This week, 19-year-old Norwegian editor and publisher Elise By Olsen (Recens Paper, Wallet) is the guest editor of AnOthermag.com, presenting a series of articles exploring the current and future state of fashion and art publishing. Alongside conversations with publishers, critics and image-makers, this guest edit offers an intimate insight into her own publications and working practice.
While I am devoted to the written word in the context of fashion publishing, I am increasingly obsessed with the practice of fashion image-making. While that might sound like a contradiction, I am fascinated by the way fashion images contribute to the wider culture of fashion. A tool for storytelling and visual commentary, they have the power to create experiences, document eras, cultures and subcultures; they can spark discussion and set the agenda. Defining style as we know and understand it, fashion photography is so much more than just images of clothing on the body.
Fashion images are a big part of the projects that fashion publishers undertake – both online and on the printed page – but they also live in spheres beyond websites and magazines; they exist on Instagram and other social media platforms, on advertising billboards and in art galleries. But, in a time where everyone can produce and present their own imagery, where does that leave the role of the fashion image-maker? This is something I wanted to examine as part of my AnOthermag.com guest edit. Here, I spotlight eight emerging photographers that I think are pushing the constraints of fashion imagery and shaping the field for tomorrow.
Marc Asekhame is a Swiss-born, Paris-based photographer whose practice shifts between fashion, architecture, still life, documentary and photographic essay. Blurring the boundaries between artistic and commercial photography, Asekhame is predominantly interested in presenting his work in the medium of the magazine, whether in his own art magazine Periodico or in other titles. When asked to define his work, he refuses to define his practice with a particular style. “My work is not solely based on the aesthetic attributes of an image, but incorporates the tools, the concept and the context under which an image is produced into the artistic realm of my photographs,” he says.