Though Jean-Daniel Lorieux’s name may be lesser known than the likes of Irving Penn, Helmut Newton, and Guy Bourdin, his work—iconic in its brazen depiction of idealized Eighties escapism—has been exhibited alongside those era-defining photographers from the latter half of the 20th century.
Lorieux befriended Bourdin and Newton during the early ‘80s in Paris while shooting for Vogue. As well as their affection for classic cars, the photographers shared a love of glamorous women. “Sometimes I’d join them in Monaco and introduce them to my model friends” he recalls of the times they spent together. Today, Lorieux is often the only living photographer to feature alongside them in galleries (over the next few months, Lorieux’s work will be exhibited at art fairs and galleries in Moscow, Barcelona, and Paris.) “I feel so blessed to be placed beside [Newton, Bourdain, and Penn], and to still be alive and travel” he says over the phone from Cannes.
Lorieux befriended Bourdin and Newton during the early ‘80s in Paris while shooting for Vogue. As well as their affection for classic cars, the photographers shared a love of glamorous women. “Sometimes I’d join them in Monaco and introduce them to my model friends” he recalls of the times they spent together. Today, Lorieux is often the only living photographer to feature alongside them in galleries (over the next few months, Lorieux’s work will be exhibited at art fairs and galleries in Moscow, Barcelona, and Paris.) “I feel so blessed to be placed beside [Newton, Bourdain, and Penn], and to still be alive and travel” he says over the phone from Cannes.
An infectious, unrelenting optimism is the octogenarian’s definitive quality. Employing a bright visual language of naturally saturated hues, high contrasts, and spontaneous poses, Lorieux has always chosen to depict women as empowered, exuberant, and even humorous—a far cry from the wan-looking waifs contemporary audiences have become accustomed to. Piercing azure skies, pristine white sands, and sun-kissed, seemingly invincible models (sometimes brandishing giant fish) feature in his most famous pictures. “I love a turquoise ocean, a horizontal line, a blue sky” he says, “I like to depict the beauty of a woman, the beauty of life.”
Over a career spanning almost half a century, the Parisian has photographed everyone from Claudia Schiffer to Nelson Mandela, yet his work is not defined by celebrity subjects. Rather, it’s the sun-soaked images of anonymous women in far-flung locales that have become synonymous with his name. Lorieux has a uniquely lustrous point of view which, somewhat ironically, stems back to personal trauma.
Over a career spanning almost half a century, the Parisian has photographed everyone from Claudia Schiffer to Nelson Mandela, yet his work is not defined by celebrity subjects. Rather, it’s the sun-soaked images of anonymous women in far-flung locales that have become synonymous with his name. Lorieux has a uniquely lustrous point of view which, somewhat ironically, stems back to personal trauma.
Rewind to 1960. Lorieux—then a promising young actor and engineering student in Paris—was drafted to serve in Algeria's war of independence. While facing the terrible brutality of combat, he unwittingly fell into photography after a colonel asked him to take pictures of rebel soldiers.
Two and a half years later, Lorieux was back in Paris interning at Studio Harcourt. Shaken by his experience (he still has his first-ever Rolleiflex camera from the war), the young photographer found solace in his ability to distill a sense of joy and freedom—the very essence of being alive—into a single image. “I realized that when I turned my head the other way there was hope” he says looking back on that pivotal moment, “and the grey skies turned blue.”
Two and a half years later, Lorieux was back in Paris interning at Studio Harcourt. Shaken by his experience (he still has his first-ever Rolleiflex camera from the war), the young photographer found solace in his ability to distill a sense of joy and freedom—the very essence of being alive—into a single image. “I realized that when I turned my head the other way there was hope” he says looking back on that pivotal moment, “and the grey skies turned blue.”
Here, Jean-Daniel talks us through some of his favorite photographs.