EDITORIAL
- A brief selection...

Antwerp, 2009 - 2020

... Neither his fashion nor non-fashion works are easily placed into a single category. Drawing on art history, erotic traditions or the iconography of other media forms – such as cinema- they often have a narrative aspect built into their manifestation without ever being transparently illustrative or suggesting a singular reading.

In both his fashion photography and the works that exist more in the realm of photography as an artistic medium, there is a certain framing and tone that is cinematic. This is not surprising given that film often seems to inform his work, readily seen in fashion stories with titles such as ‘French Movies’. But, this is less in the sense of either being a means of reconstructing imagery from recognisable films or using the fashion shoot as a storytelling device – a photo-roman with good clothes – both of which approaches are now familiar territory within fashion’s canon. Rather there is something in Yves De Brabander’s work in which it is not that which is fully explained that is important but rather that which is not that forms a central part of its communication, operating at times, exactly like the kind of French cinema to which the title of a particular fashion series refers.

EDITORIAL
- A brief selection...

Antwerp, 2009 - 2020

... Neither his fashion nor non-fashion works are easily placed into a single category. Drawing on art history, erotic traditions or the iconography of other media forms – such as cinema- they often have a narrative aspect built into their manifestation without ever being transparently illustrative or suggesting a singular reading.

In both his fashion photography and the works that exist more in the realm of photography as an artistic medium, there is a certain framing and tone that is cinematic. This is not surprising given that film often seems to inform his work, readily seen in fashion stories with titles such as ‘French Movies’. But, this is less in the sense of either being a means of reconstructing imagery from recognisable films or using the fashion shoot as a storytelling device – a photo-roman with good clothes – both of which approaches are now familiar territory within fashion’s canon. Rather there is something in Yves De Brabander’s work in which it is not that which is fully explained that is important but rather that which is not that forms a central part of its communication, operating at times, exactly like the kind of French cinema to which the title of a particular fashion series refers.