This week, 19-year-old Norwegian editor and publisher Elise By Olsen (Recens PaperWallet) is the guest editor of, presenting a series of articles exploring the current and future state of fashion and art publishing. Alongside conversations with publishers, critics and image-makers, this guest edit offers an intimate insight into her own publications and working practice.

While I am devoted to the written word in the context of fashion publishing, I am increasingly obsessed with the practice of fashion image-making. While that might sound like a contradiction, I am fascinated by the way fashion images contribute to the wider culture of fashion. A tool for storytelling and visual commentary, they have the power to create experiences, document eras, cultures and subcultures; they can spark discussion and set the agenda. Defining style as we know and understand it, fashion photography is so much more than just images of clothing on the body.

Fashion images are a big part of the projects that fashion publishers undertake – both online and on the printed page – but they also live in spheres beyond websites and magazines; they exist on Instagram and other social media platforms, on advertising billboards and in art galleries. But, in a time where everyone can produce and present their own imagery, where does that leave the role of the fashion image-maker? This is something I wanted to examine as part of my guest edit. Here, I spotlight eight emerging photographers that I think are pushing the constraints of fashion imagery and shaping the field for tomorrow.

Currently based between New York and Singapore, Zhi Wei (b. 1992) is drawn to projects which involve working with the archive of a single designer, visualising the creative trajectory of one person and responding to these developments in his photography. It’s a given that, at this moment in time, so many incredible archive images from the 80s, 90s and early 00s are reproduced and experienced online, and that contemporary imagery will exist alongside this material. Wei is interested in the dynamic that this creates. “I think this is what draws me to making fashion images – where I can craft images for exhibition contexts or the printed page – but I’m also very aware of the fact that these images will be disseminated to a huge audience online,” he says. More often than not his shoots incorporate performative and sculptural elements. This ties into his art practice, in which he consistently references the religious and ritualistic practices he grew up with. And a lot of his shoots are oblique self-portraits: “I find it much easier to shoot clothes that I’d wear myself,” he says. “I’m really hands-on with set design as well, and I’m always trying to find ways to form a literal connection between the camera, set and subject. I think it’s about making an invisible presence felt.”

Marc Asekhame

Marc Asekhame is a Swiss-born, Paris-based photographer whose practice shifts between fashion, architecture, still life, documentary and photographic essay. Blurring the boundaries between artistic and commercial photography, Asekhame is predominantly interested in presenting his work in the medium of the magazine, whether in his own art magazine Periodico or in other titles. When asked to define his work, he refuses to define his practice with a particular style. “My work is not solely based on the aesthetic attributes of an image, but incorporates the tools, the concept and the context under which an image is produced into the artistic realm of my photographs,” he says.

Étienne Saint-Denis Photographer AnOther Magazine

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