Michel Haddi, a prominent figure in fashion and portrait photography for over forty years, is celebrated for his unique and innovative approach. Currently based in London, Haddi’s artistic vision has been shaped by a diverse array of cultural and personal experiences. His latest exhibition, “Beyond Fashion” at 29 Arts in Progress gallery, is a testament to his extraordinary career, offering an in-depth look at his journey through photography.
This six-month exhibition provides an opportunity for both the public and collectors to immerse themselves in Haddi’s world. His images, infused with a distinctive street vibe and urban soul, also reveal a touch of irony and sensuality, mirroring his diverse personality. The exhibit showcases some of the most iconic photographs from his vast archive, featuring renowned figures, top models, and icons from the music and art worlds. These include memorable captures of David Bowie, Debbie Harry, Djimon Hounsou, John Galliano, Nicholas Cage, and Sarah Jessica Parker.
INTERVIEWS
Haddi’s editorial work spans several continents, with contributions to major publications such as Italian Vogue, French Vogue, British Vogue, GQ, Vanity Fair, The Face, and Rolling Stone. His advertising portfolio is equally impressive, having worked with luxury brands like Armani, Yves Saint-Laurent, and Guerlain.
In this exclusive interview with DSCENE Magazine Editor Katarina Doric, Michel Haddi discusses the inspirations behind his distinctive style, the evolution of his photographic techniques, and the standout pieces in his “Beyond Fashion” exhibition. He also shares insights into the influence of his background on his work and his perspective on balancing irony and sensuality to craft compelling photographic narratives.
Michel, could you share with us what initially inspired you to pursue photography, especially with your unique blend of street vibe and urban soul? – In life you have the choice to have a normal life, which can be great too or to pursue a chimera or a dream. In short, I had no choices and I would have ended up on the other side of the fence, meaning a hoodlum, being raised in the worst suburb. I had no alternative, only to fend for myself. The most important goal I had was to be an artist, painter, director or being Leonard Bernstein. Life showed me another path- photography.
Over your 40-year career, how has your photographic style evolved and what has remained constant in your approach to photography? – Since the beginning I have only ever been interested with human feelings, meaning I never cared much of just a fashion image, which in all honesty you do not need to be a genius to do, but to create a magic image takes willpower, style, attitude. Since the last 70’s I pursued this goal without fear. It didn’t matter the formats, colour or black and white, I love to play and I am up for games all the time. 20 years ago I thought I was cool to take a self portraits looking like a Japanese Samurai, and why not snap images with a point and shoot camera, the funny side of the story back then is people thought I was insane. In the show in Milan there are some images shot that way. To come back to what you said, my style is “be there at the right time, right place”, have a laugh, don’t be too serious and if you can at the same time have a ball, it is all sweet.
In your latest exhibition ‘Beyond Fashion’, which pieces do you feel most intimately represent your journey as a photographer? – There is an image of a flower, an Anterium with the antemine being hard and that flower is between the legs of my friend Natalia Avelon. A cover we shot for Playboy last year, Again, it all about showing things that are not there but more suggestive.
You’ve photographed many famous faces and icons. Is there a particular subject or shoot that. stands out as particularly memorable or significant in your career? – Maybe the Red Hot Chili Peppers, as I was in Berlin with them for Interview Magazine when the wall went down, so you can imagine the pandemonium and the racket, the fall of a great empire. The communist block that day went into a total oblivion. Anyway it was epic and as we went on the wall to break it and to work finishing the story for the mag.
The bottom line is I love to go against all odds, I decided to go to East Berlin the day after. Wrong choice. No one in sight, deserted land, total emptiness in East Berlin. But as soon as I came out of the cab and started to take pictures of the buildings and the rest, 5 army trucks came along armed to the teeth with AK47’s loaded to the gull. I can assure you they were pissed off as it was no tomorrow for them. I did laugh looking at these clowns, they didn’t like it and they wanted to take me in the woods…you know the meaning. Ah ha the cab driver just forced me back into his cab and we left without asking me where to go in East Berlin for coffee… ha ha. At the end of next year, I will release the Legend- The Red Hot Chili Peppers Berlin.
Being French Algerian, how have your cultural roots influenced your work? – In all fairness I was born in Saint Germain des Pres and educated in a rightwing orphanage, raised from the age of 9 by my mother who I rarely saw, and in a tough suburb. Even with all the bad things I saw, I am a French boy all the way. My blood heritage coming from many worlds made me see life differently. My Arabic side, well I embraced it but I have never been to Algeria and the closest I have been is Morocco, as I used to have a house there for 20 years.. I am of mixed blood with different cultures. My mum yes sure is Algerian from with Turkish and Moroccan background. We have certainly 1000 members of the Haddi tribe throughout the Arabic world. My father that I never knew, was French from Paris, Bourgeois, from a family dating back from the 14th century in France and from a recent DNA test of late, I can confirm I have indeed some Irish and Welsh with a touch of African. So as you can see, I have the same love to make a ring in sterling silver from the Dogon Tribe from Mali, as I do to conceive a campaign for a luxury brand from Paris.
As you know the French are the way they are, always complicated and striking for whatever reason, when it come to creating something luxurious, they are right at the top, so for me it was a total bonafide.
Your work is noted for its irony and sensuality. Can you elaborate on how you balance these elements to create a compelling narrative in your photographs? – Again this is my French, Arabic side playing out. Being sensual it is a must, you need this in order to get close to humans. I suppose in the semitic society, they for 5000 years wrote about sensuality, take for instance the Perfume Garden from the 15th century written by Mu?ammad ibn Mu?ammad al-Nafzawi, The book was made by the Factotum of the Pacha of Tunis, something like that for the Pacha to start again have desires (bare in mind the Factotum had no choices) the Pacha simply said, ever I become a man again, or your head rolls. Charming it is not ha ha, yet I learned all about sarcasm and irony in the UK . This is why I have been there since the late 70’s. In all fairness, and truth why do you want to show the world that you are extremely clever and very intelligent. Sod it just have fun and who cares.
As a photographer who has extensively worked in the fashion industry, how do you perceive the role of fashion in shaping cultural and artistic expressions? – Fashion per se and its primary goal is very boring. Many brands, I am talking about “fast fashion”, “cheap fashion”. There is no study of the human soul, just a way to make a quick buck. Now you go to the top of the pyramid, the gods among the gods. Well here the dialogue is totally different. It is a reflection day by day of our society and if you look carefully, you can feel the premises of whatever political statement is happening. It does become and extra class on sociology, that will take place at La Sorbonne in Paris. Again, what I said, only work if you have people around you who are in the same groove. Mark my words, search deep into what we are with all our strength and our failures, then you will be able to create a garment that is worth something. The best example of this is YSL.
What advice would you give to young photographers who aspire to carve out a career in fashion and portrait photography? – I have no advice to give, they might become competitors and that would be a problem ha..ha..,of course not! The only thing I will say to them is don’t listen to anyone and secondly don’t listen to me.. ha ha, the last just put your bollocks on the table and like a bull in a china shop, charge full steam ahead but of course make sure you use your head.
In your opinion, what is the power of photography in telling stories and capturing moments, and how has this shaped your approach to your art? – This has been my only goal all my life to telling a story. The rest, I not interested in. It is not relevant. Photography as a media is so powerful, from one image you can have the world going one way or the other way. For example The Times magazine I think did a series of very compelling ads to show you the power of an image. The first one, and this is very important, you see an image of a black man running with his hand and arm above a little old granny and I think it is correct to say that the majority of people will say here we go again, a black punching an old granny for her purse. In the second image, full frame, it is a different story and a different point of view. What do you see, yes of course the black man wutg the hand and the arm above the old granny, but well you see too a large piece of wood falling down from a scaffolding in the old granny’s head. All he does this gentle soul is to protect the granny. The perception is not the same correct. Tell a story that is true of your beliefs.
How has the advent of digital photography and social media impacted your work and the fashion photography industry as a whole? – I love it. Quicker to work and to play and you can interact with millions of people and everyone feels like a god! I loved it, digital is much quicker of course but bare in mind, if you think that the tools are going to help you to transform a shitty image unti a masterpiece, wakeup honey cos your image is still going to be a turd. It doesn’t matter what you used, a phone or your third eye, you need to create and this is where the problem arises. Creativity is not only a new version of photoshop or an AI tool. My wife taught me photoshop in order to stop me asking her to retouch all my images. Social networks are a blessing and a curse, You can interact with millions of people, make business moves, pretend to be a star. You can even throw up bile on whoever you like. It is Pandora’s box. Infine social networks are only a business tool. There is nothing personal about it, but it is on the the medias where simple mortals feel like gods and goddesses.
Keep up with Michael Haddi’s work on Instagram – @michelhaddistudio