2000-1. Le Maison Martin Margiela. Collection Martin Margiela Autumn-Winter 1998-1999. Photographs and texts by Mark Borthwick. SIGNED by Borthwick on colophon page. With additional inscription on preliminary page. Color reproductions.
Synthetic Voices. Photographs and text by Mark Borthwick. Designed by Mark Borthwick and Hideki Nakajima. Brief introduction by Jeff Rian and Olivier Zahm. Composite/Synergy, Tokyo, 1998. Unpaged. Quarto (11 x 8.5 in./27.5 x 11.5 cm.). Stiff fold-out wrappers with photo-illustrations recto and verso. Black-and-white and color reproductions.
All Events Are Even. Photographs by Mark Borthwick. Text by Aaron Rose. Designed by Chistophe Brunnquell. MU, Eindoven, The Netherlands/Purple Books, Paris, 2002. Unpaged. Octavo (8.75 x 6.25 in./22 x 16 cm.). Clothbound. No jacket as issued. Acknowledgement/colophon text plus original Japanese sticker laid in.
Slight scuff, otherwise Fine.
Three scarce books by one of the most influential fashion photographers of the last twenty years, whose work regularly appeared in cutting edge fashion journals such as Purple, i-D, The Face and index, as well as in more mainstream magazines like Vogue and W throughout the 1990s and beyond. His best-known early images feature a then-unknown Chloe Sevigny.
Since around 1990 the British-born, Borthwick has been quietly obliterating the boundaries between the worlds of fine art and fashion. In his much-loved work for Martin Margiela, Hussein Chalayan, Comme des Garcons, Yohji Yamamoto and many others Borthwick pioneered an 'anti-glamour' style that is equal parts high-concept deconstruction of prêt-à-porter and haute-couture conventions, and off-the-cuff, process-based improvisation. Developing an informal approach to fashion spreads, his pictures explore the possibilities offered by snapshot conventions and chance effects: the skewed compositions, trippy blurriness and saturated lighting leaking across the frame. (Even if you don't know Borthwick, you know this style!) The result is atmospheric, raw, approachable and deeply personal. As Borthwick has said,
"I was always trying to find a new way of approaching how we use clothes, how we apply clothes, and how to attach myself to what it meant to be a fashion photographer. That was something that has always been very important to me. But I was placing too much importance onto continually putting myself in a position where I was questioning the industry. What is the importance of clothing? What is the importance of fashion? I think I lost that importance because I no longer believed in the industry itself."
Over time his work has come to focus as much on fashion as on the blissed-out, louche bohemian doings of his friends and family, incorporating all manner of written texts, scrap-book fragments and other detritus of daily life.