Lionel Kazan 1930-2016. Photographer told by his daughter.
Lienart| N° d'inventaire | 23743 |
| Format | 24 x 29 |
| Détails | 280 p. |
| Publication | Paris, 2016 |
| Etat | Nine |
| ISBN | 9782359061581 |
A photographer of Russian origin, born in 1930, Lionel Kazan quickly made a name for himself in the fashion world of the fifties and sixties thanks to his photographs taken for Elle - a magazine for which he would design no fewer than 92 covers from 1953 to 1965 -, Nouveau Fémina, Vogue, Harper's Bazaar, Glamour, Marie-Claire... He rubbed shoulders with the greatest fashion photographers of these glorious post-war years: Irving Penn, Richard Avedon, Cecil Beaton, Jean-Loup Sieff, Guy Bourdin.
He leaves countless treasures, which his daughter recently discovered in large Easten Kodak boxes and which she in turn shares with us here: unpublished photographs of Brigitte Bardot, portraits of the very young Catherine Deneuve in her early years, of an unexpected Fernandel. He thus, thanks to his work, photographed the biggest stars of those years from Roger Vadim to Ingrid Bergman, from Coco Chanel to Yves Saint Laurent.
The book is an invitation to retrace two decades through the eye of a photographer: a depiction of the socio-cultural atmosphere, clothing styles, icons, but also the behind-the-scenes of a profession, between shootings and studios. Chronological, the book also reveals the private life of a man. His daughter, Alexandra Kazan, has, in her own words, sought to "reconstruct his journey, follow in his footsteps, go back in time."
“We discover those who crossed his path: Marc Allégret, who gave him his first camera at the age of twelve, Hélène Lazareff, Alex Liberman... We listen to those who participated in the world of fashion at that time: models like Bettina Graziani or the woman who would become his wife, Pia Rossilli, magazine editors like Claude Brouet or Marie-Thérèse des Cars, photographers and friends, like Gilles Bensimon or Jean-François Clair, advertising executives like Jean Feldman.
Alternating between archival documents, contact sheets, prints, reproductions of pages and press covers, the book ends with the Swinging Sixties and the wild nights at New Jimmy's, also admirably rendered by Marc Desgrandchamps.
A photographer of Russian origin, born in 1930, Lionel Kazan quickly made a name for himself in the fashion world of the fifties and sixties thanks to his photographs taken for Elle - a magazine for which he would design no fewer than 92 covers from 1953 to 1965 -, Nouveau Fémina, Vogue, Harper's Bazaar, Glamour, Marie-Claire... He rubbed shoulders with the greatest fashion photographers of these glorious post-war years: Irving Penn, Richard Avedon, Cecil Beaton, Jean-Loup Sieff, Guy Bourdin.
He leaves countless treasures, which his daughter recently discovered in large Easten Kodak boxes and which she in turn shares with us here: unpublished photographs of Brigitte Bardot, portraits of the very young Catherine Deneuve in her early years, of an unexpected Fernandel. He thus, thanks to his work, photographed the biggest stars of those years from Roger Vadim to Ingrid Bergman, from Coco Chanel to Yves Saint Laurent.
The book is an invitation to retrace two decades through the eye of a photographer: a depiction of the socio-cultural atmosphere, clothing styles, icons, but also the behind-the-scenes of a profession, between shootings and studios. Chronological, the book also reveals the private life of a man. His daughter, Alexandra Kazan, has, in her own words, sought to "reconstruct his journey, follow in his footsteps, go back in time."
“We discover those who crossed his path: Marc Allégret, who gave him his first camera at the age of twelve, Hélène Lazareff, Alex Liberman... We listen to those who participated in the world of fashion at that time: models like Bettina Graziani or the woman who would become his wife, Pia Rossilli, magazine editors like Claude Brouet or Marie-Thérèse des Cars, photographers and friends, like Gilles Bensimon or Jean-François Clair, advertising executives like Jean Feldman.
Alternating between archival documents, contact sheets, prints, reproductions of pages and press covers, the book ends with the Swinging Sixties and the wild nights at New Jimmy's, also admirably rendered by Marc Desgrandchamps.