Comment t’est venue l’idée de mettre en scène ton chien Max ? Est-ce lié à l’expérience photo que tu as eu avec des chiens à Los Angeles ?
(NB Pendant les quelques mois qu’il a passé à LA, Vincent à offert à une association locale ses talents de photographe pour tirer le portrait de chiens abandonnés en attente de nouveaux foyers)
Vincent FLOURET : Oui et non. J’ai toujours aimé les animaux (je suis devenu végétarien il y a quelques années) et j’ai toujours eu des chiens. Cette complicité naturelle avec eux m’a beaucoup servie dans mon expérience à LA qui, je dois le dire, m’a bouleversée. A mon retour c’était l’époque ou on commence à se prendre la tête sur ce qu’on va faire comme carte de vœux. Nous avons une grande bibliothèque avec de nombreux livres de photos, notamment le livre de Vanity Fair avec une photo de Annie Leibovitz, dont je suis très fan. Mes yeux sont passés de cette photo, à Max qui est toujours à mes cotés. Je me suis dit pourquoi je ne ferais pas un portrait de Max façon Annie Leibovitz ! « Max By » est parti de là, j’ai tellement adoré faire cette photo, plonger dans l’univers du photographe, aller chercher les détails pour être au plus proche de l’original en terme de grains, de lumière, que j’ai décidé de recommencer pour rendre hommage à des photographes que j’admire.
Vincent FLOURET : Oui et non. J’ai toujours aimé les animaux (je suis devenu végétarien il y a quelques années) et j’ai toujours eu des chiens. Cette complicité naturelle avec eux m’a beaucoup servie dans mon expérience à LA qui, je dois le dire, m’a bouleversée. A mon retour c’était l’époque ou on commence à se prendre la tête sur ce qu’on va faire comme carte de vœux. Nous avons une grande bibliothèque avec de nombreux livres de photos, notamment le livre de Vanity Fair avec une photo de Annie Leibovitz, dont je suis très fan. Mes yeux sont passés de cette photo, à Max qui est toujours à mes cotés. Je me suis dit pourquoi je ne ferais pas un portrait de Max façon Annie Leibovitz ! « Max By » est parti de là, j’ai tellement adoré faire cette photo, plonger dans l’univers du photographe, aller chercher les détails pour être au plus proche de l’original en terme de grains, de lumière, que j’ai décidé de recommencer pour rendre hommage à des photographes que j’admire.
Sont alors nées 2 expositions qui ont eu beaucoup de succès tant au niveau du public que des professionnels, et puis cette année tu as décidé de consacrer une nouvelle expo à Max… et Madonna.
VF : Oui parce que le projet Max By c’est se reconnecter avec le simple plaisir de créer sans autre enjeux que ce plaisir. Pour être franc j’ai bien failli ne pas faire de 3ème série "Max By" parce que ça prenait une dimension un peu trop pro, j’avais peur de ne plus retrouver ce plaisir. Et puis un jour, un titre de Madonna qui passe, la pochette de Like A Virgin dans un coin, Max qui attendait sa madeleine et je me suis dit « je vais faire un hommage à Madonna ! »
Les costumes sont incroyables de détails, as-tu fais appel à un professionnel ?
VF : Merci ! Sur l’exposition d’aujourd’hui il y a 8 mois de travail environ. En fait en partant du principe que c’était un hommage je me devais d’être le plus précis possible, hors de question pour moi de faire la blague ! C’est ce qui me plait dans ce travail avec Max, je fais tout moi-même et ça me permet de toucher à d’autres aspects artistiques que je n’ai pas l’occasion d’aborder dans mon métier de photographe « classique ». Pour Like A Virgin J’ai commencé par faire asseoir Max dans un fauteuil, une patte posée sur un accoudoir, juste pour voir, et là je me suis dit c’est bon ! Puis j’ai passé la journée à chercher le costume sur internet et je me suis vite rendu compte que pour la majorité des gens un simple tutu blanc et une croix suffisent à reproduire un look. Pas pour moi ! Alors je me suis mis à le faire moi-même, sans avoir aucune notion de couture. Il y a eu un énorme travail de recherches pour trouver les photos originales mais aussi des outtakes pour capter tous les détails. ça a été un plaisir de redécouvrir des images qu’on pensait connaître par cœur. J’avais oublié par exemple que sur le corset de LAV elle portait un filet… Mais quelle sorte de filet Maripole a-t-elle pu utiliser ?? Comme je n’ai pas trouvé j’ai pris un filet à commissions ! Au fur et à mesure j’ai aussi réalisé l’immense travail de tous les gens avec qui elle a collaboré et de coller au plus près à ce qu’ils ont fait c’était leur rendre hommage à eux aussi. On n’aborde pas un corset JPG avec un corset classique et 2 cônes doré ! Par exemple je me suis retrouvé a coudre 700 sequins (et je n’ai pas de machine à coudre ! ) pour le costume de MUSIC ! C’est du travail mais pour moi qui suis un amoureux de la création dans son ensemble, quel plaisir de plonger là dedans ! D’ailleurs rien que d’en parler tu vois j’ai les poils !
Il n’y a pas que les costumes, le « background » est aussi très fidèle aux œuvres originales.
VF : Oui parce qu’encore une fois c’était important pour moi d’être le plus précis possible. Même pour le grain de photos par exemple. On ne fait pas la même chose avec la HD aujourd'hui que ce qu’on faisait dans les années 80 pour Recherche Susan Désespérément ou Material Girl. Même chose pour Hung Up, la référence n’est une photo papier mais une vidéo et c’était important pour moi de retrouver la même patine que sur le clip. La pochette de True Blue a été une des plus compliquée à réaliser, je ne voulais pas de perruque mais comment reproduire le lissé de la coupe de cheveux avec les oreilles de mon chien ?? C’est là aussi qu’on se rend compte du génie de photographes comme Herb Ritts, la façon dont la lumière tombe dans les cheveux créé une dynamique, un élan au visage baigné de lumière qui est si serein, c’est cette combinaison qui rend cette image si extraordinaire et iconique ! ça y’est j’ai encore les poils ! (rires) Ces gens sont des monuments de l’art et de la création ! J’ai du faire un nombre incroyable de prises pour cette photo et quand j’ai eu ce que je voulais je me suis rendu compte que j’avais oublié la chaîne ! Alors on a recommencé !
Quelles ont été tes difficultés dans ce travail avec Max ?
VF : Plusieurs choses en fait ! Par exemple pour EROTICA il fallu trouver le bon angle d’approche pour aborder la sexualité. Max est un chien, je ne peux pas lui faire faire n’importe quoi. Le thème de la religion n’est pas abordé non plus, j’aurais pu mettre Max en position de crucifixion façon « Confessions Tour » mais je ne le souhaitais pas. J’ai aussi voulu faire CHERISH mais Max déteste l’eau alors je n’ai pas insisté. La photo de ton Tshirt (NB extraite du shooting avec Demarchelier) j’aurais adoré la faire mais c’est hors de question que je fasse poser mon chien avec une clope ! Il y a suffisamment de chiens qui ont soufferts à tester les clopes dans les labos !
Il y en a beaucoup d’autres que j’aimerais reproduire mais ça me demande énormément de temps pour réfléchir à comment je vais les aborder avec Max.
Il y en a beaucoup d’autres que j’aimerais reproduire mais ça me demande énormément de temps pour réfléchir à comment je vais les aborder avec Max.
Oui j’imagine qu’il y a un énorme travail de préparation avec Max.
VF : L’idée c’est de tout lui présenter comme un jeu, qu’il n’est peur de rien pour qu’au moment où on fera la photo il soit tellement habitué que tout ira très vite. Quand j’ai trouvé le masque pour EROTICA je suis rentré et j’ai crié « Max ! Viens voir ce que papa t’as trouvé » (avec l’intonation gaga qu’on peut avoir avec un chien), il est tellement curieux qu’il a couru vers moi pour voir tout joyeux genre « qu’est ce que c’est qu’est ce que c’est ? ». Je lui ai ensuite lancé pour qu’il joue avec, puis je l’ai porté, et redonné… ça à pris plusieurs mois mais le jour de la photo ça a fait parti du jeu.
Il y a tout de même les poses improbables de Max, notamment pour VOGUE, HUNG-UP et la fameuse photo de MONDINO avec le corset.o
VF : Pour VOGUE et MONDINO j’avais besoin que Max s’étire alors pendant 2 mois tous les matins je me suis couché par terre avec lui, je le caressais, lui massais les pattes en lui disant « Souplessssssse ! ». Pour la photo avec le corset, il était en position couchée sur le dos bien confortable et s’est étiré comme n’importe quel chien le ferait dans cette position. Pour HUNG-UP je tiens Max debout et c’est simplement le fait de le lâcher qui fait qu'en retombant, il a ses pattes qui semblent flotter et la tête comme ça. Un petit ventilateur bien positionné pour la perruque et le tour est joué. Le plus difficile pour lui ça n’est pas la pose mais c’est de rester tranquille entre chaque prise, il est tellement jouasse qu’il a tendance a tout foutre en l’air (rires). Il est important pour moi qu’on reste dans le domaine du plaisir, du partage, de la complicité et du jeu. Tout ce travail avec lui me permet d’obtenir les expressions enjouées, joyeuses, qu’on voit sur les photos finales.
"Pour moi l'utilisation de Photoshop doit se limiter aux retouches "beauté", je ne voulais pas faire de montages photos "
Quel est ton premier souvenir de Madonna ?
VF : Je suis ultra fan de Madonna ! La 1ère chanson sur laquelle j’ai craqué c’est Into The Groove. A l’époque j’ai filmé le clip à la TV avec ma caméra super 8 et enregistré l’audio avec ma radio cassette. Puis j’ai fabriqué un écran géant avec du papier calque subtilisé à mon père. Je lançais le film, courrait pour lancer l’audio en synchro pour avoir le clip en grand ! Ensuite elle m’a toujours passionné, pour moi elle est devenue une sorte d’entité créative avec tellement de remise en question, de renouvellements, elle m’a aidé à me construire professionnellement à apprécier une forme d’art. Et puis sa musique me rend tout simplement heureux. Elle est tellement ancrée en moi que Maxdonna est vite devenu une évidence.
Y aura-t-il une suite à Maxdonna ?
VF : Oui absolument ! Déjà il y a beaucoup d’images que je n’ai pas eu le temps de travailler pour l’expo mais qui méritent d’être montrées, notamment pour VOGUE ou j’ai des photos somptueuses. Et puis je suis tellement frustré par des images que j’aurais voulu faire mais pas eu le temps nécessaire. Comme la fameuse couv de Vanity Fair dans sa petite bouée rose et sa petite fleur dans les cheveux ! Elle fait partie des nombreuses photos qui, quand je les voie, je les connecte tout de suite avec une possibilité de les refaire avec Max.
Sais-tu si elle a eu connaissance de ton travail ? Qu’est ce qui te ferait le plus plaisir ?
VF : Mon égo personnel je m’en fous un peu mais j’adorerais qu’elle fasse un selfie avec Max ! (Rires) Après bien sûr que, quand on se lance dans un projet de création d'une telle ampleur, en hommage à quelqu'un qui est bien placée pour connaître la valeur du travail, la recherche créative et l'engagement, on espère que si un jour ça arrive devant elle elle apprécie ce qui a été fait… mais je ne pousse pas les choses dans ce sens là.
(NB : c'est chose faite puisque le lendemain de cette interview, Madonna postait la version Like A Virgin de Maxdonna sur Instagram !)
(NB : c'est chose faite puisque le lendemain de cette interview, Madonna postait la version Like A Virgin de Maxdonna sur Instagram !)
Pourquoi avoir choisi Raising Malawi ?
C’est à la fois personnel et pour elle. Pour moi dès le départ ce projet avec Max est tout sauf un projet commercial, c’est un projet personnel non lucratif. J’ai la chance d’avoir une visibilité commerciale avec mon travail de photographe et j’aime l’idée qu’à un moment la vie m’a apporté à la fois cette consécration et la possibilité de faire ce travail avec Max. Pour moi ça justifie de ne pas être dans une démarche commerciale sur ce projet. Les bénéfices des 2 précédentes expos, qu’on peut retrouver actuellement au Ground Control à Paris, sont versés à l’association SAUVADE qui récupère les chiens abandonnés sur l’île de la Réunion pour les ramener en métropole ou ils auront plus de chances d’être adoptés. Pour Maxdonna , je rend hommage à Madonna qui elle-même se positionne avec cette association Raising Malawi. Alors pour moi ça fait sens de la remercier de m'avoir inspiré en l’aidant avec son association. Alors j’espère qu’on va en vendre plein ! Il y a très peu de tirages et ils ne seront vendus que pendant l’exposition…
Bon j’avoue, je rêve d’une immense expo à New York avec une grande vente aux enchères et Madonna elle-même qui tient le marteau pour vendre les photos de Max pour son association !! Maybe… « We’ll see, somehow, someday » :-)
Exposition Maxdonna du 2 juillet au 16 août à l'Agence Arlésienne 26 Place Paul Doumer, 13200 Arles - 09 50 71 66 02
Ouvert du lundi au vendredi de 10H ,à 12H et de 14H à 18H
Un petit nombre limité de tirages, numérotés et signés sont à vendre pendant tout le temps de l'expo, les bénéfices seront versés à l'association Raising Malawi
Ouvert du lundi au vendredi de 10H ,à 12H et de 14H à 18H
Un petit nombre limité de tirages, numérotés et signés sont à vendre pendant tout le temps de l'expo, les bénéfices seront versés à l'association Raising Malawi
English version (sorry for the translation :-)
As a photographer, Vincent Flouret doesn’t need recognition for his work; he’s earned it with his portraits of big names in the entertainment industry. Just recently, Hugo Boss commissioned him for his new campaign. Diving head first into the world of « Max By » was simply the sake of fun. Meet someone as passionate as he is big-hearted…
How did you come up with the idea of staging your dog Max? IDid it have anything to do with your experience with dogs in Los Angeles? (NB During the few months he spent in LA, Vincent offered his skills to a local organization, and shot portraits of abandoned dogs looking for new homes)
VF: Yes and no. I have always loved animals (I’ve been a vegetarian for a few years now) and I have always had dogs. My natural connection with them helped me greatly with my experience in LA. It was uplifting. When I came back, it was around the time I usually start thinking about my holiday greeting card. We have a large library with many photo books, including the Vanity Fair book with a photo of Annie Leibovitz, which I am very fond of. My eyes went from that picture to Max, who is always at my side. I thought ‘ I’ll do do an Annie Leibovitz style portrait of Max! "Max By" started like that, I loved making that picture, immersing myself into the universe of the photographer, getting into details in order to be as close as possible to the original image in terms of grain, light, so I decided to keep going and pay homage to photographers I admire.
Two exhibitions ensured, which were very successful, both with the public and the professional audiences. This year, you decided to devote a new exhibition to Max ... and Madonna.
VF: I did, because the Max By project is my way of reconnecting with the simple pleasure in creation, without any other constraint than that. To be honest, I almost didn't make a third series of tribute to photographers, because it was becoming a little too professional and I was afraid I wouldn’t be able to enjoy it as much. And then one day, a title of Madonna was playing on the radio, there was the cover of Like A Virgin in a corner, Max was waiting for his treat and I thought, "OK I'll do a tribute to Madonna! "
The costumes have incredible detail, did a professional designer help you?
VF: Thank you. The exhibition you see today required 8 months of work. Based on the idea that it was a tribute, I had to be as accurate as possible, I don’t see it as a joke of some kind! That's what I like in this work with Max, I do everything myself and it allows me to touch other artistic aspects that I do not have the opportunity to approach in my profession as a photographer. For Like A Virgin, I started with sitting Max in an armchair, a leg resting on an armrest, as a test, and saw it could work! Then I spent the day looking for the costume on the internet and I quickly realized that for the majority of people, a simple white tutu and a cross are enough to reproduce a look. Not for me! So I started doing it myself, without having any notion of sewing. I put a lot of research in finding the original photos, as well as outtakes, to capture all the details. It was a pleasure to rediscover images I thought I knew inside and out. I had forgotten for example that she wore a fishnet over the corset ... But what kind of fishnet could I use? I couldn’t figure that out, so I got a shopping net! I also realized the immensity of the work put in by all the people who Madonna collaborates and stuck as close to what they did, which was my way of honoring them as well. You can’t just replicate a JPG corset with a classic corset and 2 gold cones! For example, I found myself sewing 700 sequins (and I do not have a sewing machine!) just for the MUSIC costume! It's a lot of work, but for someone like me, who loves creation in its overall process, what a pleasure to get my head in there! Just talking about it gives me shivers.
It is not only the costumes, the "background" is also very faithful to the original works.
VF: Yes because again it was important for me to be as accurate as possible.Take the grain. You can't do the same thing with HD and looking for Susan Desperately or Material Girl, set in the '80s. Same thing for Hung Up, the reference is not a paper photo but a video. It was important for me to recreate the same patina seen in the video. The cover of True Blue was one of the most complicated ones to execute, I didn't want a wig, but how was I to reproduce the smoothness of the haircut with my dog’s ears?? That’s when you realize the genius of photographers like Herb Ritts, the way the light falls over the hair to create a light-washed dynamic with a face so serene. This combination is what makes the image so extraordinary and iconic! I’m shivering again!!! (laughs) These people are monuments of art and creation! I had to make an incredible number of shots for this picture and when I finally got what I was looking for, I realized I had forgotten the necklace! So we started again!
What were your difficulties in working with Max?
VF: Several things! For example, for EROTICA, I needed to find the right way to approach sexuality. Max is a dog, I can't make him do just anything. The theme of religion is not discussed either, I could’ve put Max in a crucified pose for "Confessions Tour" but I didn’t want to. I also wanted to do CHERISH, but Max hates water so I let it go. I would’ve loved to the photo you have on your Tshirt (NB from the Demarchelier shoot) but a picture of my dog with a cigarette is out of the question! So many dogs have suffered to test tobacco in laboratories! There’s a large number of images that I would like to reproduce, but it takes me a lot of time to think about how I'm going to deal with Max.
There must be a lot of preparation work with Max.
VF: The idea is to present everything to him like it's a game, so that he isn't afraid of anything. That way, when we make the photo, he is so used to all its aspects, everything happens very quickly. When I found the mask for EROTICA I went home and shouted « Max! Come and see what daddy found you!» Yes, with the same gaga intonation we all use with our dogs). He is so curious that he ran to me with a "what's that, what is it?" expression. I then threw it to him to play with, then I wore it, then gave it back ... it took several months but by the time we took the photo, it had become part of a game.
There are still some improbable poses for Max, especially for VOGUE, HUNG-UP and the famous picture of MONDINO with the corset.
VF: For VOGUE and MONDINO, I needed Max stretched out, so every morning, for 2 months, I laid on the floor with him, stroked him, rubbed his paws and said " flexxxxxibility! ". For the photo with the corset, he's lying on his back very comfortably and stretched out the way any dog would. For HUNG-UP, Max is standing up and it’s the moment he goes to get back on his 4 legs that makes his legs seem to float, with his head like that. A small fan well positioned for the wig, and there you have it. The most difficult part, for him, is not the pose itself. Staying quiet between each shot is hard, because he’s having so much fun that it tends to fuck everything up (laughs). It is important for me that we stay in the field of pleasure, sharing, complicity and play. All this work with him allows me to get the playful expressions, and the joy you see in the final photos.
What is your first memory of Madonna?
VF: I'm an ultra fan of Madonna! The first song I fell for was Into The Groove. At the time, I filmed the video on TV with my super 8 camera and recorded the audio with my radio cassette. Then I made a giant screen with tracing paper I stole from my father. I launched the movie, ran to launch the audio in sync to see it in big! She's always fascinated me, becoming, in my head, a creative entity of sorts, with so much questioning, reinventions, which helped me structure myself professionally and appreciate an art form in its entirety. And her music just makes want to sing out loud, at the top of my lungs. She is so entrenched in me that there was an immediate obviousness about Maxdonna.
Will there be a sequel to Maxdonna?
VF: Yes absolutely! There are many images that I did not have time to work on for the exhibition that deserve to be shown, especially for VOGUE, where I have sumptuous photos. And then there's images that I would have liked to do but not had the time, which has been frustrating. Like the Vanity Fair one where you see her in a little pink buoy and the little flower in her hair! It’s one of the many photos that, when I look at them, know right away there's a way of redoing them with Max.
Do you know if she knew about your work? What would make you the most pleasure?
VF: I don’t need to fuel my personal ego, but I would love her to make a selfie with Max! (Laughs) Of course, when you embark on a creative project of such magnitude, in honor of someone who is well placed to know the value of work, creative research and commitment, you hope that if one day she sees it, she will appreciate what has been done ... but I do not push things in that direction. (NB: and she has reposted the Max et Vincent Like A Virgin cover on Instagram!)
Why did you choose Raising Malawi?
VF: Both for personal reasons, and for Madonna. For me, from the start, this project with Max has been anything but a commercial project. It is a non-profit, personal project. I am fortunate enough to have commercial visibility with my work as a photographer and I like the idea that at one time, life brought me both the dedication and the opportunity to do this work with Max. This, to me, justifies the possibility of not having a commercial approach on this project. The proceeds of the 2 previous exhibitions, which can currently be found at Ground Control in Paris, are given to the SAUVADE oranization, who retrieve abandoned dogs on the island of Reunion to bring them back to mainland where they will have more chances for adoption. Maxdonna is how I pay homage to Madonna, who has chosen to involve herself with Raising Malawi. It makes sense to thank her for the inspiration she brings me by helping her with her association. So I hope we will sell lots! There are very few prints and they will only be sold during the exhibition ... Though I'll confess my dream of a huge show in New York with a big auction and Madonna herself holding the hammer to sell Max's photos for her association! You never know. Maybe ... « We’ll see, somehow, someday » ;-)
How did you come up with the idea of staging your dog Max? IDid it have anything to do with your experience with dogs in Los Angeles? (NB During the few months he spent in LA, Vincent offered his skills to a local organization, and shot portraits of abandoned dogs looking for new homes)
VF: Yes and no. I have always loved animals (I’ve been a vegetarian for a few years now) and I have always had dogs. My natural connection with them helped me greatly with my experience in LA. It was uplifting. When I came back, it was around the time I usually start thinking about my holiday greeting card. We have a large library with many photo books, including the Vanity Fair book with a photo of Annie Leibovitz, which I am very fond of. My eyes went from that picture to Max, who is always at my side. I thought ‘ I’ll do do an Annie Leibovitz style portrait of Max! "Max By" started like that, I loved making that picture, immersing myself into the universe of the photographer, getting into details in order to be as close as possible to the original image in terms of grain, light, so I decided to keep going and pay homage to photographers I admire.
Two exhibitions ensured, which were very successful, both with the public and the professional audiences. This year, you decided to devote a new exhibition to Max ... and Madonna.
VF: I did, because the Max By project is my way of reconnecting with the simple pleasure in creation, without any other constraint than that. To be honest, I almost didn't make a third series of tribute to photographers, because it was becoming a little too professional and I was afraid I wouldn’t be able to enjoy it as much. And then one day, a title of Madonna was playing on the radio, there was the cover of Like A Virgin in a corner, Max was waiting for his treat and I thought, "OK I'll do a tribute to Madonna! "
The costumes have incredible detail, did a professional designer help you?
VF: Thank you. The exhibition you see today required 8 months of work. Based on the idea that it was a tribute, I had to be as accurate as possible, I don’t see it as a joke of some kind! That's what I like in this work with Max, I do everything myself and it allows me to touch other artistic aspects that I do not have the opportunity to approach in my profession as a photographer. For Like A Virgin, I started with sitting Max in an armchair, a leg resting on an armrest, as a test, and saw it could work! Then I spent the day looking for the costume on the internet and I quickly realized that for the majority of people, a simple white tutu and a cross are enough to reproduce a look. Not for me! So I started doing it myself, without having any notion of sewing. I put a lot of research in finding the original photos, as well as outtakes, to capture all the details. It was a pleasure to rediscover images I thought I knew inside and out. I had forgotten for example that she wore a fishnet over the corset ... But what kind of fishnet could I use? I couldn’t figure that out, so I got a shopping net! I also realized the immensity of the work put in by all the people who Madonna collaborates and stuck as close to what they did, which was my way of honoring them as well. You can’t just replicate a JPG corset with a classic corset and 2 gold cones! For example, I found myself sewing 700 sequins (and I do not have a sewing machine!) just for the MUSIC costume! It's a lot of work, but for someone like me, who loves creation in its overall process, what a pleasure to get my head in there! Just talking about it gives me shivers.
It is not only the costumes, the "background" is also very faithful to the original works.
VF: Yes because again it was important for me to be as accurate as possible.Take the grain. You can't do the same thing with HD and looking for Susan Desperately or Material Girl, set in the '80s. Same thing for Hung Up, the reference is not a paper photo but a video. It was important for me to recreate the same patina seen in the video. The cover of True Blue was one of the most complicated ones to execute, I didn't want a wig, but how was I to reproduce the smoothness of the haircut with my dog’s ears?? That’s when you realize the genius of photographers like Herb Ritts, the way the light falls over the hair to create a light-washed dynamic with a face so serene. This combination is what makes the image so extraordinary and iconic! I’m shivering again!!! (laughs) These people are monuments of art and creation! I had to make an incredible number of shots for this picture and when I finally got what I was looking for, I realized I had forgotten the necklace! So we started again!
What were your difficulties in working with Max?
VF: Several things! For example, for EROTICA, I needed to find the right way to approach sexuality. Max is a dog, I can't make him do just anything. The theme of religion is not discussed either, I could’ve put Max in a crucified pose for "Confessions Tour" but I didn’t want to. I also wanted to do CHERISH, but Max hates water so I let it go. I would’ve loved to the photo you have on your Tshirt (NB from the Demarchelier shoot) but a picture of my dog with a cigarette is out of the question! So many dogs have suffered to test tobacco in laboratories! There’s a large number of images that I would like to reproduce, but it takes me a lot of time to think about how I'm going to deal with Max.
There must be a lot of preparation work with Max.
VF: The idea is to present everything to him like it's a game, so that he isn't afraid of anything. That way, when we make the photo, he is so used to all its aspects, everything happens very quickly. When I found the mask for EROTICA I went home and shouted « Max! Come and see what daddy found you!» Yes, with the same gaga intonation we all use with our dogs). He is so curious that he ran to me with a "what's that, what is it?" expression. I then threw it to him to play with, then I wore it, then gave it back ... it took several months but by the time we took the photo, it had become part of a game.
There are still some improbable poses for Max, especially for VOGUE, HUNG-UP and the famous picture of MONDINO with the corset.
VF: For VOGUE and MONDINO, I needed Max stretched out, so every morning, for 2 months, I laid on the floor with him, stroked him, rubbed his paws and said " flexxxxxibility! ". For the photo with the corset, he's lying on his back very comfortably and stretched out the way any dog would. For HUNG-UP, Max is standing up and it’s the moment he goes to get back on his 4 legs that makes his legs seem to float, with his head like that. A small fan well positioned for the wig, and there you have it. The most difficult part, for him, is not the pose itself. Staying quiet between each shot is hard, because he’s having so much fun that it tends to fuck everything up (laughs). It is important for me that we stay in the field of pleasure, sharing, complicity and play. All this work with him allows me to get the playful expressions, and the joy you see in the final photos.
What is your first memory of Madonna?
VF: I'm an ultra fan of Madonna! The first song I fell for was Into The Groove. At the time, I filmed the video on TV with my super 8 camera and recorded the audio with my radio cassette. Then I made a giant screen with tracing paper I stole from my father. I launched the movie, ran to launch the audio in sync to see it in big! She's always fascinated me, becoming, in my head, a creative entity of sorts, with so much questioning, reinventions, which helped me structure myself professionally and appreciate an art form in its entirety. And her music just makes want to sing out loud, at the top of my lungs. She is so entrenched in me that there was an immediate obviousness about Maxdonna.
Will there be a sequel to Maxdonna?
VF: Yes absolutely! There are many images that I did not have time to work on for the exhibition that deserve to be shown, especially for VOGUE, where I have sumptuous photos. And then there's images that I would have liked to do but not had the time, which has been frustrating. Like the Vanity Fair one where you see her in a little pink buoy and the little flower in her hair! It’s one of the many photos that, when I look at them, know right away there's a way of redoing them with Max.
Do you know if she knew about your work? What would make you the most pleasure?
VF: I don’t need to fuel my personal ego, but I would love her to make a selfie with Max! (Laughs) Of course, when you embark on a creative project of such magnitude, in honor of someone who is well placed to know the value of work, creative research and commitment, you hope that if one day she sees it, she will appreciate what has been done ... but I do not push things in that direction. (NB: and she has reposted the Max et Vincent Like A Virgin cover on Instagram!)
Why did you choose Raising Malawi?
VF: Both for personal reasons, and for Madonna. For me, from the start, this project with Max has been anything but a commercial project. It is a non-profit, personal project. I am fortunate enough to have commercial visibility with my work as a photographer and I like the idea that at one time, life brought me both the dedication and the opportunity to do this work with Max. This, to me, justifies the possibility of not having a commercial approach on this project. The proceeds of the 2 previous exhibitions, which can currently be found at Ground Control in Paris, are given to the SAUVADE oranization, who retrieve abandoned dogs on the island of Reunion to bring them back to mainland where they will have more chances for adoption. Maxdonna is how I pay homage to Madonna, who has chosen to involve herself with Raising Malawi. It makes sense to thank her for the inspiration she brings me by helping her with her association. So I hope we will sell lots! There are very few prints and they will only be sold during the exhibition ... Though I'll confess my dream of a huge show in New York with a big auction and Madonna herself holding the hammer to sell Max's photos for her association! You never know. Maybe ... « We’ll see, somehow, someday » ;-)