French fashion photographer Sarah Moon’s hazy images don’t offer the truth — they hint at a vague narrative, the threads of a story, nothing solid or certain. Rather than fixed documents, they are more akin to fragments of memories, or dreams, a glimpse of a fantasy. Stained with pigmented colour and dark shadow, her photographs resemble found photos, the sort you might stumble upon by chance at a flea market, weathered with time, or discover locked away in an attic somewhere. Frequently described as existing “outside of time”, they exude mystery, melancholy and poeticism.
The timeless ethereality of Moon’s work is the subject of the celebrated photographer’s latest exhibition at Armani Silos in Milan, “From One Season to Another”. Presenting over 170 small and large format images from throughout her 40-plus year career, this exhibition provides an astonishing insight into her enigmatic work. Having shot advertising campaigns for the likes of Biba and Cacharel in the ‘70s before going on to shoot for innumerable fashion magazines and create more personal work reflecting on themes such as the transience of time and beauty, Moon’s imagery has always provided a different take on the concept of fashion photography. Unfazed by the superficiality of changing trends, the photographer has carved out her own unique vision, characterised by atmospheric chiaroscuro and impressionistic blurs and quivers. In celebration of this extensive — and self-curated — survey of her oneiric work, SLEEK chatted to Moon about her inspirations, her dreamy soft focus, and the “architecture of clothes”.
How would you describe your approach to photography? What photographic precedents have influenced your work?
My approach to photography is autodidacte, I didn’t go to any art school. Of course, at the beginning, when the technique was another story than now, I had an assistant – Mike Yavel – who taught me how to make the camera translate what I saw.
In fashion photography, I admired Guy Bourdin, and many others. But I also admired Robert Frank and Diane Arbus, who were not in the fashion field. Plus, I always think we are influenced not only by what we like but also by what we dislike.
What type of fashion are you generally interested in representing in your photographs?
I have always been interested in the architecture of clothes, I find the Japanese designers — from Miyake to Yohji Yamamoto — have a way of seeing that enhances it. I am also interested in timeless fashion that does not depend on trends.
Your images have been described as having an “Impressionist” quality. To what extent has painting influenced your practice?
When I began in the ’70s, the label I had was “Impressionist” and blurry. As it went on, I feel I’ve moved on… And I don’t feel I am so Impressionist now.
This exhibition is at Giorgio Armani’s museum. Of the designer, you have said that “We both enjoy the challenge of doing more, with less”. What to do you mean by this?
What I mean by “less is more” is to be less anecdotic and to try to go to the essential to express what you feel about it. When I see the Silos, I have the feeling that Giorgio Armani shares the same purpose.
You photographs have a dreamy, soft focus. What attracts you to this blurred aesthetic, and what quality does it bestow onto your work?
I have always worked in the shade, with low speed exposure. And often I do double exposure. It allows the movement of the wind.
What has been your most memorable project or series to date?
Always the last one.
What have you learned through the process of putting From One Season to Another together? What sort of “surprising narratives” unfolded?
It was not a surprise to find out that time and seasons change you.
“From One Season to Another” runs through to 6 January 2019 at Armani Silos in Milan.
All images by Sarah Moon, courtesy of Giorgio Armani.