Some notes and thoughts on a Helen Levitt image

I’ve set myself the daily prompt of choosing a photograph and making some notes here - nothing too formulated. A way to keep looking and thinking about why I’m drawn to certain images. What do they mean to me? What’s the wider context? What can I learn about them from reputable sources? A mix of my own thoughts and findings, and a learning process. I’ve been thinking about a statement from John Berger’s Understanding a Photograph (2013) lately within the context of our relationship to photographs now that most of us have constant access to a camera on our phone:

“Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless” 

Now that everything is consistently photographed, does that mean all photographs are meaningless? Something to think about. Every photograph doesn’t mean something to everyone.

Today I’m looking at a photograph I saw a few months ago at Helen Levitt: In The Street at The Photographers’ Gallery.

 

Helen Levitt, New York 1980

What stood out to me at first was that it was in colour. Maybe because I’d been looking at lots of black and white imagery around that time so it felt refreshing and unexpected - I also wasn’t aware of her colour work. The vibrant green and the blue of the cars gave me a sense of warmth. It’s a Dye Transfer Print which is a handmade photographic printing process used widely between the 1920s and the 1950s. MoMa notes that in these prints, three layers of dye—cyan, magenta, and yellow—are applied sequentially, by hand, to one emulsion layer. The process involves many steps and painstaking alignment of each dye layer, and as a result, dye transfers are rare and were seldom made by amateurs. They are very stable, and, when executed correctly, they allow the photographer exceptional control over the final colour balance. This explains why the colours look so good.

The central character is the little girl playing between the green car and the kerb - it looks like she might be looking for something she dropped? The shiny silver wheel hub and car bumper are gleaming nuances in contrast to the raw grittiness and litter-strewn New York street.

I like these boxy suits

Autumn and Winter 2020

New Beginnings - Simone Rocha

Simone Rocha is the undeniably talented and innovative Irish-born designer who arrived on the British fashion scene just over five years ago. I'll never forget seeing the first collection and wanting it all, especially those Perspex shoes. Since then it's a must-see show, one I'm constantly excited about. This year is full of new beginnings for Simone; she's due to give birth to her first child any day now, a daughter. And her very first store opened on London's Mount Street in September. 

Simone Rocha's first shop: 93 Mount Street, London, W1K 2SY // The window sculpture is a collaboration between Simone Rocha and artist Janina Pedan

Simone has always been involved in the presentation of her collections within their retail environment. Her international stockists include Dover Street Market in London, Tokyo and New York, as well as Colette in Paris. The brand's window displays and decorative installations are usually designer/stockist collaborations. It's no surprise then that she wanted to add something more to the shopping experience in celebration of her new store. Just when I thought it couldn't get any better, she published a fabulous book. 

Fashion, Photos and Flush Pink - The cover of Simone Rocha's AW15 photo book

This publication brings a whole new meaning to the fashion lookbook. A glimpse into the world of a designer's inspirations proves to be much more engaging than studio shots of a collection. We can see catwalk looks on sites such as the soon-to-be relaunched (2016) style.com et al anyway. I'm intrigued to know if there will be a second one to accompany next season. More of these kinds of personal, tangible and covetable lookbooks would be a good way of keeping people engaged with the brand. It could be pretty special if this becomes a regular offering from Simone. 

When I picked up this beauty, I walked back to the Tube with a big smile on my face. I'm a bit of a paper geek. For those of us who love fashion and print, these kinds of publications really get us going. Particularly if they are limited edition with a print run of just 1,000. It's A2-size and comes in a branded transparent sleeve with 'signature Rocha pastel pink' type and a chunky rubber band. It's a hybrid poster-book publication. Ultimately - enough to drive any paper lover loopy.

What's inside?

It's a compendium of visuals that Rocha holds close to her heart - a book of inspiration created in collaboration with her friends. Colin Dodgson captures the spirit of her Autumn Winter 2015 collection worn by models Olympia Campbell, Madison Stubbington and Emelie Fredengren. Lots of wall space and hands (see pics above). Four more photographers each present a collection of visuals that have been integral to Rocha's creative process - many of which embrace her cultural heritage in some way or another. Some are based in Ireland where she grew up and others are taken in Hong Kong where her father's from. 

Here are my favourite two...

Pony Kids photographed by Perry Ogden

1. Perry Ogden's photographic series 'Pony Kids' was originally published in the similarly-named book by Aperture in 1999. Perry had been fascinated by a subcultural movement of young kids from the traveller community who would meet regularly at Dublin's Smithfield horse fair in the mid 1990s. So he took his Polaroid camera and 665 film to document it. The result - a stunning series of black and white portraits depicting the raw beauty of a moment that Ogden tapped into spectacularly. Each photo is taken against a white backdrop. Some of the subjects stand in groups, some alone, and others with ponies, birds or rabbits. The neutral backgrounds put them under a 'spotlight' and leave the rest of the scenario to the viewer's imagination. I want to see what else was going on at the fair and how people reacted to Ogden randomly setting up a makeshift studio.

Louise Bourgeois (1911-2010)

Be Calm, 2005. Drypoint on paper, 19.1 x 12.7cm Private Collection

In amongst the photographs, also by Eoin McLoughlin and Ross McDonnell, paintings from the private collection of Louise Bourgeois are thoughtfully interspersed. Just beautiful.  

Simone Rocha's first advertising campaign photographed by Jacob Lillis

Rocha's designs and everything she does surrounding the clothes is a personal expression. I love that there's zero product. - she hasn't succumbed to fashion campaign status quo.  

2. 'Flowers and Cars' photographed by Jacob Lillis came about because of a mutual fascination with flowers in places other than their natural habitat. It made me think of something Phoebe Philo, creative director of Celine, said in the latest issue of The Gentlewoman (No 12) magazine; "It brings a whole different personality to something when you place it somewhere new." There's something uplifting about this series - they're just flowers in cars but the juxtaposition works. It's as if you can imagine they're being transported to a better place where they will live forever. This particular set of visuals has been used as Rocha's first advertising campaign published in magazines including; Self Service, The Gentlewoman and Hot and Cool. Yet another new beginning for 2016. Long may they continue.