The stark, pin-sharp and sexually charged photography of Steven Klein has captivated the fashion industry for over two decades--from his first professional job, shooting a Christian Dior campaign in 1985, through his 2003 collaboration with Madonna and his 2010 video for Lady Gaga's "Alejandro."
Produced in an edition of only 200 hand-numbered copies, the latest issue of Visionaire, featuring Klein's bold photography, comes as a reconceived three-part photo box, signed by the photographer and containing 10 original color archival photographic C-prints.
This is the first time in Visionaire's history that the entire edition is constituted of photographic prints. Here, the collector receives the unadulterated version of the artwork, as intended by Klein.
Thematically, Visionaire 67: Fetish is a titillating mix of altocalciphilia (the fetish for high heels), pictophilia (the fetish for erotic pictures) and autagonistophilia (the fetish for being on camera).
Visionaire cofounder Cecilia Dean explains, "Visionaire 67: Fetish is the absolute embracement of photography to the fullest extent. What publication can actually deliver each copy as a collection of original photographs? In this edition, Steven has full and total control over how his images are shared with his audience. It's a way of taking it all back and paying homage to the art and craft of real photography and real photographic printing."
The stark, pin-sharp and sexually charged photography of Steven Klein has captivated the fashion industry for over two decades--from his first professional job, shooting a Christian Dior campaign in 1985, through his 2003 collaboration with Madonna and his 2010 video for Lady Gaga's "Alejandro."
Produced in an edition of only 200 hand-numbered copies, the latest issue of Visionaire, featuring Klein's bold photography, comes as a reconceived three-part photo box, signed by the photographer and containing 10 original color archival photographic C-prints.
This is the first time in Visionaire's history that the entire edition is constituted of photographic prints. Here, the collector receives the unadulterated version of the artwork, as intended by Klein.
Thematically, Visionaire 67: Fetish is a titillating mix of altocalciphilia (the fetish for high heels), pictophilia (the fetish for erotic pictures) and autagonistophilia (the fetish for being on camera).
Visionaire cofounder Cecilia Dean explains, "Visionaire 67: Fetish is the absolute embracement of photography to the fullest extent. What publication can actually deliver each copy as a collection of original photographs? In this edition, Steven has full and total control over how his images are shared with his audience. It's a way of taking it all back and paying homage to the art and craft of real photography and real photographic printing."
The stark, pin-sharp and sexually charged photography of Steven Klein has captivated the fashion industry for over two decades--from his first professional job, shooting a Christian Dior campaign in 1985, through his 2003 collaboration with Madonna and his 2010 video for Lady Gaga's "Alejandro."
Produced in an edition of only 200 hand-numbered copies, the latest issue of Visionaire, featuring Klein's bold photography, comes as a reconceived three-part photo box, signed by the photographer and containing 10 original color archival photographic C-prints.
This is the first time in Visionaire's history that the entire edition is constituted of photographic prints. Here, the collector receives the unadulterated version of the artwork, as intended by Klein.
Thematically, Visionaire 67: Fetish is a titillating mix of altocalciphilia (the fetish for high heels), pictophilia (the fetish for erotic pictures) and autagonistophilia (the fetish for being on camera).
Visionaire cofounder Cecilia Dean explains, "Visionaire 67: Fetish is the absolute embracement of photography to the fullest extent. What publication can actually deliver each copy as a collection of original photographs? In this edition, Steven has full and total control over how his images are shared with his audience. It's a way of taking it all back and paying homage to the art and craft of real photography and real photographic printing."
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