Get all the details on Namacheko and crewdsonstudio's new collaboration.
, which he describes as having, “very much a David Lynch essence to them, but they also often don’t look like photography—they can be between a cartoon and a horror movie.” Lurr mentions the likes of a seagull image from 1986-88, describing how he looks at it through the prism of environmental calamity, or a picture from 2001 which depicts a man alienated from the world, but which Lurr finds, with the rays of light breaking through the floorboards, as offering up salvation and hope.
In conversations Namacheko and Crewdson discovered the common ground between them; both are fans of Hitchcock, particularly, and they share a belief in the notion that be it a photograph or a runway show, each distills a moment that is personal to whomever is looking at it, and that what went before it, and what comes after it, is open to individual interpretation. What all of this means for the clothes, well, Lurr doesn’t want to give too much away.
It’s a sign of how open Crewdson was to the whole experience that he never asked Lurr to show him what was being designed; the first time he will see them is when the clothes hit the runway, even if he has to do that via the wonders of digital technology and not in the flesh, as he won’t be in Paris. Namacheko’s invitation, says Crewdson, was “completely out of the box and unexpected. But first and foremost he had an understanding and respect for my work.
Crewdson views the fashion world with a wry detachment—“I’ll never make the best dressed list,” he says, laughing—but Namacheko isn’t the first time he has worked in its sphere; he did a terrific series of images four years ago with the likes of Gwyneth Paltrow, Julianne Moore, and Tilda Swinton. And he’s intrigued by the photographic medium’s ability to morph itself.
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