Supermodels of the 1990s

The uniqueness of Ewa-Mari Johansson’s work lies in her ability to portray the world of models from the inside, since she is part of it. Her gaze brings about some sort of Copernican revolution, because what radically changes is the photographer’s perspective as she delves into a fascinating field that had previously been unexplored. Her images are the result of a sound technical foundation as well as the influence of the many great photographers she was working with, including Bob Krieger, David Bailey, Hiro, Frank Horvat, Oliviero Toscani, Gian Paolo Barbieri, Patrick Demarchelier, and Guy Bourdin, whose surrealist vision strongly influenced the photographer, who had already met Salvador Dalí. Conducting her research from a privileged point of view, Ewa-Mari Johansson doesn’t hide while she photographs. Meanwhile, the models who share her world, aware of what she’s doing, move with ease, repeating the gestures characterising everyday life without posing, looking at the camera, or showing annoyance or interest: they simply live. While the fashion shows get ready, the atmosphere is the same as in the theatre before the curtain rises: in an apparent chaos where models, makeup artists, hairdressers, and assistants coexist, the photographer captures gestures, thoughts, melancholic glances, and determined expressions. Above all, she proudly displays her ability to portray strong and independent women.