![\"\"](\"https:\/\/www.iangrandjean.com\/blog\/wp-content\/uploads\/2022\/01\/al.png\")
<\/a><\/figure><\/div>\n\n\n\nIt’s huge and should not be mistaken as a collection of her long career as a photographer, more a selection of her work in fashion. I find it interesting as a number of the included portraits were, well, frankly disappointing and to my mind could have been taken by anybody.<\/p>\n\n\n\n
She has established a well deserved reputation for her, sometimes extravagent, \u00ab\u00a0mise en sc\u00e8ne\u00a0\u00bb with large sets, exquisite lighting etc. and as simple vehicules for showing off a dress or two, are simply works of art.<\/p>\n\n\n\n
But it got me thinking about the ephemeral side of photography – fashion photography is not really designed as works to be hung on walls, more to fill the glossy pages of Vogue etc. Liebovitz’s series with the Russian model Natalia Vodianova<\/strong> based on Lewis Carrols \u00ab\u00a0Alice Though the Looking Glass<\/strong>\u00a0\u00bb are superb and stand out as a perfect contradiction to this rule – any single image could be exhibited as a single artwork without any problem.<\/p>\n\n\n\n The principal was simple – each designer made a dress and then appeared as one of the characters from the story with Alice who was wearing the dress.<\/em><\/p>\n\n\n\n But that’s where it ends for me. There are a number of portraits of \u00ab\u00a0famous\u00a0\u00bb people in the book – simple plain backgrounds, often monochrome, and I can’t help wondering what am I looking at, and more importantly, why?<\/p>\n\n\n\n<\/a>
and Natalia Vodianova as Alice<\/figcaption><\/figure><\/div>\n\n\n\n