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CLAD is the first book wholly dedicated to Jackie Nickerson's fashion photography, and defined by her distinctive, feminist vision. Nickerson has always photographed women for who they are, not what they ought to be; indeed regardless of her subject's gender, her goal is to express their self-identity, never glossy fantasy. In 400 pages and nearly as many images, this comprehensive volume captures Nickerson's fascination for clothing, both as object and act, as well as her interest in texture and costume. "I think of clothing as a kind of architecture and part of my job is to find the right environment for it," she says; often these environments are outside, shaped by changing rhythms of light and a sense of narrative (sometimes theatrical, nearly always open-ended). Nickerson has worked for some of the world's leading luxury brands and magazines including Louis Vuitton, Hermès, Dior, Vogue and Vanity Fair, and yet her fashion photography maintains an anti-commercial stance, the conviction that dressing and dressing up are less about clothes and more about the selves they help us to discover.
About the author
Jackie Nickerson is a conceptual documentary photographer. Her work is based on years-long research and is often portraiture; she explores the identities of her subjects and the effects of working in specific environments, such as religious communities in Ireland and farms in South Africa. Among Nickerson’s books are Farm (2002), Faith (2007), Terrain (2013), Field Test (2020) and Salvage (2021); her work has been exhibited internationally at institutions including the National Portrait Gallery, London, the Vatican Museums, Rome, and the National Gallery of Ireland, Dublin. She is represented by Jack Shainman Gallery, New York.
Summary
CLAD is the first book wholly dedicated to Jackie Nickerson’s fashion photography, and defined by her distinctive, feminist vision. Nickerson has always photographed women for who they are, not what they ought to be; indeed regardless of her subject’s gender, her goal is to express their self-identity, never glossy fantasy. In 400 pages and nearly as many images, this comprehensive volume captures Nickerson’s fascination for clothing, both as object and act, as well as her interest in texture and costume. “I think of clothing as a kind of architecture and part of my job is to find the right environment for it,” she says; often these environments are outside, shaped by changing rhythms of light and a sense of narrative (sometimes theatrical, nearly always open-ended). Nickerson has worked for some of the world’s leading luxury brands and magazines including Louis Vuitton, Hermès, Dior, Vogue and Vanity Fair, and yet her fashion photography maintains an anti-commercial stance, the conviction that dressing and dressing up are less about clothes and more about the selves they help us to discover.
