Moda: Paco Peregrín

Nuestra noción del futuro se redefine con Paco Peregrín, español educado en Central Saint Martins y uno de los fotógrafos de moda más vanguardistas y excitantes del presente. Nueva era.

TEXTO: Federico Fahsbender
FOTOS: Paco Peregrín
REALIZACION: Kattaca
PELO Y MAKE-UP: Genoveva Gamés
AGRADECIMIENTOS: Conservatorio Superior de Danza de Madrid

Crear un editorial de moda de alto concepto, algo que podría estar en una galería contemporánea, ¿temiste que se desperdiciara en un principio, que una revista no fuera su ámbito natural?
Es cierto que mi trabajo como fotógrafo de moda es muy personal. Parto de una idea o concepto y abordo cada trabajo desde un punto de vista muy creativo y particular. Pero considero que publicar mi obra en una revista permite que sea vista por miles de personas. De todas formas también expongo mi trabajo en galerías y museos.

Entonces, ¿cómo fue el primer planteo para mezclar los dos mundos?
Todo surge de forma muy natural. Mi trabajo comercial es muy personal y mi trabajo más artístico está muy relacionado con el mundo de la moda y la publicidad, tanto por su estética y técnica como por los conceptos que trato: el materialismo, el consumismo, el culto a la juventud y la belleza, su carácter efímero, el género, la deshumanización y la identidad.

El cabello, los sombreros y los tocados es lo primero que resulta notorio de tu trabajo. ¿Cómo fue volver eso un eje visual?
En mi trabajo doy mucha importancia a todos los componentes que conforman la imagen, no sólo a la ropa. Todos los elementos, como la luz, el color, el maquillaje, la peluquería, la textura, los complementos, la composición, el modelo, tienen que armonizar en estilo y potenciar la idea que persigo para crear una imágen coherente e interesante.

Lo mismo las mujeres vueltas bustos, los maxivestuarios, las siluetas cubiertas y atípicas. ¿Sientes que se rompe el clásico cánon de belleza? ¿Sientes que la moda pasa un segundo plano para convertirse en un todo?
La fotografía de moda es más que fotografía que muestra ropa. Muestra una realidad recreada que plasma la imagen que el individuo quiere dar de sí mismo. Responde a obsesiones y al punto de vista particular del fotógrafo. Hoy en día existen múltiples conceptos de belleza. Nunca he intentado romper cánones deliberadamente, sólo procuro no limitarme ni censurar mi trabajo y seguir creando imágenes.

¿Cuál es el lenguaje visual que te educó para formar tu estética, tus influencias, los tópicos que te obsesionaban? No sólo arte de otros, sino cuestiones o issues.
Me licencié en la facultad de Bellas Artes de Sevilla pero además, mi interés por todas las artes provocó que hiciera teatro, diseño de moda, performance, instalaciones, vídeo, dirección de arte y publicidad antes de llegar a la fotografía. Por lo tanto mi formación inicial fue muy clásica pero pronto me interesé por las vanguardias y el arte contemporáneo más experimental. Me gustan mucho estilos contrarios y complementarios como el barroco y el minimalismo. También me apasiona la pintura flamenca, el surrealismo, etcétera.

¿Cómo fue estudiar en Central St. Martins? Es un clásico, todos los que hicieron una diferencia en los últimos años estudiaron allí: Hussein Chalayan, John Galliano, etcétera.
La formación es vital para mí. He pasado por grandes escuelas de fotografía como el International Center Of Photography en New York y he recibido multitud de cursos, aunque la mayor parte de mi formación ha estado relacionada con el arte en general y sus múltiples disciplinas y no específicamente con la fotografía. Sólo hice un curso intensivo de fotografía de moda en Central Saint Martins. Comprobé que la calidad de la formación no depende tanto de los centros de enseñanza como del profesorado, por lo que recomiendo a los estudiantes que se guíen por eso más que por el nombre de la escuela para evitar decepciones.

Lo mismo tus workshops: ¿cómo te resulta la experiencia de docencia? ¿Qué crees que puedes transmitir de distinto a un alumno?
Me interesa mucho la docencia. Llevo muchos años dictando workshops por varios países y siempre trato de despertar en los alumnos su interés y curiosidad por la fotografía. Intento que descubran el método de trabajo más adecuado a cada uno y procuro que exploren diversos campos, estilos y que encuentren en la imagen su forma de expresión.

En una entrevista a tí, Elle tituló: “Un fotógrafo español rompe con los estereotipos clásicos de belleza.”
Cierto.

Entonces, ¿cómo es romperlos siendo español? ¿Cómo entra España aquí?
El trabajo editorial en Europa es más creativo y libre que el norteamericano, por ejemplo. Pienso que la rica cultura hispanoparlante tiene todavía mucho que aportar al panorama artístico y cultural. Lo de romper estereotipos imagino que se refiere a mi marcado estilo personal dentro de la fotografía comercial y a mi predilección por otros cánones estéticos poco habituales, más andróginos, sofisticados, casi alienígenas, casi perfectos pero muy cercanos y vulnerables a la vez. Y es que busco la belleza de lo particular, de lo especial y raro, no me interesa el estereotipo de belleza carente de personalidad. En una sociedad cada vez más globalizada tenemos que apostar por la diferencia, por lo que nos hace únicos..

Trabajar para Nike, Diesel, Toyota o un cliente en general, ¿cómo altera la visión? ¿Qué pasa cuando es publicidad?
He tenido la suerte de seguir haciendo trabajos publicitarios sin abandonar mi estilo ni mi forma de entender la imagen. Lógicamente antes de hacer una campaña hay que tener en cuenta una serie de factores acerca del cliente, pero cuando me han contratado ha sido porque al cliente le ha interesado mi estilo y me ha llamado para que precisamente le de un cambio a la imagen de su marca más artístico y la interprete a mi manera.

Recorriendo tu site, vi solo una foto en exteriores. ¿Cuánto cuesta estar fuera del estudio?
Tengo también mucho trabajo en exteriores. Ahora se pueden ver más ejemplos en mi website. Cada vez hago más exteriores porque me resulta excitante y divertido, aunque es más duro porque dependes de factores ajenos como el tiempo meteorológico. Pero es cierto que desde siempre me ha encantado la fotografía de estudio, su tradición estática me permite investigar el movimiento, controlar la luz, trabajar en condiciones más controladas y principalmente me permite centrarme en el modelo sin otros factores que distraigan mi atención.

¿Qué sigue para el futuro?
En breve viajaré a Milán para hacer una importante campaña de publicidad, luego a New York y tengo pendiente disparar dos editoriales para Elle México. La revista Neo2 me publica en su próximo número una foto de portada y un editorial de moda. Seguiré viajando, haciendo fotos e involucrándome en proyectos que considere interesantes. Tengo intención de volver a hacer vídeo más adelante. Y por último, les invito a visitar mi próxima exposición individual en la Galería Isabel Ignacio de Sevilla (España) en enero de 2011. Y espero poder visitar Argentina.


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