Danish ModernBo Egestroem’s undeniable drama and intensity recall the work of Peter Lindbergh and Herb Ritts. How does he master the elusive fashion moment? |
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| By Simon Wakelin, Photography by Bo Egestroem | |
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Page 2 of 4 Shooting with new models is another source of inspiration, albeit an exhausting experience. “The great thing is that even though you have to instruct a new girl through every single pose, you can often create fabulous images with a new face,” explains Egestroem. “I think that if you start in the business at the bottom and do great things with new models, imagine what you can do with the famous faces? The only problem is you’re totally exhausted by the end of the day with new girls. As a result, I tend to work with the same models. I want to give new models a chance, but I have a standard to be met.” New assistants also are waiting to get in on Egestroem’s action, aided by his reputation of honesty—a rich commodity in the feverish networking of fashion land. “I have some people who have asked to work with me because I give honest answers,” says Egestroem. “I hate the hustle and hate the schmooze, and maybe some don’t like my honest approach, but the truth is it’s rare in the fashion industry. I need everyone around me to be on the same page.” If there’s a look that Egestroem has managed to create, it’s through his ability to be lost in the moment. His images recall the work of Peter Lindbergh with a dash of the late Herb Ritts—both icons whose images always seem to get to the essence of the moment. By not aiming for a specific look, Egestroem has somehow come up with a look, due in part to his desire to keep it different and interesting. Yet through it all, he has the ability to give us insight into the culture of our time. Originally studying to become a sound engineer, Egestroem had no intention of a career change until reality set in. “I changed the whole direction of my life when I realized one major thing about my impending career as a sound engineer—I couldn’t play an instrument,” explains Egestroem. “I realized it was a huge disadvantage because I could never communicate with an artist or a musician at the highest level possible.” Fate, however, came Egestroem’s way when a band asked him to take some photos for press purposes. “I thought, why not?” he recalls. “I just shot 1⁄125 sec. on my father’s old manual Olympus and hoped for the best. Then I took some classes, and that’s when it really became a passion.”  If there’s a look that Egestroem has managed to create, it’s through his ability to be lost in the moment. His images recall the work of Peter Lindbergh with a dash of the late Herb Ritts—both icons whose images always seem to get to the essence of the moment.  Egestroem absorbed as much photography as he could, scrutinizing images of fashion in the pages of Italian Vogue. “I realized that I was always fascinated by commercial photography because the graphical look is very precise,” he explains, “simple, but sophisticated photography that I also wanted to create.”   |
