Pierrot the Clown

February 26, 2012

Darling daughter

Filed under: Photography — kiva @ 5:22 pm

For Valley of bowser, (http://valleyofbowser.blogspot.com/) i love you dearly for i fear you are my one and only remaining fan. 

I sorry i do not post often… hardly ever. I’ve been really into Tumblr, it’s a lot of fun. I have many tumblr sites but i think you’d like this one the most (http://handsomeasyouare.tumblr.com) if you like it msg me n i’ll send you the other sites ūüôā you’re sites amazing, and i don’t know if you’ve heard of them or not but you should check out Crystal Castles, they’re a fantastic.

I want to make something colourful since your site is exactly that ‚̧



August 8, 2011


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August 5, 2011

Image of the week

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July 20, 2011

Viper Boys

Viper Boys

client: man about town

Richard Bush РPhotographer

Cole Mohr РModel

Eliza Cummings РModel

Ash Stymest РModel

Max Barreau РModel

I love the models in this one, so~

July 18, 2011

Corinne Day- Photographer

Filed under: Photography — kiva @ 1:18 pm
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19 February 1962 ‚Äď 27 August 2010
Corinne Day is an extremely talented and known photographer.

She’s my second favourite photographer.¬†Known for shooting some of the most iconic photos of all time, and especially those that launched the career of Kate Moss, when Kate was only 14.

Erm, you’ll see that if you google Corinne a bunch of stuff comes up about Kate, like if you visit Corinne’s wiki, a picture of Kate comes up in the ‘side-picture-thingie’ instead of corrine herself(?) I swear, everywhere you go looking for Corinne they shove her away and try and replace her with Kate! I find this agitating because the woman was a genius, one of many who are so terribly underrated! I mean her photo’s of Kate were brilliant, some of her best! But they weren’t her only pieces of work, honestly.

Anyway she’s also know for starting a¬†new era of gritty realism in fashion photography that came to be called ‚Äúgrunge.‚ÄĚ :]


Corinne Day: she added grit to the glamour of fashion photography

She was best-known for discovering Kate Moss ‚Äď and the backlash against ‘heroin chic’ that followed ‚Äď but Corinne Day’s lens had a far wider angle.


In the many obituary notices and tributes that marked her premature death at 48 from a brain tumour, Corinne Day was described repeatedly as the fashion photographer who discovered Kate Moss. For Day, one senses, that would have been the cruellest irony of all. Even in death, she could not shake off the label that, in her short and often turbulent life, she had struggled to transcend.

“Corinne had a very ambivalent relationship with what she had achieved,” says¬†photography¬†curator and writer, Charlotte Cotton, “Nothing was straightforward for her, not the fashion world or the art world that she tentatively moved into in the 90s. She saw the inherent ridiculousness of both and instinctively reacted against it.”

In many ways, then, Day was shadowed by the moment of her greatest good fortune: her spotting of a Polaroid of a gangly Croydon teenager among the files of a London model agency in the spring of 1990. She brought a photograph of the 14-year-old Kate Moss to Phil Bicker, the visionary art director of the Face magazine, then the single most influential style magazine in Europe. Back then, Bicker was busy reinventing British fashion photography as a gritty, altogether less glamorous form. He had gathered a bunch of young and ambitious photographers, including Glen Luchford, David Sims and Nigel Shafran, all of whom became successful in the fashion and art world. Day was perhaps the most temperamental, a feisty, self-taught, model-turned-photographer with attitude to burn.

“It was an exciting time because we were making up the rules as we went along,” says Bicker, now art director of the Magnum photographic agency in New York, “I saw the same thing in Kate as Corinne saw, that she represented something very real: the opposite, in fact, of all the unreal high glamour of fashion. I sent Corinne and stylist, Melanie Ward, down to Camber Sands to do a shoot with her.”

The cover of the July 1990 issue of the¬†Face¬†gained iconic status in the fashion world and beyond. On it, the young Moss, who appears to be wearing no make-up, grins like an excited and slightly gauche teenager from beneath a headdress made of fabric and feathers. The cover line announces “The 3rd Summer of Love” and promises features on the Stone Roses, Daisy Age fashion and psychedelia. The summer ‚Äď and the decade, and the style-obsessed world in which we now live ‚Äď had found its face.

Inside, Moss cavorted on Camber Sands in hippy-style clothes, sometimes topless, like a girl who could not quite believe her luck. Bicker is quick to point out that, although the fashion shoot seemed casual and unstyled, it was, in reality, the opposite. “It looked natural and simple but it was carefully constructed to look like that. In fact, as I recall, I sent them down there two or three times until they got it right. Kate hadn’t been modelling for very long but, even in her awkwardness, she had that thing about her that Twiggy had in the 60s, a freshness that matched the times.”

Juergen Teller, one of Corinne Day’s peers, and now the most globally successful photographer of all the young iconoclasts of that time, concurs. “I loved Corinne’s first photographs of Kate. They had that end-of-summer feel and seemed very fresh and almost naive, but in a good way. To me, they were her best photographs.”

Revealingly, neither Kate Moss or her model agency were pleased with the photographs, finding them too raw and unadorned. Day had brought her own experience of being a model into the shoot. She later said, “It was something I just felt so deep inside, being a model and hating the way I was made up. The photographer always made me into someone I wasn’t. I wanted to go in the opposite direction.”

But the next time Corinne Day impinged on the public consciousness, that freshness had been replaced by a darker, harsher vision. In 1993, she photographed Kate Moss for a fashion shoot for British¬†Vogue. In it, the model looked strung out and sad, dressed down in baggy tights and stringy underwear that exacerbated her skinniness. Again, the photographs were a reaction to the glitzy unrealness of the fashion photography that¬†Vogue¬†usually featured, but here the extremity of Day’s vision provoked outrage and hysterical headlines about the glamorisation of anorexia and hard drug use.

The terms “heroin chic” and “grunge fashion” were born and bandied about in the tabloids. By then, the troubled and troublesome photographer had burned too many bridges in the fashion world and, more problematically, was actually living in, and intimately photographing, a bohemian milieu defined by hard drug use.


Diary, the resulting book, which was published in 2001, captures Day and her friends partying recklessly, getting high and coming down. It is, in many ways, a wilfully grim and unrelenting book, unredeemed by the kind of beautiful colour tones and glimpses of redemption that the great confessional photographer, Nan Goldin, one of Day’s influences, brings to her work. Perhaps she was trying too hard to define herself against the reductive term, fashion photographer.

Diary¬†also records the dramatic events of the fateful night in 1996 when Day collapsed in her New York apartment and was rushed to Bellevue hospital. There, she underwent an emergency operation for a brain tumour. She insisted that her boyfriend, Mark Szaszy, photograph her, even in the moments leading up to her surgery. She looks dazed, helpless, disoriented. “To me, photography is about showing us things we don’t normally see,” she said later, “Getting as close as you can to real life.” The book’s final picture is of a beach strewn with beer cans: a glimmer of hope, and yet a tarnished one.

After her initial illness, Corinne Day made an uneasy truce with fashion photography. She abandoned her raw, edgy style for something more traditional in the fashion shoots she did for, among others, Vogue. Her older photographs were exhibited in the Victoria & Albert Museum, Tate Modern and even the Saatchi Gallery.

“She was ambivalent about the embrace of the art world, too,” says Cotton, who chose Day’s work for the V&A fashion archive, “Someone like Rankin gave me big 40 x 60 pristine prints of his work, but Corinne was the opposite. I remember going around to her place on Brewer Street and there were piles of prints everywhere. She said, ‘Just take what you want’. I really admired her for that. There was nothing precious or affected about her. The struggle she had was really with herself ‚Äď how she fitted into the exaggerated worlds of fashion and art.”

Day’s tumour returned in 2008 and a campaign called Save the Day was started by her friends to pay for treatment in a clinic in Arizona. It raised ¬£100,000, much of it from the sale of signed, limited-edition prints, including several of Kate Moss that were signed by the model and the photographer.

“We were all on the same page for while,” says Phil Bicker, who initially saw the chemistry between the two, and created the environment in which it blossomed, “But I think that Corinne knew the Kate pictures would define her as much, if not more, than her other work and she was uncomfortable with that. I remember I once asked her for one of them for a book I was designing about contemporary fashion photography and she said, ‘You can have it to represent you, but not me.’ I thought that was very telling.”

Death, though, has a way of reframing artists in the cultural consciousness; perhaps Corinne Day may yet come to be seen as the great photographer she wished herself to be rather than simply as a great fashion photographer.

  • Sean O’Hagan
  • The Observer

July 2, 2011

ISSUE # 11

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