Tuesday, April 12, 2011
Vision To Visuals: Aid Is In Fashion
Stefano Guindani turns his lens from the glitz of the runway to the poverty of Haiti’s children
How does a fashion photographer shooting for luxury brands like Dolce & Gabbana, Armani, Versace, Louis Vuitton and Valentino end up creating a body of photojournalistic work so moving that it rallies the entire fashion world in support of a profoundly humanitarian cause? Haiti: Through the Eye of Stefano Guindani, a unique 168-page photographic volume launched during the fashion weeks in Milan, Rome and Paris, exemplifies the catalyzing role fashion can play in drawing attention to global issues that fade away soon after they stop making newspaper headlines.
When an entire country’s identity becomes embalmed in images of despair and devastation in the collective memory of the global community, what’s needed is a perspective that serves as a reminder that life is more resilient than the immediate experience of tragedy. Guindani’s photographs from Haiti indeed serve to invoke a rare optimism that transcends the anguish that we have come to associate with post-earthquake Haiti.
Virginia Villari-Blanc, art curator for cream*hotel, who has worked on several exhibitions with us in the past, approached us for assistance in bringing Guindani’s work to the United States for the first time to serve as a fund-raising vehicle for the foundation. I was incredibly moved by the stunning black-and-white portraits of children interacting with Guindani’s camera in joyful gestures across the milieu of earthquake ruins, urban slums and the abject poverty that overwhelm their lives. Haiti is a country beset with the grimmest statistics. More children die during infancy in the country than anywhere else in the world, and 70 percent of the population is unemployed. To intimately photograph the least empowered of the country’s citizens, young children, a photographer must not only possess deep compassion and humanitarianism, but also an unwavering commitment to preserving their dignity. Keeping oneself removed enough from these subjects while staying emotionally committed to telling the most truthful story about them is extremely difficult for photographers of all genres, especially one whose personal brand is rooted in fashion photography. Guindani carries this mantle extremely responsibly, going from telling stories about models and brands in glitzy technicolor photographs to painting a portrait of harsh reality in the most powerful black-and-white pictures. “When you’re in certain environments and situations and with a camera in your hands,” he says, “you have the right and the duty to try to tell a story, trying to catch the attention of as many people as you can. It’s impossible to totally experience Haiti without being subjected to it. Subjected in many ways, not necessarily negative.”
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