MAKING OF: THE ALTA MODA EXHIBITION - MARIO TESTINO — Transcript

Full transcript

1. 0:01[Music]
2. 0:07[Music]
3. 0:13in July 2012 the gallery and arts
4. 0:16Foundation mate Association Mario
5. 0:18testino opened in Lima
6. 0:21Peru mate resides in a townhouse in
7. 0:24barano originally built in
8. 0:261898 the refurbishment process took 10
9. 0:29months
10. 0:30after over a year securing
11. 0:32authorizations teso's intentions for
12. 0:35mate was that his own work should have a
13. 0:37home in his native Peru and that a
14. 0:40platform would exist to celebrate
15. 0:41Peruvian culture art and artists and
16. 0:44entice International exhibitions which
17. 0:46had previously been inaccessible teso's
18. 0:50International exhibition Toto onada
19. 0:52which had premiered in Madrid at the
20. 0:54Museo TI boram in 2010 was the Natural
21. 0:58Choice to open mate but the second show
22. 1:00would be a more personal work closer
23. 1:03culturally and historically to testino
24. 1:05comprising of a large body of entirely
25. 1:08new works the show is called
26. 1:11[Music]
27. 1:14alamota the interesting thing is that
28. 1:16alamoda has been created specially for
29. 1:20an exhibition most other exhibitions we
30. 1:22edit the work we have but this
31. 1:24exhibition we actually went and did the
32. 1:27work specifically for this project
33. 1:31[Music]
34. 1:33Over The Last 5 Years Mario testino has
35. 1:37made several trips to kusco city after
36. 1:40discovering an archive of costumes from
37. 1:43the mountain regions such as oriente
38. 1:45Tambo and
39. 1:50oraba I came across this school of
40. 1:53dancing called filigranas peruanas and
41. 1:55they have this extensive collection of
42. 1:57traditional costumes that they use for
43. 1:59the f esal in the
44. 2:01mountains in the 1980s shortly after
45. 2:04testino came to England he went to an
46. 2:06exhibition at the photographers Gallery
47. 2:07featuring the work of Peruvian
48. 2:09photographer Martin shami which left a
49. 2:12lasting impression on him shami
50. 2:15documented the people of kusco from the
51. 2:18early 1900s to the 1950s against
52. 2:21specially painted
53. 2:22backdrops the American photographer
54. 2:24Irving Penn a regular contributor to
55. 2:27Vogue magazine visited Peru in the 70s
56. 2:29to create his own images of the
57. 2:31traditional
58. 2:33costumes with alamoda testino decided to
59. 2:36continue this journey extending a
60. 2:39cultural tradition into a photographic
61. 2:41tradition working closely with shami's
62. 2:44grandson he borrowed the recreated
63. 2:46backdrops from the shami archive and
64. 2:48began his own contemporary document
65. 2:51tradition is something that completely
66. 2:52obsesses me and in Peru their costumes
67. 2:55seem to be the thread through it and
68. 2:58part of this thread is the way that
69. 3:00these costumes are done which is their
70. 3:01weaving this is a tradition that goes
71. 3:04back many many centuries and that they
72. 3:06hold on to today because this weaving
73. 3:09protects these people from the cold and
74. 3:11the conditions that they live in but
75. 3:13also it reflects the way that they
76. 3:15communicate every piece that is swn onto
77. 3:18these dresses means something it means
78. 3:20the status of a woman it means the
79. 3:23family they come from the area they come
80. 3:25from so this is something very important
81. 3:27for these communities
82. 3:34the title alamoda is a play on words
83. 3:37literally meaning High fashion in
84. 3:40Spanish referring to both the High
85. 3:42Altitude origin of the dresses and the
86. 3:45exclusive designs of Parisian o cure the
87. 3:48highest form of dress making the alamota
88. 3:51exhibition makes this connection by
89. 3:54featuring five cure dresses designed by
90. 3:56John gallano for the 2005 Christian Dior
91. 3:59Autumn winter collection which took
92. 4:01inspiration from Peruvian
93. 4:07[Applause]
94. 4:07[Music]
95. 4:15costume most of the photographs that I
96. 4:17do are to do with capturing people and
97. 4:20their emotions and their personalities
98. 4:22for this particular project it was
99. 4:25different because it's not so much about
100. 4:26the people but about the dresses
101. 4:30it's a very personal work for me because
102. 4:32it's not so desperate about the latest
103. 4:35thing and about the instant but it is
104. 4:37obsessed about accumulating the past and
105. 4:41documenting it and bringing it back to
106. 4:43relevance to
107. 4:45today the past is the backdrop the
108. 4:47present is the
109. 4:51color I guess my sense of color has been
110. 4:55greatly influenced by these dresses
111. 4:57[Music]
112. 5:01acknowledged for his Mastery of
113. 5:03capturing the moment testino has spent
114. 5:05his career at the Forefront of fashion
115. 5:07and the Contemporary aesthetic but with
116. 5:09Alam Moda he's done something very
117. 5:12different compressing time and history
118. 5:15into each frame the traditional clothing
119. 5:17the shami backdrops and the Peruvian
120. 5:20subjects
121. 5:22[Music]
122. 5:30there is a certain responsibility in my
123. 5:32generation to hold on to certain things
124. 5:35and passing them onto our future and to
125. 5:38the people that will
126. 5:40come and I find that a photographer has
127. 5:43this responsibility for documenting
128. 5:45everything he can so that it's used
129. 5:48later on as a form of inspiration and of
130. 5:53Education this project has helped me
131. 5:56realize that I form part of a history of
132. 5:59photog phography of Peru
133. 6:02[Music]