Martin Parr. “Bad taste sometimes makes for better photos than good taste”

Through Martin Parr’s lens, the world is colorful and the people who inhabit it caricatured. However, the British photographer does not distort anything. He observes, notices and pulls the trigger on his camera, offering a new perspective on what at first glance seems quite ordinary. Through Martin Parr’s lens, absurdity and impeccable shoulders intertwine in an almost anthropomorphic dimension, cutting the everyday prosaic into scenes with substance. The Englishman interprets humanity without words, with humor, but above all, with love. And while his field is more documentary than directing, Martin Parr never gives up on training.

In his new book Fashion Faux Parr:Published on February 28, Phaidon editions brings together clichés that are directly or indirectly related to the comic world of fashion. Twenty-five years of photographs, orders from magazines and brands, half a century of irony, a convulsive analysis of the mass of people formed. In conjunction with the book’s release, some of these images are on display at the Clementine de la Ferroniere Gallery until May 26. We caught up with Parr in March at a salon in District 4 to discuss Fashion Faux Parr: and the fashion faux pas, in a conversation tinged with humor, the secret of which he has.

Madame Figaro – What is fashion for you and how do you perceive it?

Martin Parr. In other words, it’s a way to make money while doing interesting work. Fashion is a kind of problem where you have to solve what people are wearing, it’s actually quite simple. This book was a chance to look back on 25 years of photography and see all the photos I’ve taken that could find a place in the fashion industry. But really I don’t think about fashion, I just take pictures. It’s the only thing I do.

The book and exhibition present a mix of individual images and brand commissions. Is there a big difference in the way you work depending on whether you work for one or the other?

When you work for a brand, you have more limitations. When you work in a magazine editorial, you have more freedom, and freedom is always welcome. This is a little closer to my regular photos, but I consider all my photos personal, always. I take photos that I like and hope the client likes too.

Behind your lens, you see fashion differently.

Not really, no. After all this time, the two have almost become one. I allowed myself to photograph with my own eyes, seeing life in the photographs.

If your eyes are seeing pictures everywhere, sometimes you feel like you’re missing out on a good picture when you don’t have your camera.

Oh yes absolutely, I miss the photos all the time. I miss more photos than I take, to be honest. All the time. You can’t force a moment to repeat itself, it’s part of the game. Fashion allows you to work with models and products, place them the way you want, the way you want them to be, you can start again. So that’s an advantage and perhaps the biggest difference from my documentary work, although sometimes the two get mixed up… Oh, by the way, here’s Lemon, the dog. (A black labrador sits at our feet, Editor’s note)

I miss the photos all the time. I miss more photos than I take, to be honest.

Is it yours or the hotel’s?

(Laughs) From the hotel, unfortunately. That’s a great name for a dog, isn’t it? Lemon?

Does your eye never actually come out?

Of course not, as he continues to search, seeing photos everywhere he lands. But I can’t have my camera all the time, it’s too complicated. If there’s one thing you should know about me when it comes to my photos, it’s that I either do them right or I don’t do them at all.

You often talk about smartphones and how they are democratizing photography for everyone. You use it when you don’t have your device.

Yes, absolutely. For example, when I was in the hospital, I used my phone to take pictures of what was happening around me. I mainly use it every day to draw books. But now that I have an iPhone 15, which I’ve been using lately, it’s even better. Smartphones improve significantly over time. So yeah, I guess I’ll start using the phone camera more seriously.

Did you need any lessons to use your smartphone camera?

I have to learn the technical aspects, yes (laughs). I had a meeting with Apple in London last week before I came here, they showed me what can be done with this iPhone 15. That’s pretty impressive. But you are right, I am an old man, I need information and I learn everything a little slowly.

No, you are not old.

Yes, yes, I am (laughs).

Can you take a picture with my phone to give an idea of ​​how Martin Parr uses a smartphone?

Of course! Hold. That would be £50.

Your photography is sometimes perceived as naughty. Do you also find humor in fashion?

Oh yes, of course. It’s a crazy world, isn’t it? And humor is everywhere, you just have to keep your eyes open. After all, big brands can’t always take the risk of choosing as subversive photos as I do. They should hire Steven Meisel or someone who only takes good pictures.

Humor is everywhere, just keep your eyes open

But fashion these days also tends to be more authentic.

Right, yes, and it’s a trend that works in my favor. I can bring things from the ordinary world into this extraordinary world. I have the opportunity to place exclusive models, clothes and accessories with objects that do not come from the same world. I don’t think I could have had the same success thirty or fifty years ago.

Do you believe in bad taste?

Absolutely. And I enjoy it, actually. I like to see it, I like to photograph it. It’s still useful, at least as a backdrop. We all have a little bit of bad taste deep down, and that’s okay.

THE: fashion faux pas Do they take the best photos of Martin Parr?

(Laughs) Maybe not the best, but bad taste sometimes makes for better photos than good taste. Either way, it’s always a nice distraction.

We know you’d rather take photos than talk about them, but can you tell us the story behind this photo: the lady with the glasses and the orange towel?

Admittedly, I’m not very good at photos. I will make an effort. This photo was taken during the Gucci shoot. They had hired a whole bunch of extras who were running around. I also had the opportunity to take photos with them in between shots. I saw him, approached him, ruffled his white hair, put on sunglasses and took a photo. Simply. And then this shot became my most coveted fashion photo. Who knows why?

You wrote in Keeper in 2018 that you know nothing about fashion and today you are writing a whole book about it. What changed?

It’s ironic, isn’t it? (laughs) Actually, I know about fashion, I just told them I don’t know anything and they believed me.

So you really know your stuff.

Well, let’s say when you’ve been in this industry for twenty-five years, you learn a little bit about what’s going on. But after all, I’m not a fashion photographer. I repeat: I am not a fashion photographer.