures of social media and big data to call forth a new era of environmental activism. Part cold empiricist, part slapstick comedian, Norweigan artist YNGVE HOLEN creates works that map the anatomy of a new human-machine eco-system. He speaks with THOM BETTRIDGE about about supermarket poultry, airborne claustrophobia, and plastic surgery. Fashion stories by OLA RINDL, RICHARD BURBRIDGE, and PIERRE DEBUSSCHERE. As well as a review of our favorite products of the season, from the Audi RS7 auto-piloted car to the Pradasphere catalogue. All this and more on 272 pages. |
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Agency: Success Paris Height: 186 / 6'1.5" Waist: 70 / 27.5" Hips: 90 / 35.5" Shoes: 45 EU / 11 US Hair: Brown Eyes: Blue |
