Helmut Newton’s “The Naked and The Undressed” series are my favourite photographs of his. The 80s poses of the models caught mid-movement must have been a technical nightmare to shoot. The humour is cutting as identical images of the models clothed and unclothed (still fully accessorised, mind you) are juxtaposed. Naked, the models seem lifeless, like mannequins in a window display that had yet to be finished.
I was chatting to some models at a shoot last week and it was interesting to hear their thoughts on nudity. It seems that once they hit professional mode it doesn’t really matter. One of them reasoned that she’d never see most of the people on a shoot again anyway, less so any passers by that spied her changing outfits by a wide open window. Whenever I fit a dress on a model its strange how they almost stop being human to me. Suddenly the garment takes precedent. Tired of standing in heels for hours on end? Tough titty, standing flat ruins the line of the dress, sweetie! Ouch, did I just pin you again? Wont be the last time, haha! I’m not a sadist, really. LOL
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Vogue Paris’ obsession with the Helmut Newton oeuvre is quite clear – hard-edged, hard-nosed 80s dominatrix rock chick couture maven. The “L’éternal Fantasme” editorial from the November 2009 issue pays blatant homage to Newton. His “Big Nudes” series from the 80s centred around two shop mannequins called Georgette and Suzette photographed at different locations in Paris. Faux flesh The line between real and fake was blurred even further when Newton shot both live model partnered with fake. In cold blood_
Réalisation_ Julia von Boehm
Photography_ Cédric Buchet
Vogue Paris, November 2009