Peter Lindbergh

In a certain kind of factory, everyone is famous for 15 minutes. But in the case of Peter Lindbergh, the images created in his factory are eternal.

In fact, it is the industrial landscape, the steelworks in his hometown of Duisburg, Germany, that has shaped his romantic, humanistic eye for more than 30 years. His pictures, often rendered in black and white with their industrial guts (cameras, lights, cords) showing, exhibit a deconstructed kind of beauty. "I show elements of the set in my pictures because it's not real," Lindbergh explains. "When I see movies, I often love the 'making of' more than the movie itself. It's not so final. When you have a woman just standing there, it doesn't mean much."                              
Lindbergh's success is due to one thing: His pictures mean a lot. He started with shooting monochromatic advertising campaigns. ("Black and white, you see under the skin, no?") Today Lindbergh's imagery is instantly recognizable: from British Vogue to Harper's Bazaar; numerous exhibitions; and five books. And sometimes, when arriving in New York from his home in Paris, he drives past his epic portraits of Kate Moss or Daria Werbowy on billboards for jeweler David Yurman. After all, Lindbergh loves women. Most famously, his eye is responsible for defining the era of the supermodel. The inception: the January 1990 cover of British Vogue, where he assembled Evangelista, Christy Turlington, Naomi Campbell, Cindy Crawford, and Tatjana Patitz in downtown New York. "It was a new generation, and that new generation came with a new interpretation of women,". "It was the first picture of them together as a group." Turlington, famously the most earnest of the bunch, observes, "Those pictures that Peter captured are definitely some of the most incriminating of the supermodel era."

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