J.Lindenberg’s fall 2011 biannual book, the fifth of the brand’s “The Documentary and a Dream” series, is all about dualism. “Contradictions, conflicts and correlations.” That could be, in the book’s own words, the straight-laced contrasted against the sensual, or the traditional with the unanticipated.
If you were to apply any meaning to a shoot that pairs semi-nude models with Normandy’s haunting war bunkers, perhaps that’s the key you’re looking for. The contrast. The overlaying of something very now onto something very historical.
The introduction to the shoot reads:
It’s an historic place, the place where these bunkers stand. And if the story they tell had turned out differently, who knows what our lives would have looked like today? Olivier wanted to go there, to honour the place in his own, special way.
But all that aside, it’s even easier to watch the shoot and marvel at the nature of the work Zahm gets to do. Some might consider the man rather lucky.