Unveiling the Visionary: Gian Paolo Barbieri and the Art of Photography

In the realm of fashion photography, few names evoke as much admiration and respect as Gian Paolo Barbieri. Renowned for his meticulous attention to detail and a profound ability to capture the essence of his subjects, Barbieri has created a legacy that transcends time. In this exclusive feature, we are privileged to present ten never-before-seen images, showcasing not only the iconic Monica Bellucci but also other celebrated figures of their era. Each photograph is a testament to Barbieri's unmatched talent in blending beauty, art, and storytelling into a single, unforgettable frame.

But who is the man behind these remarkable images? What inspired his creative journey? To uncover these answers, we delve into an intimate conversation with Barbieri, tracing his path from the serendipitous beginnings of his career to his rise as a leading figure in fashion photography. He reflects on the influences that shaped his distinctive style, from the playful experiments in his parents' basement to his collaborations with some of the world's most famous magazines.

In this candid interview, Barbieri shares his insights on the evolution of photography, the transition from analog to digital, and the ongoing challenge of balancing artistic vision with commercial realities. His thoughts offer a rare glimpse into the mind of a true master, whose work continues to inspire and captivate.

Join us as we explore the life, work, and enduring legacy of Gian Paolo Barbieri—an artist who has not only captured the essence of fashion but has also defined its visual narrative for generations to come.

Early Beginnings and Influences:

OONA: Mr. Barbieri, can you take us back to the beginning of your journey? What sparked your initial interest in photography?

GIAN PAOLA: I have to say that it is a love affair that began somewhat by accident, almost unconsciously.

When I was a boy, it was just a means that accompanied my fun and that of my friends. It is something that slowly grew on me until photography became my second language, indispensable for giving image to what I could not express with words. I used to experiment with light in the basement of my parents' house with light bulbs placed inside the stove pipes and with fabrics that I "stole" from my father's warehouse, I used to test the light and its effects on the various fabrics that I draped over my friends with whom I used to reenact the scenes from films or plays I loved most. I also had a photography manual that I used only to do the opposite of what it taught. From the stimuli I sought in everything around me, from art to cinema, from literature to theater, from anecdotes and tales of traditions of places I frequented, I built up a cultural background that has allowed me, and still allows me, to experiment with my imagination and make it a reality

OONA: Which artists or photographers influenced you the most in your formative years?

GIAN PAOLO: Avedon, Mapplethorpe e Gauguin.

OONA: How did you make the transition from your early work to becoming a prominent figure in fashion photography?

GIAN PAOLA: Certainly, the pivotal moment occurred in the early 1960s when I started collaborating with the fashion magazines of the time: Pellicce e Moda, Linea Italiana, Novità, which was then acquired by Conde Nast in 1962 and became Vogue Italia. I did the first cover of Vogue Italia with the beautiful Benedetta Barzini.

Benedatta Barzini. Vogue Italia & Novita, Milano 1965

OONA: What was your first significant breakthrough in the fashion industry, and how did it shape your career?

GIAN PAOLO: A defining moment in my life was Diana Vreeland's proposal to go to work for Vogue America. I refused without much hesitation; I was very attached to my homeland and had found a balance that allowed me to take long trips and then always come back. Sometimes, however, I wondered how it would have gone if I had accepted.

 Creative Process:

OONA: Can you describe your creative process when conceptualizing a shoot? How do you translate your vision into a tangible photograph?

GIAN PAOLO: My way of working was always the same, I never stopped feeding on art, cinema and literature, which continued to influence my gaze and my thinking.

I used to do research, collect my references and try to make reality what I imagined in my mind. I was drawing my sketches, leaving nothing to chance; I was preparing the set by paying attention to details and only at the end would I take the shot. The creative process, the path that leads you to the shot, is the most important part of photography.

Daniela Ghione, Interview 1986

OONA: How important is collaboration with designers, models, and stylists in achieving the final image?

GIAN PAOLO: The understanding between the players contributing to the success of the shot is fundamental. This used to be much simpler; the relationship that was established between the photographer and the stylist was much stronger and the same was true for the models. There was a relationship of greater complicity and the photographer had greater freedom of expression, less constrained by the presence of multiple players.

Technical Mastery:

OONA: Your work is known for its technical precision. How have you seen the evolution of photographic technology impact your work over the years?

GIAN PAOLO: Certainly, there has been a drastic change from the analog to the digital system: on one hand, taking photographs has become much simpler, but on the other hand, there has been a loss of the poetry that existed with film negatives. The immediacy of snapping a shot and the frenzy of production have caused a loss of connection and awareness between the photographer and the portrayed subject. Today, there is more focus on post-production than on pre-production.

My approach has always been the same: I view photography as a cultural phenomenon. It must reflect beauty because, as the Greeks said, where beauty is born, reason is born. Photography must seduce and attract. This is the most important definition that photography should have. I go by instinct. The work of a photographer is a work of visual arts. As far as I'm concerned, I've drawn a lot from sculpture, painting, and especially cinema. These arts have shaped my view on composition, style, and light. American film noir from the 1940s and Italian Neorealism have been significant for me. Then there is the memory that transmits, engraves, and brings forth everything you have studied or observed at the moment of creation.

Valentino Garavani, Roma 1969

OONA: What are some of the technical challenges you’ve faced, and how have you overcome them?

GIAN PAOLO:I had mastered the technique I had acquired as a self-taught photographer; what today is done with post-production, I used to do with my own hands. I had no problem rolling up my sleeves and creating with whatever I had at my disposal.

Certainly, experimenting and transitioning to digital was initially a complicated step coming from another generation. But once I understood how it worked, I recognized that in some cases it speeds up the process and reduces costs.

Iconic Projects and Campaigns:

OONA: You have been behind some of the most iconic fashion campaigns and editorial spreads. Which projects stand out to you as particularly memorable or transformative?

GIAN PAOLO: One of the most memorable and provocative shoots was in 1974 in Rome for Valentino. I decided to draw inspiration from Jodorowsky's The Holy Mountain, one of the most radical and visionary movies ever made. Each image was meticulously crafted, with the kind of alchemical power I strive for in my work. I aimed to transpose the imagery from that film into my photographs. Some of the shots were taken inside a church, where the model Susan Moncur played Mary, and another model took on the role of Jesus. At one point, a nun entered the church and, upon seeing the half-naked models smoking, exclaimed, "No smoking in church!"

There’s a particular shot where Susan Moncur, again as Mary, is lying on the bed with a Playgirl magazine between her legs, while Jesus is making his entrance through the door. That photo wasn’t published because it was deemed too racy.

Susan Moncur in Valentino, Vogue Italia, Roma 1976

OONA: Can you share any behind-the-scenes stories from one of your most famous shoots?

GIAN PAOLO: Certainly, the shoot I did in Port Sudan for Vogue France in 1974 deserves to be told. I was looking for inspiration and remembered a scene from a film where Marlene Dietrich, looking elegant, was traveling along a tropical port in a carriage. I thought about acquiring a rhinoceros to be hung from a crane, with Marlene Dietrich observing, but it proved impossible to find a rhinoceros, so I opted for a camel instead. We climbed up a very precarious fire escape to reach the roof of a warehouse. From there, I could see the entire port. The situation was very unstable because the roof was steeply pitched, made of asbestos, and scorching under the sun.

Adnan Khashoggi, one of the most powerful men in the world, had hosted us and kindly halted all port traffic to allow a crane to position itself in front of the warehouse and lift about twenty meters. I positioned the model, and the camel was raised to my height. However, the owner kept saying that the camel couldn’t stay hanging like that or it would die, and he kept lowering it. There was a constant “up and down” as I had to keep paying 20 dollars each time to raise it again. I faced a lot of difficulty because when the camel reached my height, it was never in the right position. The model was precariously seated on the roof, and the camel kept presenting its rear end to me.

The level of difficulty, the great creativity, teamwork, and the professionalism of the model all contributed to the success of the image—elements that have accompanied me throughout my career.

Monica Bellucci in Dolce & Gabbana, Milano 2000

OONA: What model would you work again and who would you never work with?

GIAN PAOLO:I would definitely work with Ivana Bastianello, Alberta Tiburzi, Ingmari Lamy, basically with all my muses who are still present in my life. I would not work again with Sharon Stone.

Alberta Tiburzi, Milano 1967

Artistic Vision:

OONA: Your photographs often evoke a strong narrative and emotional depth. How do you infuse storytelling into your images?

GIAN PAOLO: Art in all its forms has always been the element that has allowed me to live and survive. Since childhood, every inspiration I found from visiting exhibitions, reading art history books, or simply walking around Milan was a window to another world that allowed me to learn and create. I used to visit Galleria Vittorio Emanuele and buy postcards of famous paintings, which I would use as inspiration for my drawings. I then sold these drawings in the summer in Santa Margherita Ligure to make some money.

I would draw inspiration from figures and colors, which I then tried to bring into my photography. I particularly love painting and have experimented with it myself, with Gauguin's style being the one I have always been most passionate about.

In photography, I tried to mimic the effect of oil painting by applying Vaseline to the lens. I often painted the sets myself, creating real environments that would evoke a specific painting or the style of a painter I admire. For instance, in the 1998 campaign for Vivienne Westwood, one shot depicted a girl sitting inside a room reminiscent of a Matisse painting.

OONA: How do you balance commercial demands with your artistic vision?

GIAN PAOLO: In the early years of my career, my creativity had free rein, and at the same time, fashion was emerging and the market that would support it was taking shape. Among photographers and designers, relationships were built first on friendship and then on commercial interests. We loved creating together, laying the foundations for what is now known as the fashion system. It was a time of fun and happiness.

Gradually, however, creativity was pushed to the background, and the number of people involved in a shoot increased: art directors, fashion editors, photo editors, etc. This made the fashion system increasingly a purely commercial mechanism.

Felicitas Boch, Milano 1982

Legacy and Impact:

OONA: Reflecting on your extensive career, what do you believe has been your most significant contribution to the world of photography?

GIAN PAOLA: To restore to women and their role within society the recognition they deserve.

OONA: How do you hope your work will influence future generations of photographers?

GIAN OAOLO: I only wish that my work really becomes an inspiration to someone and that the archive remains one of those links that will bind new generations to a time when the perception of the world was different, less ephemeral than now, and with it the way of conceiving photography, with another flavor and depth.

I hope that the importance of culture, a recurring theme in my work, remains evident to those who wish to pursue photography.

Personal Insights:

OONA: How has your personal journey and experiences shaped your work and your approach to photography?

GIAN PAOLO: Every time for me is a new beginning. It’s like being asked to tell a fantastical story. For me, each time means projecting my imagination and turning it into reality, blending it with the collection of ideas in my mind. The carousel of inspirations, carefully gathered throughout my life, comes together to create a unique narrative each time.

OONA: What advice would you give to aspiring photographers who look up to you and want to follow in your footsteps?

GIAN PAOLO: Follow your passions and never stop believing in them. Experience is the main driving force, as is culture. Times have changed, and a photographer’s portfolio is becoming increasingly important as we approach market saturation. But above all, it's crucial to have a clear sense of oneself. It's essential to know and listen to yourself to present yourself in the most genuine way possible.

The Evolution of Fashion Photography:

OONA: Fashion photography has evolved significantly over the decades. How have you adapted to these changes while maintaining your unique style?

GIAN PAOLO: Fashion photography once had a cultural depth that I find hard to find in today's evolution. Photographs are now so retouched that they lose their authenticity; legs are elongated, skin is smoothed to the point of losing texture, and women start to look alike. In the past, imperfections could be corrected with manual retouching, but digital technology now allows for a complete rewrite of the image.

I still believe that photography is an art for a few. It’s not enough to know how to use a camera, position a light, or use Photoshop to achieve a great shot. It’s something that goes beyond these technical aspects. It’s a love that comes from the mind and body, brought to light with technical tools. The digital process has removed creative steps that were once crucial for perfecting a set: poses were prepared with sketches, inspiration was drawn from cultural backgrounds, and nothing was left to chance. With digital technology, much of this has become somewhat superfluous.

Susan Robinson in Walter Albini, Portofino 1972

OONA: What trends in contemporary fashion photography do you find most intriguing or promising?

GIAN PAOLO: It's hard to say. Today, social networks are mainly used to reach the masses, where visibility lasts only a few seconds. If your work can't capture attention in that tiny window of time, you’re lost. On the other hand, I believe there is a lot of talent that needs to be promoted, and the trend that intrigues me the most is the combination of art and technology.

OONA: How do you feel about the digitalization of the images and modern day photo shop and AI?

GIAN PAOLO: What's important is that the language is used to communicate something. If photography doesn't convey a message, it serves no purpose, whether it's taken with a cellphone or created with AI.

Future Endavors:

OONA: What are your current projects or upcoming ventures that you are excited about?

GIAN PAOLO: One of the projects that excites me the most is the collaboration with 24 Ore Cultura. They are working to showcase my work abroad, generating interest in museums across major European cities and eventually expanding to the rest of the world.

OONA:How do you envision the future of photography, both as an art form and an industry?

GIAN PAOLO: Photography will never die; it will regain its strength. It’s essential to revisit its essence and start from there.

Susan Robinson in Walter Albini, Portofino 1972

Philosophical Reflections:

OONA: Photography is often described as a medium that captures the essence of a moment. How do you interpret this idea in your work?

GIAN PAOLO: I have always believed that photography encompasses more than just the essence of a moment. While the moment itself is certainly captured, the journey leading up to that moment must be just as discernible, as well as the path that follows.

OONA: If you could photograph any moment in history, real or imagined, what would it be and why? 

I would love to accompany Gauguin to Tahiti, to experience those lands with him and document those wonderful, and still untouched people.

Final Thoughts:

OONA: What legacy do you hope to leave behind in the world of photography?

 GIAN PAOLO: As I mentioned earlier, I hope that my archive can serve as a tool for research, knowledge, and memory of a time that no longer exists.

OONA: How would you like to be remembered, both as an artist and as an individual?

 GIAN PAOLO: Just like what has come over time and has left an imprint.

Interview by Oona Chanel

Images by Gian Paolo Barbieri