In this issue, we are delighted to present an exclusive interview with the talented photographer Yves Kortum, who captured the latest photoshoot for Tome 20 of Patrice Catanzaro. Dive into the behind-the-scenes of this creative collaboration and discover the inspirations behind his stunning shots.

Can you tell us about your background?
Born in 1969 (the erotic year), I started photography purely by chance and never let go of my camera. I’ve calmed down since then, though! After a brief stint in 1991 at the prestigious photography school Le 75 in Brussels, I decided to leave my studies to learn in the field. I then worked as an assistant in a studio for a year and a half.
At the end of 1992, I went freelance but continued my training with professional photographers. In 1994, I decided to move to Paris, and thanks to my training and eye, I had the opportunity to work for one of the world’s largest modeling agencies as well as numerous photo studios in Paris. This led me to meet some of the great names in photography, including Patrick Demarchelier, Helmut Newton, and Richard Avedon.
At the same time, I continued working on my own projects and, in 1996, signed my first cover for Elle magazine. That same year, I decided to move to Eastern Europe to join the agency I had worked with in Paris.
The 2000s marked my return to Luxembourg, where I opened my first studio. Since 2007, I have been splitting my time between Luxembourg and Paris.

How would you describe your photographic style in a few words?
A revival of 1980s photography, renewed and modernized with today’s techniques, filled with clichés and drama.

What influences or inspirations have the biggest impact on your work?
I find most of my inspiration in film noir from the 1940s to the 1960s. I love clichés, but I showcase them in my own way. I enjoy adding exaggerated drama and heightened femininity to my images. I adore strong, charismatic, confident women who rise above men (the so-called stronger sex) with plenty of sex appeal, combined with a rock ‘n’ roll attitude. At times, I also depict them as sensual or fragile. Most of my personal projects feel like playing music on a piano, with notes in black and white. I love contrasts, deep blacks, and bright whites. Occasionally, like Marco Valdo in Italo Calvino's novel, I venture into the classical and modern urban world, searching for light that caresses the stones of buildings and the skin of the models. I combine all of this with inspiration from modern life.

What drew you to Patrice Catanzaro’s universe and his Tome 20 collection?
I think I bought my first vinyl skirt by Patrice Catanzaro 30 years ago. I love anything shiny—not necessarily from a fetishistic perspective but because I adore the way shiny elements reflect light in my images. I also love women, especially when dressed in Catanzaro designs. In this new collection, I particularly love everything that shines and features zippers.

How did you approach the shoot for this collection in particular?
I approached it as I always do: scouting locations and forming ideas about what I wanted to capture. I listened to my client’s needs and drew inspiration from the subject.

Did you have a specific vision in mind from the start?
I know Paris like the back of my hand, but I always try to discover new locations. It’s difficult, though, because clients don’t come to Paris to shoot in hidden streets or near lesser-known monuments. They always want to shoot at the most famous tourist landmarks, the true facade of Paris. So, we created a mix of both.

What challenges did you encounter during this collaboration, and how did you overcome them?
Nothing out of the ordinary when shooting in Paris. There were many tourists, heavy traffic, and a lot of waiting. Unfortunately, all these factors didn't help with our nerves, and the tension sometimes ran higher, but instead of discussing the issues, we focused on finding solutions. Then, the weather played tricks on us, with alternating clouds, sun, and cold temperatures. The models, tired, sometimes had goosebumps, and the next day, they were too hot because the sun was beating down, and they were sweating under the vinyl clothes. It was difficult to find a consistent flow in the entire series, but I think, in the end, we all did great work that elevated the visual quality of the Maison Catanzaro brand as it should be and as it deserves.

Is there a particular image or moment from the shoot that stood out to you, and why?
The boss herself who stepped in as the model at the end. :-D

What role do sexy outfits play in the staging and visual narrative of your photos?
Even when doing beauty or fashion, unless the client specifically asks otherwise, I always add more or less sexy accessories like vinyl, latex, leather, garter belts, and stockings.

How do you find the balance between sensuality, elegance, and boldness in your shots?
I think I don’t really question it; it comes naturally. I connect with the product and guide the model to find that balance through the directions I give. Sometimes it works, and sometimes it doesn’t, and if it doesn’t, I try something else. I don’t get stuck on something that isn’t working by going in circles. I find a Plan B. I also believe that after almost 30 years of focusing solely on beauty and fashion, it helps me ensure my images aren’t vulgar. (At least, I think my images aren’t vulgar from my perspective).

In your opinion, what makes a lingerie photo truly captivating?
I think it’s a team effort. A good photographer must identify with the brand and also love what they are photographing. It also involves the models, the choice of locations, the right story, and the right team around it. In the end, the most important element in photography is the right lighting.

How do you work with models to capture both their confidence and the essence of the clothing or lingerie they are wearing?
I always observe how they pose. I let them do their thing first, and then I start directing them in the direction I want, or in the direction the client expects, so that the pose is perfect and the garment is showcased well.

Do you have any specific techniques to make your models feel comfortable in a lingerie or sexy clothing context?
I speak to them before the shoot, talk about my inspiration, what I’m expecting, and guide them from there.

When you look at your work for this collection, what makes you the most proud?
Given the weather conditions, the fatigue, the cold, and the heat, I think I’ve managed to create a beautiful collection that we can proudly showcase.

What advice would you give to brands or designers who want to collaborate with photographers to enhance their collections?
As I said, you need the right photographer, a great image, and beautiful creativity. A photographer who loves the brand and knows how to highlight it. Then, the right choice of models is essential.

What are your upcoming projects? Do you have other collaborations in the world of fashion or lingerie?
Since the pandemic, I’ve been teaching photography at higher education institutions, passing on the expertise I’ve acquired over 35 years as a professional photographer. Otherwise, I’m currently working a bit for haute couture and high-end magazines.

www.yveskortum.com
Instagram: @yveskortum