Stella Succi, photo editor of Italy’s “Mousse” contemporary art magazine, describes Satoshi Fujiwara‘s portraits as “painful, dramatic and sensitive.” The Kobe-born, Berlin-based photographer was recognized at Japan Photo Award last year, and quickly caught the attention of Issey Miyake who was so inspired by Fujiwara’s portraits that he decided to implement The Photographer Collaboration Project, a new effort to use photography throughout his runway collections. The first installment of this project of course features Fujiwara’s work, superimposing his shots on Miyake’s Fall/Winter 2015 shirts and bags.
The particular photos used here, collectively titled “Code Unknown,” were inspired by Austrian director Michael Haneke‘s film of the same name. In one scene of the film, the protagonist takes photos of strangers on a train in Berlin. Fujiwara did the same, riding on the Berlin metro from six in the morning to eight at night for months to compile the series. “In real society, I cannot publish those photographs. Therefore, I photographed by aiming where each ‘model’ cannot be identified individually. I attempted to erase each of their identifications and individualities by trimming the clothes they were wearing from the screen,” says the 31-year-old talent. The result, according to Succi, is “grotesque and monstrous,” revealing the all-too-real annoyances we often experience when riding on a crowded train
The particular photos used here, collectively titled “Code Unknown,” were inspired by Austrian director Michael Haneke‘s film of the same name. In one scene of the film, the protagonist takes photos of strangers on a train in Berlin. Fujiwara did the same, riding on the Berlin metro from six in the morning to eight at night for months to compile the series. “In real society, I cannot publish those photographs. Therefore, I photographed by aiming where each ‘model’ cannot be identified individually. I attempted to erase each of their identifications and individualities by trimming the clothes they were wearing from the screen,” says the 31-year-old talent. The result, according to Succi, is “grotesque and monstrous,” revealing the all-too-real annoyances we often experience when riding on a crowded train
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