19 minutes
PHOTOGRAPHY is one of the 21st century greatest technological inventions, and it is not hyperbole to keep the significance of the evolutionary medium in mind as we look at the work of fashion photographer Carlos Khu.
Khu’s rise as a self-taught fashion photographer was all due to hard work and determination, which happened organically.
Today, his studio is like a theatre stage, and Khu is its director, creating a dramatic and subversive world for subjects to inhabit while encouraging free movement.
Explaining his fundamental philosophy as defined by his holistic approach to life as well as his work in fashion, he says: “When creating art, it has to come from somewhere deep [within] to have a larger than life meaning, because why would I create work that doesn’t mean anything to me?
“Fashion photographers convey ‘another version of another version’ to bring the fantasy into reality.
“We’re essentially visual creators, interpreting and then presenting different perspectives to life; [we are] storytellers in our respective visions, from our points of view.”
As when he first started his career, Khu remains a contrarian, a catalyst and a visionary, but as time passed, he slowly realised one of the biggest challenges to progress is power distribution within the workforce, which goes beyond the hierarchy we follow in corporate governance.
Young talents constantly have to prove themselves, while at the same time, earn the respect of fashion cognoscenti in order to be recognised and celebrated for their craft.
As far as the industry is concerned, it is survival of the fittest.
Khu shares: “It’s difficult for new talents to penetrate into the industry because there’s no opportunity given by the people in positions of power who’ve made themselves too comfortable around the people they repeatedly work with, at least that is what I faced.”
Sustainability and a showcase of diversity seem to be the issues the industry is always putting up with.
This empty, often tokenistic idealism has now evolved into a call for change and a call to action to champion progressive ideals in favour of a significant effort.
Khu explains: “There’s only so much the publishing industry can do to help independent creatives, and we shouldn’t rely entirely on that while expecting greater brand awareness and exposure in return.
“As wide its reach may be, it’s only limited to its targeted readers who are interested.
“There are many other ways to get noticed – through self-initiated passion projects and collaborations with others.”
Our approach to work changes based on the demands of time, especially right now, where print is seen as less engaging than the ever-evolving digital landscape.
Information is being consumed differently, and audience engagement is becoming more innovative; more so when the shift from individuality to collectivity begins to encourage perspectival creativity.
How we survive the industry that leaves no transitional space between the present and immediate future is up to us.
Therefore, collaborations between young talents seem to be a great start to push beyond their own imaginations while seeking a higher engagement with the audience.
That being said, the work has to be niche, streamlined, and valuable to a certain esoteric.
Sharing a quote by Leandra Medine Cohen, the founder of legendary fashion blog Men Repeller, she said:
“Don’t try to be something for everyone, just be everything for someone.”
Khu expresses: “I consider myself a success when I’m truly happy. If I can be happy with myself and my work, then I’ve already succeeded. In fact, it’s not [just] about my work and it should never be about [that].
“It is also about knowing how to value and respect yourself, which people tend to always forget because they’re constantly chasing after something else.
“It’s important to remind ourselves not to lose the fire within us, the fire that set us out to do what we’re so passionate about, that is fashion.”
