He is best known for his wide-angle pictures of Tokyo, in an offensive, almost dirty, dark black and white. But Daidō Moriyama also distinguished himself in erotic nude photography, taking part in the visual and cultural movement represented by the Japanese magazine Provoke, between 1969 and 1972. Typical Japanese bondage scenes, oddly presented in nature, varying anonymous female body positions, on a bed, in a bathroom. The voyeuristic dimension fades in these natural poses and gives way to a feeling of relaxed, soothed and assumed intimacy that contrasts even more with the common Japanese tradition: a bright and anti-demonic eroticism, purged of all forms of guilt and perversion. By reinventing the erotic nude, Daidō Moriyama draws the portrait of a society in identity crisis that seeks to find its own modernity by distancing itself, on the one hand, from the shackles of its traditions, and, on the other, from the mirages of the American dream.

Born in Ikeda, Osaka, Moriyama studied photography under Osaka-based Takeji Iwamiya before moving to Tokyo in 1961 to work for three years as an assistant to the photographer Eikoh Hosoe. He created a photographic series, Nippon gekijō shashinchō, showing the darker sides of urban life and the less-seen parts of towns. With his work, Moriyama tried to demonstrate how life in certain parts of Japan has been left behind the other developed regions. His work revolves around the themes of urban mystery, memory, and the visual medium being explored.

Moriyama often introduces his work in the form of a photobook, which he defines as open-ended pages, enabling the reader to determine the order of images they see. He has published over 150 photo-books since 1968. "Japanese Theater" (1968), "Farewell, Photography" (1972), "Daidohysteric" (1993), and "Hokkaido" (2008) are the most notable of amongst his photo books.

American designer Rick Owens once mentioned Moriyama's work as one of his main inspirations. If we draw an analogy between two artists, Rick Owens indeed is offering something completely different from other designers in a soupy sea of today's mediocre suiting and sportswear. He plays boldly with cloth and form, breaking the sexual and gender boundaries. Owens is as likely to recommend a dress for a man as for a woman, but without sacrificing manliness in favor of the novelty of the runway.

Daidō Moriyama distinguished himself in erotic nude photography, taking part in the visual and cultural movement.

EROTICISM IN DAIDŌ MORIYAMA'S PHOTOGRAPHY

In their modest house in Porterville, California, where Rick Owens grew up, his father had an overflowing library. The books were held in the basement. According to the designer, it was always cold down there and it always smelled like sticky dirt as there was a crawl space connected to the outside. Those must have been the second-choice books of Rick Owens's father – the ones upstairs were on theology and philosophy, while the basement contained the things he probably considered fluff. Rick Owens found Kenneth Anger's Hollywood Babylon, Proust's Remembrance of Things Past (the Moncrieff translation), J-K Huysmans's A rebours, some Colette, albums of silent-movie stars and set designs, all of which shaped the style that Rick Owens, according to him, "all-too-constantly-promotes." In particular, the epics of the Cecil B DeMille Bible held his attention: lurid black-and-white glamor seen through an art-deco lens, with a quest for a higher meaning and then a clean moral resolution. 

However, if the biblical stories were all grey, glittering, opulent excess, there was a minimalist departure in the handful of movies starring and produced by Alla Nazimova, the Russian actress who gained fame on stage in classic Ibsen plays in the turn of the century but found a silent Hollywood legend on the screen. Future designer was attracted primarily to her versions of the Camille of Alexandre Dumas (1921), and the Salomé of Oscar Wilde (1923), both critical and commercial failures. They were art directed by Natacha Rambova (born Winifred Shaughnessy), whose intimate relationship with Nazimova was never clearly established-most gay partnerships have come to light during this time, but theirs have never been confirmed. 

The photos in Rick Owens's dad's basement books had a cardboard-cut-out quality which only strengthened the sense of sophisticated artifice he was reading into them. The minimalism in the direction of their art was definitely based on their budget. Both films owed a huge debt to the the art of Aubrey Beardsley, who died at the age of 25, just about 20 years before the films have been Released. In Camille the "Beardsley effect" is implied but in Salomé it is completely blatant. 

The modernized version of Nazimova's Camille is set in today's Paris, which means 1921, the year the movie was made. At the 1900 Exposition Universelle in Paris, Art nouveau has been introduced, and in this film you can see how its bizarre lines are already starting to simplify into art deco, which was to be introduced in 1925. In the lightness and sheerness of the costumes of Marguerite/Nazimova, Paul Poiret's elongated style, art nouveau articulated in fashion also made its transition.

Rick Owens remembers that he only saw the photos of these films in his father's books, and then, while he was living in Hollywood himself, he had video cassettes and watched them in his apartment's bedroom in a Mediterranean Revival House of the 1920s on Grace Avenue – a crack-infested mile above Hollywood Boulevard. He had covered the tall walls of the bedroom and windows with a brocade of dark black and gold moiré that was later remembered by a friend as "decaying peacock feathers"; extremely Nazimova.

Today Rick Owens is watching these films on TV in his Parisian grey, concrete bedroom as he showers in the morning, listening to the opera.

THE MOVIES RICK OWENS WATCHES WHILE HE SHOWERS IN THE MORNINGS

Upon first consideration, military-issued camouflage would seem to suggest the disappearance of the individual – its very nature as a uniform emphasizes conformity, while the optical effects of the pattern force the disintegration of the human form by merging it into the background. Yet, when used by fashion, camouflage announces one’s presence, serving to distinguish the wearer from others. From the 1970s to present day, the pattern has repeatedly fallen in and out of fashion, creating a cycle that has served to fix it solidly in the fashion pantheon as a classic. Even though the pattern now has widespread populist appeal, it still retains edgy overtones due to its use in the military and in anti-fashion. The inherent malleability of camouflage to transfigure the body is echoed in its flexibility within the realm of fashion to both distinguish yet codify the wearer. It is at the same time used as a tool of subversion and an indication of accepted fashionable conformity.

Camouflage is immediately recognizable, yet it has contradictory meanings. Like the fragmented world that the pattern embodies, in socio-cultural terms the camouflage pattern embodies conflicting connotations – violent yet peaceful, urban yet natural, conformist yet subversive. Inherently democratic, camouflage belongs to male and female, rich and the poor, pacifists and warriors. Ultimately, it is the wearer, not the pattern itself that determines its meaning.

Designers often apply camouflage prints to their models. Within his last season, Alexander Wang presented several variations of camo sweatpants, camouflage back panel t-shirts, and camo canvas totes.

From the 1970s to present day, the pattern has repeatedly fallen in and out of fashion, creating a cycle that has served to fix it solidly in the fashion pantheon as a classic. 

SOLIDLY OF CAMOUFLAGE IN THE FASHION PANTHEON

Fashion designer Claude Sabbah's statement implies that camouflage, both as a concept and a pattern, is omnipotent and omnipresent. How could a simple textile pattern ever be compared with God? If Sabbah's opinion is correct, how did camouflage achieve such power?

The camouflage textile pattern itself is just one aspect of camouflage theory, albeit the most visible. The pattern, with its original intention of concealing the human form during war, directly relates to the concept of camouflage theory as practiced in otherways, such as concealing undesirable parts of the body or distorting visual reality. The term Camouflage embodies deeper philosophical meanings speaking to an intentional denial of truth. Indeed, fashionable camouflage springs out of this theoretical realm of intentional deception - trickery meant for survival through the shifting of reality. Fashion permits, and even encourages, the assumption of new identities through the act of wearing clothes, mirroring the rebirth through deception that camouflage enables.

How did the textile pattern known as camouflage come to be imprinted on the public consciousness with such a variety of co-existing meanings? The focus is mainly on the American, and by a certain extension, European experience of fashionable camouflage for two reasons: first, the trend for wearing fashionable camouflage began in the United States, and second, the pattern most associated with fashionable camouflage is actually an American military camouflage creation.

There are several important thematic connections to camouflage that need to be investigated. Foremost, camouflage cannot be discussed without acknowledging its direct link to art. Indeed, the pattern called camouflage is at its essence an artistic rendering of the natural world. Initially, artists created defensive camouflage schematics during both World Wars, and afterwards they were the first to use the pattern in subversive ways. Art served as camouflage’s primary node of transference between the military and civilian realms. Other disparate forces connected to the development of camouflage as a fashion classic include music, marketing, anti-fashion, political activism and feminism.

The term Camouflage embodies deeper philosophical meanings speaking to an intentional denial of truth.

There are essentially three types of military camouflage, all of which were utilized in World War I for the purpose of evading detection. The first type is a blending, or assimilating, camouflage that seeks to use color and pattern to melt into the background by mimicking other objects in the environment. A second type of camouflage is called disruptive camouflage, which obliterates a single recognizable shape into several smaller unrecognizable units by using a high-differential color scheme. A third type of camouflage is coincident camouflage, a method of using both blending and disruptive techniques to merge an object into the background whilst breaking it into several smaller irregular shapes. This last type of camouflage is the type we most associate with the pattern applied to uniforms – a pattern containing amorphous shapes in colors matching the natural environment.

Many have suggested the place of Gestalt theory in the study of camouflage. The Gestalt psychologist Fritz Heider wrote, “one realizes immediately that Picasso’s new technique [of Cubism] consisted partly in destroying the natural units of familiar objects by opposing one unit-forming factor to another.” In Gestalt theory, the blending kind of camouflage is called “unit forming,” while the disruptive form is called “unit breaking.” Coincidental camouflage succeeds by breaking a form into units, and then causing these units to merge into other objects within the background through blending coloration. While this theory was not codified until the 1930s, it serves to explain why camouflage was an effective war tactic.

This principle of obliteration was also applied to ships, usually in a striped zebralike scheme called “Dazzle”. Of utmost importance during WWI was the need to make ships visually disappear on open water. In 1917, British Lieutenant Commander Norman Wilkinson laid out his idea for making boats disappear in a letter to the British Admiralty. “It should be pointed out, the idea is not to render the ship in any degree invisible, as this is virtually impossible, but to largely distort the external shape by means of violent color contrasts.” The goal was to force the enemy into an inaccurate reading of the ship’s distance, direction of travel and speed through visually breaking the ship into smaller pieces.

There are essentially three types of military camouflage, all of which were utilized in World War I for the purpose of evading detection. 

The term camouflage derives from the French word camoufleur, meaning “to disguise.” It entered the English language during World War I, when the French first adopted it as an innovative military technique. In 1914, the portrait painter Guirand de Scévola proposed hiding shiny artillery behind paint and fabric. De Scévola was quoted as saying:

In order to totally deform objects, I employed the means Cubists used to represent them – later this permitted me, without giving reason, to hire in my [camouflage] section some painters, who, because of their very special vision, had an aptitude for denaturing any kind of form whatsoever.

This concept of concealing coloration and deformation spread rapidly to Britain and Germany, finally reaching the United States in 1917, the year the USA entered the war.

Camouflage served to drastically alter the look and method of modern warfare. While armies decades earlier had used monochromatic coloring on their uniforms as a form of blending camouflage, the early twentieth century marked the first time that the possibilities of abstraction through coloration and patterning were realized. The First World War inaugurated new and brutal forms of weaponry and tactics such as digging trenches and scouting from the air, thus military emphasis shifted from showing one’s strength and valor to using deception as a main tool for survival. As an author in 1917 stated, “the flash of brilliant colors, brass buttons and gold braid is no more. The passing of the spectacular soldier is due in part to the greatly increased destructiveness of our modern machines of war. To be seen is to be lost.”

THE CONCEPT OF CONCEALING COLORATION AND DEFORMATION

The Swedish-born, Chalayan-trained designer Fannie Schiavoni lives in London. Her bellicose handcrafted harnesses and the New Gen award winner jewelry have already captured Skin, Gaga and Rihanna's fancy.

We think bondage, strength and discipline when looking at your designs. Are we on the right track? 

I never look at any of those while designing or studying. I don't look at armor either. It's always been about art for me, and the ancient techniques that I use to construct my chains, ring by ring. I design and carefully examine the shapes on the mannequins, inspired by my tailoring experience. I rarely draw. To me, drawing isn't simple or practical enough. Anyone can draw a beautiful thing, but it's about being able to know it well for me. 

Skin, Gaga and Rihanna have worn your creations, do you think your work complement a musical setting? 

I love making stage clothes; they have a great weight because of the chains, which work well in motion. I have been on the set when Rihanna wore my chains for her Rockstar 101 video and I loved the way they looked at her. Yet that experience also made me aware that as the wearer travels a lot, stage clothes require a lot more support. And when Skin asked for a stage outfit I designed an entire undergarment to make sure it stayed on her for the entire set. 

How long does will piece take to make, on average? 

There is no average. Making a piece takes me thirty minutes sometimes, but it also can be three days sometimes. I nearly lose money on some pieces, but if I love them, they must be created in any case. 

Making a piece takes me thirty minutes sometimes, but it also can be three days sometimes. I nearly lose money on some pieces, but if I love them, they must be created in any case. 

FANNIE SCHIAVONI: WE THINK BONDAGE, STRENGTH AND DISCIPLINE WHEN LOOKING AT HER DESIGNS

Leaks emerged last week alleging that Victoria Beckham had furloughed 25 of her employees working for her fashion company in order to keep the business from deteriorating. 

Her decision has been met with strong criticism, with people saying she would use her own money to pay workers. Since then VB has said she has had the "worst week" and thinks the criticism she faces is totally unjust. 

Victoria told a friend that "she feels it's unfair and had no idea the reaction would be so bad." "She's very angry and doesn't think it's fair she's being blamed for something that a lot of businesses and corporations are doing," the source added. 

Despite putting her workers on the government system, which has taxpayers paying 80 percent of the salaries of employees, VB has given "enhanced packages" to her workers and seemingly "forgot their own compensation," says the Sun. 

The 46-year-old has also said that during the coronavirus pandemic, 20 per cent of all sales will be donated to food banks.

VICTORIA BECKHAM IS UPSET OVER CRITICISM FOR FURLOUGHING HER STAFF

Alexander Wang is one of the youngest designers admired by critics and celebrities. His urban pageantry is suitable for both catwalk and everyday life.

The designer was born in San Francisco in 1984. The young artist started his own brand after working with Marc Jacobs and Derek Lam. Alexander Wang expelled from the school of design, but this turning point was just for good. In the two years that Alexander Wang studied design, he succeeded more than most designers do in a decade. He was collaborating with Vogue, GQ, as well as with the most significant artists of the fashion world.

Initially, Alexander Wang put his focus on women's clothing. His first collections have been related grunge, rock and roll, and vintage. In the beginning, various critics believed that in Alexander Wang's creations, there was not enough of femininity. However, the success of Wang's 2006 collection and the following award nomination from the Council of Fashion Designers of America put everything in place.

The fashion designer founded his label Alexander Wang in 2005. In his interviews, he often talked about Erin Wasson, who was acting as Wang's muse and ideological inspiration. Two years later, his collection of women's clothing has been presented at the New York Fashion Week. In 2008, Alexander Wang began creating completely unique bags and accessories. His most famous Rocco Duffel bags and split-heeled boots with ninety-five spikes was appreciated by many celebrities, including Mischa Barton and Jessica Simpson.

Five years later, Alexander Wang decided to drop the prices of his collections. This has significantly increased the number of customers. Then, in addition to a wide range of products, the designer produced a series of men's and women's sunglasses. In 2011, the first flagship boutique appeared in Soho. Fantastic popularity drove to the opening of stores in Beijing. Eventually, Alexander Wang got the new position of creative director at Balenciaga. In 2016, Wang became the CEO and chairman of the Wang brand, succeeding his mother, Ying Wang, and sister-in-law, Aimee Wang.

Alexander Wang's urban pageantry is suitable for both catwalk and everyday life.

ALEXANDER WANG DOESN’T NEED TO SET SAIL ON AN EXOTIC GETAWAY TO GET INSPIRED

In 2008, Alexander Wang released a collection of dresses for Uniqlo in hushed tones of white, black and beige which looked extremely elegant due to the clear lines of silhouettes.

In 2009, together with Vena Cava and Albertus Swanepoel, Alexander Wang released a limited women's collection of clothes and accessories for GAP project in safari style. As expected, the prevailing colors were beige and coffee.

With Sally Hansen, Alexander Wang released nail polishes, and with Proper Attire, he developed the condom packaging design. A white maple leaf has been depicted on a black background.

In 2013, a collection of bags has been released; the bag print was created on Samsung Galaxy Note II. The proceeds were sent to ArtStart. Alexander Wang decided to help young talents fulfilling their dreams.

Alexander Wang has always advocated promoting youth initiatives. This has been proved by the collection of t-shirts and hoodies for DoSomething. Forty celebrities were part of this project, including Kanye West, Kate Moss, Cara Delevingne and, of course, Alexander Wang himself.

In 2014, Alexander Wang and H&M created a collection together which could be described as a mix of sporty and elegant style. Garments were made of quick-drying fabric and waterproof materials.

In 2016, Alexander Wang and Adidas Originals announced the creation of a permanent in which catwalk shows would meet street fashion. This was one of the most notable collaborations of the year, perfectly illustrating all modern trends.

This is not the full list of all successful works of Alexander Wang. The artist also designed Beats by Dr. Dre headphones, Poltrona Frau furniture, Haydenshapes surfboards. Alexander Wang's collections are diverse; despite the fact that he prefers monochrome, bright tones are not uncommon to the designer. His garments are inspired by independent music and the severity of big cities.

Alexander Wang says that he not only puts rock and roll and grunge into his creations but also generates a balance between strict silhouettes and street fashion. In 2016, he became head of his own brand previously being led by his mother.

Alexander Wang says that he not only puts rock and roll and grunge into his creations but also generates a balance between strict silhouettes and street fashion.

ALEXANDER WANG SIGNIFICANT COLLABORATIONS

In his collections, Dion Lee loves to combine traditional fabrics with innovative designs. Lee demonstrates minimalism combined with structural forms. The designer puts accents on underwear and on the way it emphasizes women's curves. Skinny T-shirts and knitted fabrics instantly draw attention to silhouettes and make the whole look more sensual.

Typically, Dion Lee does not experiment much with colors and creates his collections in pastel and sallow shades. White and sand-caramel find expression in leather sets, sheer fabrics and masculine jackets.

The images Dion Lee creates fit the definition of neither a masculine nor a feminine role. Unisex is another crucial theme of his shows: often it is hard to identify the gender of Lee's models. Soft silhouettes are offset by hard and clear lines. “I found that many women around me dress in men's clothes, and for men it is much more convenient to experiment with female silhouettes - this is where it comes from.”

Through collaboration with a leather brand Fleet Ilya, Lee accentuates soft and smooth tonal images with sculpted bras, straps and waist belts with garters attached to the thigh-high boots. “I adore using this hosiery motif in both men's and women's clothing.”

Dion Lee is one of the most influential designers in the fashion world. Since his launch in 2008, Dion Lee has received various prestigious awards, including the 'Qantas Spirit of Youth Award in Fashion Design', the 'L'Oreal Melbourne Fashion Festival National Designer Award', and the 'Prix de Marie Claire Award'. In 2013, Lee has been selected as the Australian finalist for the 'International Woolmark Awards'. The structured, architectural design immediately got the attention of the fashion industry and hit the cover of Vogue Australia in 2010.

Experimenting with technological materials like neoprene, uncanny prints, textures and cuts, Dion Lee changes the natural silhouette, but not to the detriment of grace and femininity.

Dion Lee outfits are functional and comfortable, which explains their popularity. Not only Australian Megan Gale, Lara Bingle and Miranda Kerr, but also overseas stars such as Rooney Mara and Charlize Theron admire couturier's work.

Victoria Beckham is a designer, mother, wife and the most well-know fashionista in the UK. Each public appearance of Victoria is a definite hit on the target. She has dozens of to-dos on her usual schedule, however she always manages to put herself in order and look perfect.

Victoria is a fan of laconism, monochrome looks and streamlined silhouettes. Inspired by her outfits, we have identified six fashionable rules that you should always keep in mind if you want to look as spectacular and elegant in any circumstances.

Even if the accessory has a shoulder strap or short handles.

2. Wear a turtleneck under a shirt or dress.

This element of the wardrobe always helps out. But as the first layer it looks especially fashionable.

It just looks pretty after all when you tuck your t-shirt into your jeans.

You will not look too eccentric wearing garments in red, pink, blue (or other bright palette colors), if the cut is simple.

Sneakers are certainly comfortable and cool, but heeled shoes can make any look incredibly feminine.

According to Victoria Beckham, they help out in any situation.

Victoria Beckham, nee Adams, was born into a rather wealthy British family. Her classmates often made fun of the rich Adams and were rarely hanging out with her out of envy. In addition, in her youth, Victoria had poor skin on her face, which became an additional reason for mockery. Therefore, at home alone, the girl would arrange real shows in which she would a rock star, changing clothes and hairstyles, singing songs and posing for photographers.

Finding herself in creativity, Victoria studied ballet. After graduating from school, Victoria attended a three-year course at the Lanie Arts Theater. The future star did not shine with outstanding talents, however her teachers noted the zeal and diligence of the girl, her hard work. It was Victoria's perseverance that helped her through endless unsuccessful castings and auditions. Adams dreamed of a career of an artist and was not going to give up.

Inspired by Victoria Beckham's outfits, we have identified six fashionable rules that you should always keep in mind if you want to look as spectacular and elegant in any circumstances.

The story of Ellery, one of the most successful Australian fashion brands, begins in 2007 when Kym Ellery left fashion journalism and created her first collection. Immediately, Ellery has been noted for her European rather than local presentation, clear silhouettes and expressive techniques easily recognizable by the Western audience, while holding a strong concept and referring to current fashion trends.

Ellery's work has been rapidly appreciated by the main trendsetters of that time, such as Solange and Rihanna, as well as the more conservative Cate Blanchett and younger Elle Fanning.

Kym Ellery hails from the Australian town of Perth. She has moved to London to graduate from Central Saint Martins and then returned to Australia where she became part of RUSSH fashion magazine, known far beyond the borders of the country. After four years of work for the publication, Kim decided to leave fashion journalism and establish her own women's clothing brand, using the experience and knowledge of the fashion industry gained over the years of work for the magazine.

Sculptural silhouettes is the main point of every collection of the brand. Framed with elegant draperies, Ellery attires create an ephemeral romantic mood.

In Ellery collections, familiar details appear in unexpected designs: lantern sleeves creating hypertrophied volumes, ruffles and frills in cascading waves, golden fringes as a bright accent of minimalist looks.

What can women pick up from Ellery collections? In fact, almost everything! Outerwear, beautifully emphasizing the silhouette, dresses in a variety of color palettes, sizes and lengths. If you need a bright t-shirt and a basic blouse or maybe you put emphasis on pants, shorts or skirts, Ellery offers any of these options. Do not forget that each style has distinctive features: these can be drop-shouldered sleeves, flared trousers, elegant cutouts, as well as golden or silver patches.

After four years of work for the publication, Kim decided to leave fashion journalism and establish her own women's clothing brand, using her experience and knowledge of the fashion industry.

ELLERY PHENOMENON: FROM JOURNALIST TO SUCCESSFUL FASHION DESIGNER

You've left Mugler about two years ago. Have you accomplished everything you wanted while working for the brand?

At the time of commencing working for them, there was almost no brand at all: no concept, no team, no customers. My friends said: “How lucky you are to work for such a large and famous company!” However, they could not see and did not know the real state of the brand. I am proud that I managed to revive Mugler: now there is an amazing studio, excellent employees and talented designers. And I’m not at all upset that everything has passed to the new art director. Today, I still have great respect for the brand.

Have David Koma clients intersected with the clients of the Mugler fashion house?

Sometimes yes. Although, I tried to make completely different clothes for Mugler - more austere and masculine.

Was it important for you to not only to be a designer, but also the brand face?

Unfortunately or fortunately, this is a must. If you work as the creative director of the brand, you should go to presentations, store launches, and gala dinners. This is part of the game.

Leaving Mugler, you planned to focus on your own brand. What has changed over two years?

In fact, after having left Mugler, I almost immediately began to get engaged into another project, in addition to David Koma. I can not reveal all the secrets yet, but I’d say that I carry on working for two cities, just now I spend more time on the road, between London and Los Angeles. When I lived in St. Petersburg, I accustomed myself to the fact that the path from home to work should be one cigarette long. And now - almost for the first time - I violated my own rule of life. Accordingly, the changes in David Koma will take more time than it was announced: they will become more noticeable in six to eight months, stay tuned!

In fact, after having left Mugler, I almost immediately began to get engaged into another project, in addition to David Koma.

INSIDER INFO: DAVID KOMA ON LEAVING MUGLER

During the 30 years that Thierry Mugler was at the helm of his brand, he constantly traveled the world, photographing his clothes against the background of the wonders of the modern world. “All my life I have been a photographer,” says Mugler, “photography has become a reflection of myself and my understanding of beauty.”

Mugler’s photographs are no less ambitious than his famous shows - imagine, in one shot, he managed to convey the grandeur of the one-hour long fall-winter 1995 show featuring Naomi Campbell, Kate Moss and Jerry Hall. In his book, Thierry Mugler invites us to travel from Paris to New York after his models, which either fearlessly climb the roof of the Opera Garnier, or recklessly sit on the Chrysler building gargoyles. Mugler shows us the greatest works of architecture: from St. Basil's Cathedral in Moscow to the Great Mosque of Djenné in Mali, invites us to explore the salt flats of the Chilean Atacama desert, lush forests near the Chinese city of Guilin and Hawaiian volcanic beaches.

How did your passion for photography begin?

When I was eight years old, I shot my first short film, and my father acted as a cameraman. At 14, I took my first fashion photo. Then I was professionally engaged in ballet, being a dancer at the Opéra national du Rhin in Alsace and created my first fashion show. I did everything by myself: I was engaged in production, styling, found a location, took pictures. It is difficult for me to separate these processes from each other. First of all, I am an art director, as I think about the whole concept. That is why I was always starting with mood boards when I worked on my shows. Then I  started being engaged in photography more professionally: shoot advertising campaigns for my collections and fragrances.

On April 14th, the book Manfred Thierry Mugler, Photographer, an incredible visual odyssey consisting of 150 photographs taken by the artist, has been released by Abrams & Chronicle Books (originally published in 1988), which is a diary of Thierry Mugler's travels.

On April 14th, the book Manfred Thierry Mugler, Photographer, an incredible visual odyssey consisting of 150 photographs taken by the artist, has been released by Abrams & Chronicle Books.

NEW BOOKS: MANFRED THIERRY MUGLER, PHOTOGRAPHER

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