Our clothes are not made for the catwalk or the studio. They are made with a naturalness and quality fit for the real world. For our Autumn Winter 16 campaign we acknowledge that our clothes are for people and real life. Prized, not precious. Lived in, not modelled. So we asked our campaign photographer Todd Hido to tell us more about memorable moments on set and his admiration for poignant images.
You’re well-known for your captivating portrait shots. What attracts you to this style of photography?
I’ve always been interested in poignant pictures that appear to be part of a real exchange between the model and the photographer. Whether I’m meeting somebody for the first time or I’ve known them for years, somehow I end up making the sitter comfortable enough to feel open and even vulnerable at times.
What do you think the Jigsaw portraits capture?
I feel like they capture people doing everyday things and feeling comfortable in the clothing that they’re wearing. The artifice that most fashion ads have is stripped away to get at something more real.
How did you translate your work’s personality into this brief?
In actuality it wasn’t much of a stretch. Jigsaw wanted me to make my art with people wearing their clothing, and that’s exactly what we did.
What was the atmosphere like on set when you were shooting?
Like on all commercial photoshoots, I’m always surprised by how many people it takes to make a photograph. If it wasn’t a well-oiled machine with many people having worked together before, these things could get quite complicated. However, on this shoot, even though I had flown all the way from California to London, I felt like I was among friends.
Any memorable moments you’d like to share from the shoot?
Even though this was made in the middle of summer on a sunny day, I was really hoping there would be a chance for some weather. Lo and behold it rained for a little bit, and I was able to go outside and photograph one of the models through the wet window. I was able to capture that painterly feeling in my own artwork when shooting through glass.
Your work has often been described as having a sadness or darkness to it. Is there a reason for that?
I find my work to be more realistic in terms of emotion, but I wouldn’t say that it is necessarily sad. The reason being that there is a certain weightiness and poignancy to life that I am attracted to, and that’s what I hope to see reflected in my images.
Edited by Nakhalar Sterling