Valextra Meets Fumiko Imano
The pioneering Japanese photographer brings her signature double take to our Introducing Milano campaign
Who better to capture Milan’s duality of spirit and layers of narrative than the eminent Japanese photographer Fumiko Imano? Famed for her self portraiture featuring her fictional twin, Imano puts places and protagonists in surprising situations, presenting them through an original lens. For our Introducing Milano campaign, we entrusted her with our new object of desire, the Milano handbag, to create a real-time retrospective. Here, she tells us about the campaign, her process, and what draws her to the sweet spot between fiction and reality.
Valextra: Fumiko ciao! What were your first impressions of Milan and what do you feel makes it unique?
Fumiko Imano: It was the marble-stone buildings and the food which is so very simply cooked and tasty.
V: How did you conceptualise the link between the legacy of a Milan-based Valextra, and its position in the current zeitgeist with your campaign?
FI: We had an idea of both an old time and the present. Our model, Grace Elizabeth, is young, but has a very mature personality so it was a perfect match. I also really wanted to show some scenery of Milan.
V: Your work evokes thought and comparison between fiction and reality; what draws you to explore this juxtaposition?
FI: I hate seeing my past now, but photography is about the past. By the time I see these photographs as a third person, it becomes my fiction.
V: As in your campaign for Valextra, your style of work examines the individual as well as their alternative personalities – what attracts you to these elements the most?
FI: Appearing as myself in a commercial piece of work feels like I’m stamping my signature on it.
V: At what point did you discover photography and decide you wanted to pursue a career in it?
FI: When I was young, I tried to be a fashion photographer but I couldn’t. I was really possessive about my work so I couldn’t collaborate with others. Then I decided to do everything myself as a self-portrait artist. But now my work as an artist is [established], I don’t have a big ego anymore so I can collaborate happily.
V: When did you first manifest your imaginary twin and how did you imagine bringing them to life?
FI: I think it was around 2000. I was in London and then when I came back to Japan, I had an identity crisis fitting into Japanese culture. I was already 27 so I had to fit into the adult world, but I couldn’t. I just thought, ‘If I was twins, it could have been easier to live together to go through this.” So, I started making twins using scissors and glue. But it’s not reality so I wanted to show the cut and stitching of the two photographs.
V: Can you tell us about your favourite photograph you have ever taken?
FI: Maybe ‘Fountain Twins’ I took in my town, Hitachi in 2002. It’s still perfect in a way for me.
V: Can you share your favourite photograph taken during this shoot and why?
FI: I think I like the one with Grace! Of course I like her solo pictures but it’s more warm together like a friend's photo. She is really sweet and shooting her was amazing! Any photos of her can be selected because she is perfect.